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"content": "\u003cp>It’s been two decades since Judy Irving produced, directed, filmed and edited her celebrated documentary \u003ci>\u003ca href=\"https://www.shadowdistribution.com/the-wild-parrots-of-telegraph-hill-4k/\">The Wild Parrots of Telegraph Hill\u003c/a>\u003c/i>, a charming and contemplative film about one man’s relationship with a flock of wild parrots. So much has changed over those years, and yet the city she captured in 2003 is still familiar — a little softer around the edges then, with a lower skyline — and the story she tells remains a quintessential San Francisco story.\u003c/p>\n\u003cp>[aside postID='arts_13927774']Now, audiences new and old will get a chance to see the film restored in 4K. \u003ci>The Wild Parrots of Telegraph Hill\u003c/i> screens Jan. 12–18 at the \u003ca href=\"https://roxie.com/film/the-wild-parrots-of-telegraph-hill/\">Roxie\u003c/a>, Jan. 14 at the \u003ca href=\"https://rafaelfilm.cafilm.org/wild-parrots-of-telegraph-hill/\">Smith Rafael Film Center\u003c/a> and Feb. 3 at the \u003ca href=\"http://bocenter.org/\">Bolinas Community Center\u003c/a>. Mark Bittner (the film’s human star) and Irving will be in person at many of the screenings.\u003c/p>\n\u003cp>The focus of this film is now the city’s “\u003ca href=\"https://www.sfchronicle.com/bayarea/article/wild-parrots-official-animal-san-francisco-18172009.php\">Official Animal\u003c/a>” (thanks to a contest organized by the \u003ci>San Francisco Chronicle\u003c/i> last year). But in the early 2000s, the flock of non-native cherry-headed conures of unknown origin was a bit more of a novelty. (An “Urban Legends” segment in the film delivers locals’ various theories, which include pet shops, an SFO breakout, a South American ship and annoyed roommates.)\u003c/p>\n\u003cp>At the heart of it all is Bittner, a sweet and gentle man who moved to San Francisco in search of a music career and spent 15 years on the streets, doing odd jobs and sleeping in odd places, before landing in a cottage in Telegraph Hill.\u003c/p>\n\u003cp>“I haven’t really paid rent in 25 years,” he says at one point. Irving’s presence in the film arrives in periodic voiceovers, asking the questions we all have after meeting Bittner: “How does he get away with that?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He has a lot of time,” she muses. Without a 9-to-5, without a schedule beyond his daily seed feedings of the flock, Bittner has the ability to truly focus on the things he loves. Namely, Mingus (a cherry-headed conure with a split personality), Connor (an isolated blue-crown conure) and Tupelo (a deteriorating cherry-headed conure he cradles on walks).\u003c/p>\n\u003cp>https://vimeo.com/860177562\u003c/p>\n\u003cp>It’s Bittner’s deep understanding of the parrots’ relationships and his genuine connection to them that guide us through the film, which is ultimately about love, patience, acceptance and an unwillingness to worry about pretty much anything else. In the latter half of the film, we learn that Bittner must leave his home, and the birds, due to impending renovations. He accepts this too, fully knowing the wild parrots will continue their lives — and face the dangers of those lives — without him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those who have not yet seen the film, I won’t spoil its delightful surprise of an ending, but suffice to say: it will be an extra treat to attend one of the upcoming screenings with Irving and Bittman in attendance, to hear what they’ve been up to separately — and together — in the years since.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, audiences new and old will get a chance to see the film restored in 4K. \u003ci>The Wild Parrots of Telegraph Hill\u003c/i> screens Jan. 12–18 at the \u003ca href=\"https://roxie.com/film/the-wild-parrots-of-telegraph-hill/\">Roxie\u003c/a>, Jan. 14 at the \u003ca href=\"https://rafaelfilm.cafilm.org/wild-parrots-of-telegraph-hill/\">Smith Rafael Film Center\u003c/a> and Feb. 3 at the \u003ca href=\"http://bocenter.org/\">Bolinas Community Center\u003c/a>. Mark Bittner (the film’s human star) and Irving will be in person at many of the screenings.\u003c/p>\n\u003cp>The focus of this film is now the city’s “\u003ca href=\"https://www.sfchronicle.com/bayarea/article/wild-parrots-official-animal-san-francisco-18172009.php\">Official Animal\u003c/a>” (thanks to a contest organized by the \u003ci>San Francisco Chronicle\u003c/i> last year). But in the early 2000s, the flock of non-native cherry-headed conures of unknown origin was a bit more of a novelty. (An “Urban Legends” segment in the film delivers locals’ various theories, which include pet shops, an SFO breakout, a South American ship and annoyed roommates.)\u003c/p>\n\u003cp>At the heart of it all is Bittner, a sweet and gentle man who moved to San Francisco in search of a music career and spent 15 years on the streets, doing odd jobs and sleeping in odd places, before landing in a cottage in Telegraph Hill.\u003c/p>\n\u003cp>“I haven’t really paid rent in 25 years,” he says at one point. Irving’s presence in the film arrives in periodic voiceovers, asking the questions we all have after meeting Bittner: “How does he get away with that?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He has a lot of time,” she muses. Without a 9-to-5, without a schedule beyond his daily seed feedings of the flock, Bittner has the ability to truly focus on the things he loves. Namely, Mingus (a cherry-headed conure with a split personality), Connor (an isolated blue-crown conure) and Tupelo (a deteriorating cherry-headed conure he cradles on walks).\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s Bittner’s deep understanding of the parrots’ relationships and his genuine connection to them that guide us through the film, which is ultimately about love, patience, acceptance and an unwillingness to worry about pretty much anything else. In the latter half of the film, we learn that Bittner must leave his home, and the birds, due to impending renovations. He accepts this too, fully knowing the wild parrots will continue their lives — and face the dangers of those lives — without him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those who have not yet seen the film, I won’t spoil its delightful surprise of an ending, but suffice to say: it will be an extra treat to attend one of the upcoming screenings with Irving and Bittman in attendance, to hear what they’ve been up to separately — and together — in the years since.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "It’s Your Last Chance to See Movies at the Castro As They Were Meant to Be Seen",
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"content": "\u003cp>\u003cem>This post has been updated as more movies have been added to the Castro Theatre’s schedule.\u003c/em>\u003c/p>\n\u003cp>The time has come: the \u003ca href=\"https://www.kqed.org/arts/tag/castro-theatre\">Castro Theatre\u003c/a> will close in early February for renovations. Over the next year or so, concert promoters Another Planet Entertainment will \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">replace the historic movie palace’s classic raked theatrical seating\u003c/a> with flat tiers better suited to standing-room concerts. This is good news if you’re the type of person, say, who wishes \u003ca href=\"https://tommysjoynt.com/\">Tommy’s Joynt\u003c/a> would take all that old junk off their walls, rip out the hofbrau counter and start serving sushi instead. It’s bad news if you love movies. \u003c/p>\n\u003cp>Expect a large crowd, then, on Sunday, Jan. 14, when the Castro Theatre screens some of its final repertory films with the original and widely loved seating configuration. In a double feature, \u003cem>\u003ca href=\"https://www.midnitesformaniacs.com/event/blade-runner-the-final-cut-in-35mm-robocop-unrated-directors-cut-in-4k/\">Blade Runner\u003c/a>\u003c/em> plays on 35mm at 4:00 p.m., followed by \u003cem>\u003ca href=\"https://www.midnitesformaniacs.com/event/blade-runner-the-final-cut-in-35mm-robocop-unrated-directors-cut-in-4k/\">RoboCop\u003c/a>\u003c/em> at 6:30 p.m. Vintage sci-fi trailers run before and after, and the intermission features music by the Castro’s long-standing organist David Hegarty. \u003c/p>\n\u003cp>Then, on Jan. 26, the Castro shows \u003cem>All of Us Strangers\u003c/em>; followed by \u003cem>Stop Making Sense\u003c/em> and \u003cem>Singin’ in the Rain\u003c/em> on Jan. 27; a \u003cem>Beauty and the Beast\u003c/em> sing-along and \u003cem>2001: A Space Odyssey\u003c/em> (in 70mm) on Jan. 28; the Pet Shop Boys’ live concert film \u003cem>Dreamworld: The Greatest Hits Live at the Royal Arena Copenhagen\u003c/em> on Jan. 31; and a sing-along of \u003cem>Victor Victoria\u003c/em> on Feb. 4.\u003c/p>\n\u003cp>[aside postID='arts_13917362']For the past two years, under the Castro’s new management, Jesse Hawthorne Ficks’ monthly \u003ca href=\"https://www.midnitesformaniacs.com/\">Movies for Maniacs\u003c/a> screenings at the Castro have largely replaced the once-daily pace of films on the theater’s calendar. “I am eagerly awaiting the restored reopening in the Summer/Fall of 2025,” Ficks said in an email. “People can reasonably expect to see Movies for Maniacs monthly repertory programming at the Castro after it reopens.” Another Planet Entertainment plans to utilize \u003ca href=\"https://www.kron4.com/news/castro-theatre-seats-not-a-landmark-sf-board-of-supervisors-say/\">temporary seats\u003c/a> for movies after the renovation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, on Thursday, Jan. 11, a post-mortem for the \u003ca href=\"https://www.kqed.org/news/11942942/san-franciscos-castro-theatre-a-cultural-temple-facing-a-fight-for-its-future\">fight to save the seating\u003c/a> at the Castro gets underway at the Roxie Theater in San Francisco. \u003cem>\u003ca href=\"https://roxie.com/film/the-fight-for-the-castro-theatre-lessons-for-queer-preservation/\">The Fight for the Castro Theatre: Lessons for Queer Preservation\u003c/a>\u003c/em> features a panel discussion with historians, preservationists and LGBTQ+ leaders to “tell the story of the City’s refusal to save the San Francisco landmark.” \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>\u003cem>‘Blade Runner’ and ‘RoboCop’ screen Sunday, Jan. 14, at the Castro Theatre in San Francisco. General admission is $21.50. \u003ca href=\"https://www.midnitesformaniacs.com/event/blade-runner-the-final-cut-in-35mm-robocop-unrated-directors-cut-in-4k/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This post has been updated as more movies have been added to the Castro Theatre’s schedule.\u003c/em>\u003c/p>\n\u003cp>The time has come: the \u003ca href=\"https://www.kqed.org/arts/tag/castro-theatre\">Castro Theatre\u003c/a> will close in early February for renovations. Over the next year or so, concert promoters Another Planet Entertainment will \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">replace the historic movie palace’s classic raked theatrical seating\u003c/a> with flat tiers better suited to standing-room concerts. This is good news if you’re the type of person, say, who wishes \u003ca href=\"https://tommysjoynt.com/\">Tommy’s Joynt\u003c/a> would take all that old junk off their walls, rip out the hofbrau counter and start serving sushi instead. It’s bad news if you love movies. \u003c/p>\n\u003cp>Expect a large crowd, then, on Sunday, Jan. 14, when the Castro Theatre screens some of its final repertory films with the original and widely loved seating configuration. In a double feature, \u003cem>\u003ca href=\"https://www.midnitesformaniacs.com/event/blade-runner-the-final-cut-in-35mm-robocop-unrated-directors-cut-in-4k/\">Blade Runner\u003c/a>\u003c/em> plays on 35mm at 4:00 p.m., followed by \u003cem>\u003ca href=\"https://www.midnitesformaniacs.com/event/blade-runner-the-final-cut-in-35mm-robocop-unrated-directors-cut-in-4k/\">RoboCop\u003c/a>\u003c/em> at 6:30 p.m. Vintage sci-fi trailers run before and after, and the intermission features music by the Castro’s long-standing organist David Hegarty. \u003c/p>\n\u003cp>Then, on Jan. 26, the Castro shows \u003cem>All of Us Strangers\u003c/em>; followed by \u003cem>Stop Making Sense\u003c/em> and \u003cem>Singin’ in the Rain\u003c/em> on Jan. 27; a \u003cem>Beauty and the Beast\u003c/em> sing-along and \u003cem>2001: A Space Odyssey\u003c/em> (in 70mm) on Jan. 28; the Pet Shop Boys’ live concert film \u003cem>Dreamworld: The Greatest Hits Live at the Royal Arena Copenhagen\u003c/em> on Jan. 31; and a sing-along of \u003cem>Victor Victoria\u003c/em> on Feb. 4.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For the past two years, under the Castro’s new management, Jesse Hawthorne Ficks’ monthly \u003ca href=\"https://www.midnitesformaniacs.com/\">Movies for Maniacs\u003c/a> screenings at the Castro have largely replaced the once-daily pace of films on the theater’s calendar. “I am eagerly awaiting the restored reopening in the Summer/Fall of 2025,” Ficks said in an email. “People can reasonably expect to see Movies for Maniacs monthly repertory programming at the Castro after it reopens.” Another Planet Entertainment plans to utilize \u003ca href=\"https://www.kron4.com/news/castro-theatre-seats-not-a-landmark-sf-board-of-supervisors-say/\">temporary seats\u003c/a> for movies after the renovation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, on Thursday, Jan. 11, a post-mortem for the \u003ca href=\"https://www.kqed.org/news/11942942/san-franciscos-castro-theatre-a-cultural-temple-facing-a-fight-for-its-future\">fight to save the seating\u003c/a> at the Castro gets underway at the Roxie Theater in San Francisco. \u003cem>\u003ca href=\"https://roxie.com/film/the-fight-for-the-castro-theatre-lessons-for-queer-preservation/\">The Fight for the Castro Theatre: Lessons for Queer Preservation\u003c/a>\u003c/em> features a panel discussion with historians, preservationists and LGBTQ+ leaders to “tell the story of the City’s refusal to save the San Francisco landmark.” \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>\u003cem>‘Blade Runner’ and ‘RoboCop’ screen Sunday, Jan. 14, at the Castro Theatre in San Francisco. General admission is $21.50. \u003ca href=\"https://www.midnitesformaniacs.com/event/blade-runner-the-final-cut-in-35mm-robocop-unrated-directors-cut-in-4k/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Audacious Bible-Era Story ‘The Book of Clarence’ Is Maybe Too Audacious",
"headTitle": "Audacious Bible-Era Story ‘The Book of Clarence’ Is Maybe Too Audacious | KQED",
"content": "\u003cp>Somewhere between the sacred and profane, comedy, drama and satire comes \u003cem>The Book of Clarence\u003c/em>, a retelling of The Greatest Story Ever Told that arrives in theaters appropriately between Christmas and Easter.\u003c/p>\n\u003cp>It’s a remarkably idiosyncratic approach by rising auteur Jeymes Samuel, who for this Biblical-era tale is director, producer, writer and composer for only his second feature. You have to kind of hand it to him: Who else would have the audacity to tackle Jesus in your second outing?\u003c/p>\n\u003cp>[aside postid='arts_13939793']\u003cem>The Book of Clarence\u003c/em> — with a stunning cast that includes LaKeith Stanfield, James McAvoy, Anna Diop, Benedict Cumberbatch, Alfre Woodard and David Oyelowo — careens through tones and sentiment, silly in one and then horrific in another. Samuel says he wants viewers to have a “wicked good time” but really it’s a bit of a muddled, unholy mess.\u003c/p>\n\u003cp>It is 33 AD in Jerusalem and Stanfield plays Clarence, a street hustler in robes who likes getting high — in one cool, surreal scene he floats into the air like a balloon — and dreams up schemes to get rich quick. He’s got the hots for a local beauty but owes a ton of coins to that beauty’s loansharking brother.\u003c/p>\n\u003cp>Clarence is called the “village’s mischief maker” and even his mother thinks he needs to get his act together. “I’m not a nobody,” he tells his twin brother, Thomas (also Stanfield, naturally). “A man who lacks honor is a nobody,” his brother replies. We know things are going to end painfully for Clarence because one of the first images in the movie is of him on a cross.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Clarence doesn’t believe in God and certainly doesn’t believe that the local guy named Jesus is capable of miracles. It’s a scam to him. He tries to become a 13th apostle to pay off his debts. When that fails he decides to pretend to be a messiah, too, and get paid for so-called tricks.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ntNS-ANoMyM\u003c/p>\n\u003cp>Samuel, whose previous movie was the all-Black Western \u003cem>The Harder They Fall\u003c/em>, has some creative ideas, like using a chariot race to honor both \u003cem>Ben Hur\u003c/em> and \u003cem>Fast & Furious\u003c/em>, as well as wonderfully capturing the Last Supper like a painting come alive. He apes biblical epics in his title fonts and the opening and closing of the camera’s iris. He mixes stilted language — “I must make haste” — with modern turns (“I’ve got the cobblestones on lock.”) This is the first Biblical epic to uses the term “dumbass.”\u003c/p>\n\u003cp>[aside postid='arts_13938160']But Samuel never stays with any idea for long and \u003cem>The Book of Clarence\u003c/em> lacks cohesion, as well as consistency, even if the acting is superb, especially from a soulful Stanfield. Is Samuel honoring sword-and-sandal epics? Updating them? Mocking them? Looking at the Jesus story through a Black lens is immensely rewarding but the pay-off is poor.\u003c/p>\n\u003cp>There are plenty of messiahs here — like Spider-Mans in the multiverse — but it is not clear what the filmmaker wants to say with them. A critique of celebrity? A message about entertainment? That faith comes even to those who have none? That we kill all our saviors? It’s not even clear if this is a pro- or anti-religious movie.\u003c/p>\n\u003cfigure id=\"attachment_13940224\" class=\"wp-caption aligncenter\" style=\"max-width: 2062px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM.png\" alt=\"A white stone room with tables arranged. It resembles the Last Supper, but with a Black messiah and disciples. \" width=\"2062\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM.png 2062w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-800x390.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-1020x498.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-160x78.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-768x375.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-1536x749.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-2048x999.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-1920x937.png 1920w\" sizes=\"(max-width: 2062px) 100vw, 2062px\">\u003cfigcaption class=\"wp-caption-text\">A moment from ‘The Book of Clarence.’ \u003ccite>(Legendary Entertainment/ Sony via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Samuel comments powerfully on us today when white Roman police stop-and-frisk Black Jerusalem residents, but then wastes such a great potential vein to mine with a swanky dance party and cool choreographed moves. He makes us shudder as nails are pounded into Clarence’s flesh, yet also includes humor at the crucifixion — from the actual guys doing the dying. He has a scene with brutal rock throwing and yet also a recurring goofy bit about light bulbs appearing over Clarence’s head.\u003c/p>\n\u003cp>It’s a mind-melting piece of filmmaking, having elements of both Monty Python’s \u003cem>Life of Brian\u003c/em> and \u003cem>The Ten Commandments\u003c/em>. (Fun fact, the Italian city of Matera stands in for Jerusalem here and was also where \u003cem>The Passion of the Christ\u003c/em> was filmed.) Add to that an exciting soundtrack of more than a dozen songs by Samuel (even one with Jay-Z, also a producer on the movie) and \u003cem>The Book of Clarence\u003c/em> is worth a look simply for its sheer daring. But we wouldn’t go so far as to say its creator walks on water.\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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Book of Clarence’ is out nationwide on Jan. 12, 2024.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Jeymes Samuel’s second feature is a mind-melting movie that borrows from biblical epics, comedy, drama and satire.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Somewhere between the sacred and profane, comedy, drama and satire comes \u003cem>The Book of Clarence\u003c/em>, a retelling of The Greatest Story Ever Told that arrives in theaters appropriately between Christmas and Easter.\u003c/p>\n\u003cp>It’s a remarkably idiosyncratic approach by rising auteur Jeymes Samuel, who for this Biblical-era tale is director, producer, writer and composer for only his second feature. You have to kind of hand it to him: Who else would have the audacity to tackle Jesus in your second outing?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Book of Clarence\u003c/em> — with a stunning cast that includes LaKeith Stanfield, James McAvoy, Anna Diop, Benedict Cumberbatch, Alfre Woodard and David Oyelowo — careens through tones and sentiment, silly in one and then horrific in another. Samuel says he wants viewers to have a “wicked good time” but really it’s a bit of a muddled, unholy mess.\u003c/p>\n\u003cp>It is 33 AD in Jerusalem and Stanfield plays Clarence, a street hustler in robes who likes getting high — in one cool, surreal scene he floats into the air like a balloon — and dreams up schemes to get rich quick. He’s got the hots for a local beauty but owes a ton of coins to that beauty’s loansharking brother.\u003c/p>\n\u003cp>Clarence is called the “village’s mischief maker” and even his mother thinks he needs to get his act together. “I’m not a nobody,” he tells his twin brother, Thomas (also Stanfield, naturally). “A man who lacks honor is a nobody,” his brother replies. We know things are going to end painfully for Clarence because one of the first images in the movie is of him on a cross.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clarence doesn’t believe in God and certainly doesn’t believe that the local guy named Jesus is capable of miracles. It’s a scam to him. He tries to become a 13th apostle to pay off his debts. When that fails he decides to pretend to be a messiah, too, and get paid for so-called tricks.\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/ntNS-ANoMyM'\n title='//www.youtube.com/embed/ntNS-ANoMyM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Samuel, whose previous movie was the all-Black Western \u003cem>The Harder They Fall\u003c/em>, has some creative ideas, like using a chariot race to honor both \u003cem>Ben Hur\u003c/em> and \u003cem>Fast & Furious\u003c/em>, as well as wonderfully capturing the Last Supper like a painting come alive. He apes biblical epics in his title fonts and the opening and closing of the camera’s iris. He mixes stilted language — “I must make haste” — with modern turns (“I’ve got the cobblestones on lock.”) This is the first Biblical epic to uses the term “dumbass.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Samuel never stays with any idea for long and \u003cem>The Book of Clarence\u003c/em> lacks cohesion, as well as consistency, even if the acting is superb, especially from a soulful Stanfield. Is Samuel honoring sword-and-sandal epics? Updating them? Mocking them? Looking at the Jesus story through a Black lens is immensely rewarding but the pay-off is poor.\u003c/p>\n\u003cp>There are plenty of messiahs here — like Spider-Mans in the multiverse — but it is not clear what the filmmaker wants to say with them. A critique of celebrity? A message about entertainment? That faith comes even to those who have none? That we kill all our saviors? It’s not even clear if this is a pro- or anti-religious movie.\u003c/p>\n\u003cfigure id=\"attachment_13940224\" class=\"wp-caption aligncenter\" style=\"max-width: 2062px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM.png\" alt=\"A white stone room with tables arranged. It resembles the Last Supper, but with a Black messiah and disciples. \" width=\"2062\" height=\"1006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM.png 2062w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-800x390.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-1020x498.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-160x78.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-768x375.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-1536x749.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-2048x999.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-09-at-1.46.39-PM-1920x937.png 1920w\" sizes=\"(max-width: 2062px) 100vw, 2062px\">\u003cfigcaption class=\"wp-caption-text\">A moment from ‘The Book of Clarence.’ \u003ccite>(Legendary Entertainment/ Sony via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Samuel comments powerfully on us today when white Roman police stop-and-frisk Black Jerusalem residents, but then wastes such a great potential vein to mine with a swanky dance party and cool choreographed moves. He makes us shudder as nails are pounded into Clarence’s flesh, yet also includes humor at the crucifixion — from the actual guys doing the dying. He has a scene with brutal rock throwing and yet also a recurring goofy bit about light bulbs appearing over Clarence’s head.\u003c/p>\n\u003cp>It’s a mind-melting piece of filmmaking, having elements of both Monty Python’s \u003cem>Life of Brian\u003c/em> and \u003cem>The Ten Commandments\u003c/em>. (Fun fact, the Italian city of Matera stands in for Jerusalem here and was also where \u003cem>The Passion of the Christ\u003c/em> was filmed.) Add to that an exciting soundtrack of more than a dozen songs by Samuel (even one with Jay-Z, also a producer on the movie) and \u003cem>The Book of Clarence\u003c/em> is worth a look simply for its sheer daring. But we wouldn’t go so far as to say its creator walks on water.\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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Book of Clarence’ is out nationwide on Jan. 12, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘The Teachers’ Lounge,’ One Middle School as Microcosm of a Troubled World",
"headTitle": "In ‘The Teachers’ Lounge,’ One Middle School as Microcosm of a Troubled World | KQED",
"content": "\u003cp>What happens in the teachers’ lounge, anyway? When we were kids, that closed door seemed so tantalizingly forbidding, though it probably only hid some coffee-sipping, light chitchat and paper-grading.\u003c/p>\n\u003cp>Well, not in the brilliantly taut and absorbing \u003cem>The Teachers’ Lounge\u003c/em>, in which that room — and gradually, the whole school around it — hosts an expanding web of uneasy power dynamics, mutual suspicion and misinformation, and that’s just for starters. This film also explores cancel culture, institutional racism, privacy rights and even censorship and press freedom.\u003c/p>\n\u003cp>That’s a lot for one middle school. But writer-director Ílker Çatak pulls it off, aided by excellent performances all around and two truly superb ones: Leonie Benesch as an idealistic new teacher and a heartbreaking Leo Stettnisch as her troubled student. (The film, Germany’s submission to the Academy Awards, has justifiably made the short list for best international feature.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6YgQBGqhTcM\u003c/p>\n\u003cp>\u003cem>The Teachers’ Lounge\u003c/em> dives immediately into the controversy that will tear this modern, bustling school apart. Carla Nowak (Benesch) is called to an uncomfortable meeting between school officials and two student representatives of her sixth-grade class. The students are being grilled as to which fellow classmates may have been responsible for a series of thefts — essentially, they’re being asked to denounce friends without evidence. Carla is angry at the tactic, but lacks the confidence to speak out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She’s even more appalled by what happens next: The principal and her colleagues come to her classroom, ask the girls to leave and force the boys to surrender their wallets for inspection (why only boys?) Of course, the adults note unconvincingly, the process is entirely voluntary — but if the students have nothing to hide, there’s nothing to fear. One boy seems to have a lot of money, but his Turkish immigrant parents, summoned to the school, explain indignantly (in a typically bristling, beautifully modulated scene) that they’d given him money to buy a video game as a gift. They argue that he’s being racially profiled.\u003c/p>\n\u003cp>[aside postid='arts_13939982']Already, back in the teachers’ lounge, Carla is clashing with her more aggressive colleagues. And then, in her misguided zeal to identify the real thief and exonerate her kids, she steps right into an ethical morass.\u003c/p>\n\u003cp>Leaving her wallet in her coat on a chair, and setting her laptop camera to record, she soon has video evidence — just an arm, in a distinctive blouse — of someone stealing from her pocket. It only takes a moment to track down the wearer of that blouse.\u003c/p>\n\u003cp>Perhaps because Benesch is such an effortlessly empathetic actor, she makes Carla’s decision to confront the person she suspects — and then, to hand over the video — feel logical, like something anyone might do. But her action raises issues of privacy rights, and puts her on a collision course with not only the accused school employee but that employee’s child, Oskar (Stettnisch), an intelligent and sensitive boy in her class.\u003c/p>\n\u003cp>At every step, it seems, Carla’s earnest efforts to do the right thing — by her students, and by her job — land her into ever hotter water. And then, she must navigate an angry group of parents on parent-teacher night, an experience so harrowing it leaves her heaving on a bathroom floor, blowing into a bag.\u003c/p>\n\u003cp>Angry parents, suspicious colleagues — can it get worse? Yes, when Carla is interviewed by the student newspaper, an intriguing subplot raising questions of censorship. Carla, rightfully concerned about how she will be portrayed, asks to see the article in advance, and when the students (also rightfully!) defy her, the principal ends up banning distribution of the paper on campus.\u003c/p>\n\u003cp>[aside postid='arts_13939701']“What happens in the teachers’ lounge, stays in the teachers’ lounge,” Carla says in that student newspaper interview, her definition of a “no comment.” That is, however, hardly what transpires, as Carla, despite her best intentions, begins to drown in a swamp of her own making, with seemingly no way out.\u003c/p>\n\u003cp>All the students have been thoughtfully cast here, and perform with a natural quality rare in movies about kids. As for Stettnisch, he darned near breaks our hearts as he ultimately loses control and threatens his own future.\u003c/p>\n\u003cfigure id=\"attachment_13940116\" class=\"wp-caption aligncenter\" style=\"max-width: 1720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940116\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM.png\" alt=\"A young boy in a striped t-shirt stands in a circle with other children. They are all holding each other's arms.\" width=\"1720\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM.png 1720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM-800x513.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM-1020x655.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM-1536x986.png 1536w\" sizes=\"(max-width: 1720px) 100vw, 1720px\">\u003cfigcaption class=\"wp-caption-text\">(L) Leo Stettnisch in ‘The Teachers’ Lounge.’ \u003ccite>(Judith Kaufmann/ Sony Pictures Classics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for Benesch, from whom the camera rarely departs, she has a luminous presence that carries the film. So skillfully does she draw us in, in fact, that it’s easy to forget we hardly know anything about Carla: Is she in a relationship? What is her family like? We never see her home, nor anyone’s home, nor even a glimpse of the outside world.\u003c/p>\n\u003cp>But the outside world certainly finds its way into the school. Çatan and co-writer Johannes Duncker, who in fact attended school together, are making the point that even a middle school is a microcosm of society and all its tensions and ills. Perhaps that is why their film ends without clear answers: In school, as in life, one cannot simply close a door, keep out the bad stuff, and solve everything.\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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Teachers’ Lounge’ was released in select cities on Dec. 25, 2023. \u003ca href=\"https://www.sebastianitheatre.com/music/2023/12/23/the-teachers-lounge-presented-by-the-sonoma-int-film-fest\">It will screen at Sonoma’s Sebastiani Theater on Jan. 11, 2024\u003c/a>, as part of the \u003ca href=\"https://sonomafilmfest.org/\">Sonoma International Film Festival\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What happens in the teachers’ lounge, anyway? When we were kids, that closed door seemed so tantalizingly forbidding, though it probably only hid some coffee-sipping, light chitchat and paper-grading.\u003c/p>\n\u003cp>Well, not in the brilliantly taut and absorbing \u003cem>The Teachers’ Lounge\u003c/em>, in which that room — and gradually, the whole school around it — hosts an expanding web of uneasy power dynamics, mutual suspicion and misinformation, and that’s just for starters. This film also explores cancel culture, institutional racism, privacy rights and even censorship and press freedom.\u003c/p>\n\u003cp>That’s a lot for one middle school. But writer-director Ílker Çatak pulls it off, aided by excellent performances all around and two truly superb ones: Leonie Benesch as an idealistic new teacher and a heartbreaking Leo Stettnisch as her troubled student. (The film, Germany’s submission to the Academy Awards, has justifiably made the short list for best international feature.)\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/6YgQBGqhTcM'\n title='//www.youtube.com/embed/6YgQBGqhTcM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Teachers’ Lounge\u003c/em> dives immediately into the controversy that will tear this modern, bustling school apart. Carla Nowak (Benesch) is called to an uncomfortable meeting between school officials and two student representatives of her sixth-grade class. The students are being grilled as to which fellow classmates may have been responsible for a series of thefts — essentially, they’re being asked to denounce friends without evidence. Carla is angry at the tactic, but lacks the confidence to speak out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She’s even more appalled by what happens next: The principal and her colleagues come to her classroom, ask the girls to leave and force the boys to surrender their wallets for inspection (why only boys?) Of course, the adults note unconvincingly, the process is entirely voluntary — but if the students have nothing to hide, there’s nothing to fear. One boy seems to have a lot of money, but his Turkish immigrant parents, summoned to the school, explain indignantly (in a typically bristling, beautifully modulated scene) that they’d given him money to buy a video game as a gift. They argue that he’s being racially profiled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Already, back in the teachers’ lounge, Carla is clashing with her more aggressive colleagues. And then, in her misguided zeal to identify the real thief and exonerate her kids, she steps right into an ethical morass.\u003c/p>\n\u003cp>Leaving her wallet in her coat on a chair, and setting her laptop camera to record, she soon has video evidence — just an arm, in a distinctive blouse — of someone stealing from her pocket. It only takes a moment to track down the wearer of that blouse.\u003c/p>\n\u003cp>Perhaps because Benesch is such an effortlessly empathetic actor, she makes Carla’s decision to confront the person she suspects — and then, to hand over the video — feel logical, like something anyone might do. But her action raises issues of privacy rights, and puts her on a collision course with not only the accused school employee but that employee’s child, Oskar (Stettnisch), an intelligent and sensitive boy in her class.\u003c/p>\n\u003cp>At every step, it seems, Carla’s earnest efforts to do the right thing — by her students, and by her job — land her into ever hotter water. And then, she must navigate an angry group of parents on parent-teacher night, an experience so harrowing it leaves her heaving on a bathroom floor, blowing into a bag.\u003c/p>\n\u003cp>Angry parents, suspicious colleagues — can it get worse? Yes, when Carla is interviewed by the student newspaper, an intriguing subplot raising questions of censorship. Carla, rightfully concerned about how she will be portrayed, asks to see the article in advance, and when the students (also rightfully!) defy her, the principal ends up banning distribution of the paper on campus.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“What happens in the teachers’ lounge, stays in the teachers’ lounge,” Carla says in that student newspaper interview, her definition of a “no comment.” That is, however, hardly what transpires, as Carla, despite her best intentions, begins to drown in a swamp of her own making, with seemingly no way out.\u003c/p>\n\u003cp>All the students have been thoughtfully cast here, and perform with a natural quality rare in movies about kids. As for Stettnisch, he darned near breaks our hearts as he ultimately loses control and threatens his own future.\u003c/p>\n\u003cfigure id=\"attachment_13940116\" class=\"wp-caption aligncenter\" style=\"max-width: 1720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940116\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM.png\" alt=\"A young boy in a striped t-shirt stands in a circle with other children. They are all holding each other's arms.\" width=\"1720\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM.png 1720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM-800x513.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM-1020x655.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-08-at-9.17.33-AM-1536x986.png 1536w\" sizes=\"(max-width: 1720px) 100vw, 1720px\">\u003cfigcaption class=\"wp-caption-text\">(L) Leo Stettnisch in ‘The Teachers’ Lounge.’ \u003ccite>(Judith Kaufmann/ Sony Pictures Classics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for Benesch, from whom the camera rarely departs, she has a luminous presence that carries the film. So skillfully does she draw us in, in fact, that it’s easy to forget we hardly know anything about Carla: Is she in a relationship? What is her family like? We never see her home, nor anyone’s home, nor even a glimpse of the outside world.\u003c/p>\n\u003cp>But the outside world certainly finds its way into the school. Çatan and co-writer Johannes Duncker, who in fact attended school together, are making the point that even a middle school is a microcosm of society and all its tensions and ills. Perhaps that is why their film ends without clear answers: In school, as in life, one cannot simply close a door, keep out the bad stuff, and solve everything.\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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Teachers’ Lounge’ was released in select cities on Dec. 25, 2023. \u003ca href=\"https://www.sebastianitheatre.com/music/2023/12/23/the-teachers-lounge-presented-by-the-sonoma-int-film-fest\">It will screen at Sonoma’s Sebastiani Theater on Jan. 11, 2024\u003c/a>, as part of the \u003ca href=\"https://sonomafilmfest.org/\">Sonoma International Film Festival\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Oppenheimer’ Dominates Golden Globes as ‘Poor Things’ Upsets ‘Barbie’ in Comedy",
"headTitle": "‘Oppenheimer’ Dominates Golden Globes as ‘Poor Things’ Upsets ‘Barbie’ in Comedy | KQED",
"content": "\u003cp>Christopher Nolan’s blockbuster biopic \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> dominated the 81st Golden Globes, winning five awards including best drama, while Yorgos Lanthimos’ Frankenstein riff \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> pulled off an upset victor over \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a> to triumph in the best comedy or musical category.\u003c/p>\n\u003cp>If awards season has been building toward a second match-up of \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">Barbenheimer\u003c/a>, this round went to \u003cem>Oppenheimer\u003c/em>. The film also won best director for Nolan, best drama actor for Cillian Murphy, best supporting actor for Robert Downey Jr. and for Ludwig Göransson’s score.\u003c/p>\n\u003cp>[aside postid='arts_13932204']“I don’t think it was a no-brainer by any stretch of the imagination to make a three-hour talky movie — R-rated by the way — about one of the darkest developments in our history,” said producer Emma Thomas accepting the night’s final award and thanking Universal chief Donna Langley.\u003c/p>\n\u003cp>Along with best comedy or musical, \u003cem>Poor Things\u003c/em> also won for Emma Stone’s performance as Bella, a Victorian woman experiencing a surreal life and sexual awakening.\u003c/p>\n\u003cp>“I see this as a rom-com,” said Stone. “But in the sense that Bella falls in love with life itself, rather than a person. She accepts the good and the bad in equal measure, and that really made me look at life differently.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lily Gladstone won best actress in a dramatic film for 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>. Gladstone, who began her speech speaking the language of her native tribe, Blackfeet Nation, is the first Indigenous winner in the category.\u003c/p>\n\u003cp>“This is a historic win,” said Gladstone. “It doesn’t just belong to me.”\u003c/p>\n\u003cp>The Globes were in their 81st year but facing a new and uncertain chapter. After a tumultuous few years and heaps of scandals, the Hollywood Foreign Press Association was dissolved, leaving a new Globes, on a new network (CBS), to try to regain its perch as the third biggest award show of the year, after the Oscars and Grammys. Even the menu (sushi from Nobu) was flipped.\u003c/p>\n\u003cp>“Golden Globes journalists, thank you for changing your game, therefore changing your name,” said Downey in his acceptance speech.\u003c/p>\n\u003cfigure id=\"attachment_13940101\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940101\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ap24008087831081-0774e3b4839a347d11d559f5ad1f49fc86793317-e1704697424135.jpg\" alt=\"A bald man in a black suit and shirt gestures while speaking into a microphone on stage.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Jo Koy during the 81st Annual Golden Globe Awards in Beverly Hills, on Jan. 7, 2024. \u003ccite>(Sonja Flemming/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It got off to a rocky start. Host Jo Koy took the stage at the Beverly Hilton International Ballroom in Beverly Hills, California \u003ca href=\"https://apnews.com/hub/golden-globe-awards\">.\u003c/a> The Filipino American stand-up hit on some expected topics: Ozempic, Meryl Streep’s knack for winning awards and the long-running \u003cem>Oppenheimer\u003c/em>. (“I needed another hour.”)\u003c/p>\n\u003cp>After one joke flubbed, Koy, who was named host after some bigger names reportedly passed, also noted how fast he was thrust into the job.\u003c/p>\n\u003cp>“Yo, I got the gig 10 days ago. You want a perfect monologue?” said Koy. “I wrote some of these and they’re the ones you’re laughing at.”\u003c/p>\n\u003ch3>Hi, Barbie\u003c/h3>\n\u003cp>Downey’s win, his third Globe, denied one to Kenergy. Ryan Gosling had been seen as his stiffest competition, just one of the many head-to-head contests between \u003cem>Oppenheimer\u003c/em> and Greta Gerwig’s \u003cem>Barbie\u003c/em>. The filmmakers faced each other in the best director category, where Nolan triumphed.\u003c/p>\n\u003cp>[aside postid='arts_13931753']It was two hours before \u003cem>Barbie\u003c/em>, the year’s biggest hit with more than $1.4 billion in ticket sales, won an award. Billie Eilish’s \u003cem>What Was I Made For?\u003c/em> took best song, and swiftly after, \u003cem>Barbie\u003c/em> took the Globes’ new honor for “cinematic and box office achievement.” Some thought that award might go to Taylor Swift, whose \u003ca href=\"https://www.kqed.org/arts/13936368/taylor-swift-the-eras-tour-movie-review-amc-concert-film\">\u003cem>Taylor Swift: The Eras Tour\u003c/em>\u003c/a> also set box-office records.\u003c/p>\n\u003cp>Margot Robbie, star and producer of \u003cem>Barbie\u003c/em>, accepted the award in a pink gown modeled after 1977’s Superstar Barbie.\u003c/p>\n\u003cp>“We’d like to dedicate this to every single person on the planet who dressed up and went to the greatest place on Earth: the movie theaters,” said Robbie.\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em>, two blockbusters brought together by a common release date, also faced off in the best screenplay category. But in an upset, Justine Triet and Arthur Harari won for the script to the French courtroom drama \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>. Later, Triet’s film picked up best international film, too.\u003c/p>\n\u003cp>Though the Globes have no direct correlation with the Academy Awards, they can boost campaigns at a crucial juncture. Oscar nomination voting starts Thursday, and the twin sensations of Barbenheimer remain frontrunners.\u003c/p>\n\u003cp>Other contenders loom, though, like \u003cem>Poor Things\u003c/em> and \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>.\u003c/p>\n\u003cp>[aside postid='arts_13938158']Paul Giamatti and Da’Vine Joy Randolph both won for Alexander Payne’s \u003cem>The Holdovers\u003c/em>. Giamatti, reuniting with Payne two decades after \u003cem>Sideways\u003c/em>, won best actor and Randolph won for her supporting performance as a grieving woman in the 1970s-set boarding school drama.\u003c/p>\n\u003cp>“Oh, Mary you have changed my life,” Randolph said of her character. “You have made me feel seen in so many ways that I have never imagined.”\u003c/p>\n\u003cp>Hayao Miyazaki’s \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">\u003cem>The Boy and the Heron\u003c/em>\u003c/a> won best animated film, an upset over \u003cem>Spider-Man: Across the Spider-Verse\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13940106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940106\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170005-scaled-e1704698006372.jpg\" alt=\"A woman in a partially sheer black gown poses with a gold trophy, laughing. Two men on either side of her smile, also holding trophies.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Matthew Macfayden won Best Performance by a Male Actor in a Supporting Role on Television, Sarah Snook won Best Performance by a Female Actor in a Television Series — Drama, and Kieran Culkin received the award for Best Performance by a Male Actor in a Television Series — Drama. \u003ccite>(ROBYN BECK/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Succession’ and ‘The Bear’ lead TV winners\u003c/h3>\n\u003cp>The final season of \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> cleaned up on the television side. It won best drama series for the third time, a mark that ties a record set by \u003cem>Mad Men\u003c/em> and \u003cem>The X-Files\u003c/em>. Three stars from the HBO series also won: Matt Macfadyen, Sarah Snook and Kieran Culkin.\u003c/p>\n\u003cp>“It is bittersweet, but things like this make it rather sweeter,” said \u003cem>Succession\u003c/em> creator Jesse Armstrong.\u003c/p>\n\u003cp>[aside postid='arts_13930853']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> also came away with a trio of awards, including best comedy series. Jeremy Allen White won for the second time, but this time he had company. Ayo Edebiri won her first Globe for her leading performance in the Hulu show’s second season. She thanked the assistants of her agents and managers.\u003c/p>\n\u003cp>“To the people who answer my emails, you’re the real ones,” said Edebiri.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13927211/ali-wong-steven-yeun-serve-up-epic-feud-in-netflixs-beef\">\u003cem>Beef\u003c/em>\u003c/a> won three awards: best limited series as well as acting awards for Ali Wong and Steven Yeun.\u003c/p>\n\u003cp>The Globes also added a new stand-up special award. That went, surprisingly, to Ricky Gervais, who didn’t attend the show he so often hosted. Some expected Chris Rock to win for \u003cem>Selective Outrage\u003c/em>, his stand-up response to the Will Smith slap.\u003c/p>\n\u003cfigure id=\"attachment_13940105\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940105\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-scaled.jpg\" alt=\"An Indigenous woman smiles and holds up a gold trophy. She is wearing a black and white gown.\" width=\"2560\" height=\"1669\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-1536x1001.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-2048x1335.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-1920x1252.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone with her award for Best Performance by a Female Actor in a Motion Picture — Drama, for ‘Killers of the Flower Moon.’ \u003ccite>(ROBYN BECK/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Globes comeback\u003c/h3>\n\u003cp>A few years ago, the Golden Globes were on the cusp of collapse. After \u003cem>The Los Angeles Times\u003c/em> reported that the HFPA had no Black members, Hollywood boycotted the organization. The 2022 Globes were all but canceled and taken off TV. After reforms, the \u003ca href=\"https://www.npr.org/2023/01/11/1148333222/after-2-years-of-controversy-the-golden-globe-awards-were-back-on-tv\">Globes returned to NBC last year\u003c/a> in a one-year deal, but the show was booted to Tuesday evening. With Jerrod Carmichael hosting, the telecast attracted 6.3 million viewers, a new low on NBC and a far cry from the 20 million that once tuned in.\u003c/p>\n\u003cp>The Golden Globes were acquired by Eldridge Industries and Dick Clark Productions, which Penske Media owns, and turned into a for-profit venture. The HFPA (which typically numbered around 90 voters) was dissolved and a new group of some 300 entertainment journalists from around the world now vote for the awards.\u003c/p>\n\u003cp>Questions still remain about the Globes’ long-term future, but their value to Hollywood studios remains providing a marketing boost to awards contenders. (The Oscars won’t be held until March 10.) This year, because of the actors and writers strikes, the Globes are airing ahead of the Emmys, which were postponed to Jan. 15.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>With movie ticket sales still 20% off the pre-pandemic pace and the industry facing a potentially perilous 2024 at the box office, Hollywood needed the Golden Globes as much as it ever has.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 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=%27Oppenheimer%27+dominates+Golden+Globes+as+%27Poor+Things%27+upsets+%27Barbie%27+in+comedy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "‘Succession’ and ‘The Bear’ cleaned up in the TV categories.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Christopher Nolan’s blockbuster biopic \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> dominated the 81st Golden Globes, winning five awards including best drama, while Yorgos Lanthimos’ Frankenstein riff \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> pulled off an upset victor over \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a> to triumph in the best comedy or musical category.\u003c/p>\n\u003cp>If awards season has been building toward a second match-up of \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">Barbenheimer\u003c/a>, this round went to \u003cem>Oppenheimer\u003c/em>. The film also won best director for Nolan, best drama actor for Cillian Murphy, best supporting actor for Robert Downey Jr. and for Ludwig Göransson’s score.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I don’t think it was a no-brainer by any stretch of the imagination to make a three-hour talky movie — R-rated by the way — about one of the darkest developments in our history,” said producer Emma Thomas accepting the night’s final award and thanking Universal chief Donna Langley.\u003c/p>\n\u003cp>Along with best comedy or musical, \u003cem>Poor Things\u003c/em> also won for Emma Stone’s performance as Bella, a Victorian woman experiencing a surreal life and sexual awakening.\u003c/p>\n\u003cp>“I see this as a rom-com,” said Stone. “But in the sense that Bella falls in love with life itself, rather than a person. She accepts the good and the bad in equal measure, and that really made me look at life differently.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lily Gladstone won best actress in a dramatic film for 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>. Gladstone, who began her speech speaking the language of her native tribe, Blackfeet Nation, is the first Indigenous winner in the category.\u003c/p>\n\u003cp>“This is a historic win,” said Gladstone. “It doesn’t just belong to me.”\u003c/p>\n\u003cp>The Globes were in their 81st year but facing a new and uncertain chapter. After a tumultuous few years and heaps of scandals, the Hollywood Foreign Press Association was dissolved, leaving a new Globes, on a new network (CBS), to try to regain its perch as the third biggest award show of the year, after the Oscars and Grammys. Even the menu (sushi from Nobu) was flipped.\u003c/p>\n\u003cp>“Golden Globes journalists, thank you for changing your game, therefore changing your name,” said Downey in his acceptance speech.\u003c/p>\n\u003cfigure id=\"attachment_13940101\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940101\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ap24008087831081-0774e3b4839a347d11d559f5ad1f49fc86793317-e1704697424135.jpg\" alt=\"A bald man in a black suit and shirt gestures while speaking into a microphone on stage.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Jo Koy during the 81st Annual Golden Globe Awards in Beverly Hills, on Jan. 7, 2024. \u003ccite>(Sonja Flemming/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It got off to a rocky start. Host Jo Koy took the stage at the Beverly Hilton International Ballroom in Beverly Hills, California \u003ca href=\"https://apnews.com/hub/golden-globe-awards\">.\u003c/a> The Filipino American stand-up hit on some expected topics: Ozempic, Meryl Streep’s knack for winning awards and the long-running \u003cem>Oppenheimer\u003c/em>. (“I needed another hour.”)\u003c/p>\n\u003cp>After one joke flubbed, Koy, who was named host after some bigger names reportedly passed, also noted how fast he was thrust into the job.\u003c/p>\n\u003cp>“Yo, I got the gig 10 days ago. You want a perfect monologue?” said Koy. “I wrote some of these and they’re the ones you’re laughing at.”\u003c/p>\n\u003ch3>Hi, Barbie\u003c/h3>\n\u003cp>Downey’s win, his third Globe, denied one to Kenergy. Ryan Gosling had been seen as his stiffest competition, just one of the many head-to-head contests between \u003cem>Oppenheimer\u003c/em> and Greta Gerwig’s \u003cem>Barbie\u003c/em>. The filmmakers faced each other in the best director category, where Nolan triumphed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It was two hours before \u003cem>Barbie\u003c/em>, the year’s biggest hit with more than $1.4 billion in ticket sales, won an award. Billie Eilish’s \u003cem>What Was I Made For?\u003c/em> took best song, and swiftly after, \u003cem>Barbie\u003c/em> took the Globes’ new honor for “cinematic and box office achievement.” Some thought that award might go to Taylor Swift, whose \u003ca href=\"https://www.kqed.org/arts/13936368/taylor-swift-the-eras-tour-movie-review-amc-concert-film\">\u003cem>Taylor Swift: The Eras Tour\u003c/em>\u003c/a> also set box-office records.\u003c/p>\n\u003cp>Margot Robbie, star and producer of \u003cem>Barbie\u003c/em>, accepted the award in a pink gown modeled after 1977’s Superstar Barbie.\u003c/p>\n\u003cp>“We’d like to dedicate this to every single person on the planet who dressed up and went to the greatest place on Earth: the movie theaters,” said Robbie.\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em>, two blockbusters brought together by a common release date, also faced off in the best screenplay category. But in an upset, Justine Triet and Arthur Harari won for the script to the French courtroom drama \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>. Later, Triet’s film picked up best international film, too.\u003c/p>\n\u003cp>Though the Globes have no direct correlation with the Academy Awards, they can boost campaigns at a crucial juncture. Oscar nomination voting starts Thursday, and the twin sensations of Barbenheimer remain frontrunners.\u003c/p>\n\u003cp>Other contenders loom, though, like \u003cem>Poor Things\u003c/em> and \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>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Paul Giamatti and Da’Vine Joy Randolph both won for Alexander Payne’s \u003cem>The Holdovers\u003c/em>. Giamatti, reuniting with Payne two decades after \u003cem>Sideways\u003c/em>, won best actor and Randolph won for her supporting performance as a grieving woman in the 1970s-set boarding school drama.\u003c/p>\n\u003cp>“Oh, Mary you have changed my life,” Randolph said of her character. “You have made me feel seen in so many ways that I have never imagined.”\u003c/p>\n\u003cp>Hayao Miyazaki’s \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">\u003cem>The Boy and the Heron\u003c/em>\u003c/a> won best animated film, an upset over \u003cem>Spider-Man: Across the Spider-Verse\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13940106\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940106\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170005-scaled-e1704698006372.jpg\" alt=\"A woman in a partially sheer black gown poses with a gold trophy, laughing. Two men on either side of her smile, also holding trophies.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Matthew Macfayden won Best Performance by a Male Actor in a Supporting Role on Television, Sarah Snook won Best Performance by a Female Actor in a Television Series — Drama, and Kieran Culkin received the award for Best Performance by a Male Actor in a Television Series — Drama. \u003ccite>(ROBYN BECK/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Succession’ and ‘The Bear’ lead TV winners\u003c/h3>\n\u003cp>The final season of \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> cleaned up on the television side. It won best drama series for the third time, a mark that ties a record set by \u003cem>Mad Men\u003c/em> and \u003cem>The X-Files\u003c/em>. Three stars from the HBO series also won: Matt Macfadyen, Sarah Snook and Kieran Culkin.\u003c/p>\n\u003cp>“It is bittersweet, but things like this make it rather sweeter,” said \u003cem>Succession\u003c/em> creator Jesse Armstrong.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>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> also came away with a trio of awards, including best comedy series. Jeremy Allen White won for the second time, but this time he had company. Ayo Edebiri won her first Globe for her leading performance in the Hulu show’s second season. She thanked the assistants of her agents and managers.\u003c/p>\n\u003cp>“To the people who answer my emails, you’re the real ones,” said Edebiri.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13927211/ali-wong-steven-yeun-serve-up-epic-feud-in-netflixs-beef\">\u003cem>Beef\u003c/em>\u003c/a> won three awards: best limited series as well as acting awards for Ali Wong and Steven Yeun.\u003c/p>\n\u003cp>The Globes also added a new stand-up special award. That went, surprisingly, to Ricky Gervais, who didn’t attend the show he so often hosted. Some expected Chris Rock to win for \u003cem>Selective Outrage\u003c/em>, his stand-up response to the Will Smith slap.\u003c/p>\n\u003cfigure id=\"attachment_13940105\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940105\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-scaled.jpg\" alt=\"An Indigenous woman smiles and holds up a gold trophy. She is wearing a black and white gown.\" width=\"2560\" height=\"1669\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-800x521.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-1536x1001.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-2048x1335.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/GettyImages-1908170352-1920x1252.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone with her award for Best Performance by a Female Actor in a Motion Picture — Drama, for ‘Killers of the Flower Moon.’ \u003ccite>(ROBYN BECK/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Globes comeback\u003c/h3>\n\u003cp>A few years ago, the Golden Globes were on the cusp of collapse. After \u003cem>The Los Angeles Times\u003c/em> reported that the HFPA had no Black members, Hollywood boycotted the organization. The 2022 Globes were all but canceled and taken off TV. After reforms, the \u003ca href=\"https://www.npr.org/2023/01/11/1148333222/after-2-years-of-controversy-the-golden-globe-awards-were-back-on-tv\">Globes returned to NBC last year\u003c/a> in a one-year deal, but the show was booted to Tuesday evening. With Jerrod Carmichael hosting, the telecast attracted 6.3 million viewers, a new low on NBC and a far cry from the 20 million that once tuned in.\u003c/p>\n\u003cp>The Golden Globes were acquired by Eldridge Industries and Dick Clark Productions, which Penske Media owns, and turned into a for-profit venture. The HFPA (which typically numbered around 90 voters) was dissolved and a new group of some 300 entertainment journalists from around the world now vote for the awards.\u003c/p>\n\u003cp>Questions still remain about the Globes’ long-term future, but their value to Hollywood studios remains providing a marketing boost to awards contenders. (The Oscars won’t be held until March 10.) This year, because of the actors and writers strikes, the Globes are airing ahead of the Emmys, which were postponed to Jan. 15.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With movie ticket sales still 20% off the pre-pandemic pace and the industry facing a potentially perilous 2024 at the box office, Hollywood needed the Golden Globes as much as it ever has.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 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=%27Oppenheimer%27+dominates+Golden+Globes+as+%27Poor+Things%27+upsets+%27Barbie%27+in+comedy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "First Pooh, Now Mickey: ‘Steamboat Willie’ Will Star in Two New Horror Movies",
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"content": "\u003cp>The earliest iteration of Mickey Mouse is on a rampage, barely three days in the public domain.\u003c/p>\n\u003cp>Slashed free of Disney’s copyright as of Monday, the iconic character from \u003ca href=\"https://www.youtube.com/watch?v=hmzO--ox7X0\">\u003cem>Steamboat Willie\u003c/em>\u003c/a> is already the focus of two horror films. On Monday, just hours after the 1928 short entered the public domain, a trailer for \u003cem>Mickey’s Mouse Trap\u003c/em> dropped on YouTube. Another yet-to-be-titled film was announced Tuesday.\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13914736']Steamboat Willie\u003c/em> featured early versions of both Mickey and Minnie Mouse. Directed by Walt Disney and Ub Iwerks, it was the third cartoon featuring the duo they made but the first to be released. In it, a more menacing Mickey, bearing more resemblance to rat than mouse, captains a boat and makes musical instruments out of other animals.\u003c/p>\n\u003cp>It’s perhaps fitting, then, that the first projects announced are seemingly low-budget and campy slasher movies — and not unprecedented. Winnie the Pooh — sans red shirt — entered the public domain in 2022; scarcely a year later, he was notching up a heavy body count in the microbudget \u003ca href=\"https://www.youtube.com/watch?v=W3E74j_xFtg\">\u003cem>Winnie the Pooh: Blood and Honey.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>In the trailer for\u003cem> Mickey’s Mouse Trap\u003c/em>, directed by Jamie Bailey, what appears to be a human in a comically small Mickey mask terrorizes a group of young people at an arcade.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A place for fun. A place for friends. A place for hunting,” text flashed during the trailer reads. “The mouse is out.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u_G3kp3_61c\u003c/p>\n\u003cp>“We just wanted to have fun with it all. I mean it’s \u003cem>Steamboat Willie\u003c/em>’s Mickey Mouse murdering people,” director Jamie Bailey said in a statement cited by trade publications. “It’s ridiculous. We ran with it and had fun doing it and I think it shows.”\u003c/p>\n\u003cp>No release date has been set.\u003c/p>\n\u003cp>The second movie is from director Steven LaMorte, who previously directed a horror parody of \u003cem>The Grinch\u003c/em>, which is not in the public domain (the movie is thus called \u003ca href=\"https://www.youtube.com/watch?v=ylE1bMSf8Ck\">\u003cem>The Mean One\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>“A late-night boat ride turns into a desperate fight for survival in New York City when a mischievous mouse becomes a monstrous reality,” is the logline for the untitled film, per a post on LaMorte’s Instagram.\u003c/p>\n\u003cp>[aside postid='arts_13935838']“Steamboat Willie has brought joy to generations, but beneath that cheerful exterior lies a potential for pure, unhinged terror,” LaMorte said in a release cited by the trades. The movie has yet to begin production.\u003c/p>\n\u003cp>With the expiration of the 95-year copyright, the public is allowed to use only the initial versions of Mickey and Minnie — not the more familiar character designs.\u003c/p>\n\u003cp>“We will, of course, continue to protect our rights in the more modern versions of Mickey Mouse and other works that remain subject to copyright,” Disney said in a statement ahead of the characters entering the public domain.\u003c/p>\n\u003cp>LaMorte told \u003cem>Variety\u003c/em> that the producers of his film are working with a legal team so as not to run afoul of Disney, and will call their raging rodent Steamboat Willie instead of Mickey Mouse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are doing our due diligence to make sure there’s no question or confusion of what we’re up to,” he said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The earliest iteration of Mickey Mouse is on a rampage, barely three days in the public domain.\u003c/p>\n\u003cp>Slashed free of Disney’s copyright as of Monday, the iconic character from \u003ca href=\"https://www.youtube.com/watch?v=hmzO--ox7X0\">\u003cem>Steamboat Willie\u003c/em>\u003c/a> is already the focus of two horror films. On Monday, just hours after the 1928 short entered the public domain, a trailer for \u003cem>Mickey’s Mouse Trap\u003c/em> dropped on YouTube. Another yet-to-be-titled film was announced Tuesday.\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Steamboat Willie\u003c/em> featured early versions of both Mickey and Minnie Mouse. Directed by Walt Disney and Ub Iwerks, it was the third cartoon featuring the duo they made but the first to be released. In it, a more menacing Mickey, bearing more resemblance to rat than mouse, captains a boat and makes musical instruments out of other animals.\u003c/p>\n\u003cp>It’s perhaps fitting, then, that the first projects announced are seemingly low-budget and campy slasher movies — and not unprecedented. Winnie the Pooh — sans red shirt — entered the public domain in 2022; scarcely a year later, he was notching up a heavy body count in the microbudget \u003ca href=\"https://www.youtube.com/watch?v=W3E74j_xFtg\">\u003cem>Winnie the Pooh: Blood and Honey.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>In the trailer for\u003cem> Mickey’s Mouse Trap\u003c/em>, directed by Jamie Bailey, what appears to be a human in a comically small Mickey mask terrorizes a group of young people at an arcade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A place for fun. A place for friends. A place for hunting,” text flashed during the trailer reads. “The mouse is out.”\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/u_G3kp3_61c'\n title='//www.youtube.com/embed/u_G3kp3_61c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We just wanted to have fun with it all. I mean it’s \u003cem>Steamboat Willie\u003c/em>’s Mickey Mouse murdering people,” director Jamie Bailey said in a statement cited by trade publications. “It’s ridiculous. We ran with it and had fun doing it and I think it shows.”\u003c/p>\n\u003cp>No release date has been set.\u003c/p>\n\u003cp>The second movie is from director Steven LaMorte, who previously directed a horror parody of \u003cem>The Grinch\u003c/em>, which is not in the public domain (the movie is thus called \u003ca href=\"https://www.youtube.com/watch?v=ylE1bMSf8Ck\">\u003cem>The Mean One\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>“A late-night boat ride turns into a desperate fight for survival in New York City when a mischievous mouse becomes a monstrous reality,” is the logline for the untitled film, per a post on LaMorte’s Instagram.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Steamboat Willie has brought joy to generations, but beneath that cheerful exterior lies a potential for pure, unhinged terror,” LaMorte said in a release cited by the trades. The movie has yet to begin production.\u003c/p>\n\u003cp>With the expiration of the 95-year copyright, the public is allowed to use only the initial versions of Mickey and Minnie — not the more familiar character designs.\u003c/p>\n\u003cp>“We will, of course, continue to protect our rights in the more modern versions of Mickey Mouse and other works that remain subject to copyright,” Disney said in a statement ahead of the characters entering the public domain.\u003c/p>\n\u003cp>LaMorte told \u003cem>Variety\u003c/em> that the producers of his film are working with a legal team so as not to run afoul of Disney, and will call their raging rodent Steamboat Willie instead of Mickey Mouse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are doing our due diligence to make sure there’s no question or confusion of what we’re up to,” he said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jessica Chastain, Peter Sarsgaard Anchor ‘Memory,’ a Thorny Drama With a Tender Heart",
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"content": "\u003cp>Pain and trauma permeate Michel Franco’s new drama \u003cem>Memory\u003c/em>, about two lost souls who find surprising comfort in one another. Both Jessica Chastain’s Sylvia and Peter Sarsgaard’s Saul are hostage to their own minds, though in vastly different ways. Hers haunts her. His is failing rapidly. And neither are entirely trustworthy.\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13939919']Memory\u003c/em>, expanding nationwide Friday, starts as a seemingly standard issue “damaged person” movie, introducing Chastain’s Sylvia celebrating 12 years of sobriety at an Alcoholics Anonymous meeting that her 12-year-old attends with her. But there are layers to this dramatic mystery, compounded with unreliable narrators and moral grey areas. Before you know it, the film morphs from something familiar into something altogether unexpected.\u003c/p>\n\u003cp>Though it is not easily categorizable, \u003cem>Memory\u003c/em> is a thoughtful journey featuring very fine performances from both Chastain and Sarsgaard, who was rewarded with the best actor prize from the Venice Film Festival last fall. While there are moments of levity to break up the anguish, it could also come with a laundry list of trigger warnings as it explores difficult subjects from sexual abuse to mental illness in pretty unsatisfactory ways. Perhaps it’s a good thing that the holidays are over because this is not one to watch with the family, especially if they’re harboring secrets of their own that have evolved into generational trauma.\u003c/p>\n\u003cfigure id=\"attachment_13939986\" class=\"wp-caption aligncenter\" style=\"max-width: 1850px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939986\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM.png\" alt=\"A man and a woman sit with a space between them outside in a wooded area.\" width=\"1850\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM.png 1850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM-800x432.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM-1020x550.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM-160x86.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM-768x414.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM-1536x829.png 1536w\" sizes=\"(max-width: 1850px) 100vw, 1850px\">\u003cfigcaption class=\"wp-caption-text\">Peter Sarsgaard and Jessica Chastain star as Saul and Sylvia in ‘Memory.’ \u003ccite>(Ketchup Entertainment via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film binds you at first to Sylvia, a social worker and single mother who is suspicious of everything and everyone. She always seems ready to bolt for safety and survival. She lives by a strict routine: Walking her daughter, Anna (Brooke Timber), to school, going to work at an adult day care and her AA meetings. Home is a fortress: As soon as she steps into her downtrodden apartment, she’s triple locking her door and punching in the security code to arm the place.\u003c/p>\n\u003cp>[aside postid='arts_13939701']Even knowing her this little, it’s surprising that her younger sister Olivia (Merritt Wever) is able to convince her to tag along to a high school reunion kind of event early in the film. The decision seems even more unfathomable when you learn additional details about Sylvia’s school years, but it’s clear that she is uncomfortable and unhappy at the event, which she soon leaves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For a moment, you wonder if perhaps her fears and anxieties are warranted as she realizes that night that a man is following her home, first down the street, then onto the same subway car, then off at the same spot, right to her doorstep. It is like a nightmare as she fumbles for her keys. You hold your breath until she’s made it inside. Hours later, the man is still there outside, looking up at her. Is he imagined? A dream? An ex? A stranger?\u003c/p>\n\u003cp>The man in question is Saul, who she finds out is suffering from early onset dementia. He won’t remember that he followed her home or why but he will remember her for whatever reason. His brother, Isaac (Josh Charles), asks if Sylvia would want to work for them as a companion to Saul.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X-0ZKLO5jPk\u003c/p>\n\u003cp>And Saul and Sylvia develop a deep bond with one another that goes beyond professional caretaker boundaries. Both are damaged and longing for connection and their friendship is like a balm, until it evolves into something else. Without going into too many details, this relationship presents an ethical quandary that the movie does not seem willing to engage with in any serious way, making \u003cem>Memory\u003c/em> feel underdeveloped at best. At worst, it’s not even sure what it’s trying to say. This movie has one of those endings that presents itself as happy but leaves you with a lingering feeling of dread and worry for all involved.\u003c/p>\n\u003cp>[aside postid='arts_13938160']Movies can be empathy machines and also a form of therapy, giving audiences permission to step into a stranger’s shoes and feel things that otherwise might seem too difficult, too transgressive, too much.\u003c/p>\n\u003cp>Sarsgaard does a beautiful job of playing this man who has been dealt an awful card, whose body still works but whose mind is untrustworthy. His isn’t the only one: Sylvia also has flawed recall, as do members of her family, like her compartmentalizing mother played brilliantly by Jessica Harper. It all compounds into misery, secrets and shame.\u003c/p>\n\u003cp>Memory may be imperfect, this movie reminds us, but feelings rarely are.\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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Memory’ is released nationwide on Jan. 5, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Memory\u003c/em>, expanding nationwide Friday, starts as a seemingly standard issue “damaged person” movie, introducing Chastain’s Sylvia celebrating 12 years of sobriety at an Alcoholics Anonymous meeting that her 12-year-old attends with her. But there are layers to this dramatic mystery, compounded with unreliable narrators and moral grey areas. Before you know it, the film morphs from something familiar into something altogether unexpected.\u003c/p>\n\u003cp>Though it is not easily categorizable, \u003cem>Memory\u003c/em> is a thoughtful journey featuring very fine performances from both Chastain and Sarsgaard, who was rewarded with the best actor prize from the Venice Film Festival last fall. While there are moments of levity to break up the anguish, it could also come with a laundry list of trigger warnings as it explores difficult subjects from sexual abuse to mental illness in pretty unsatisfactory ways. Perhaps it’s a good thing that the holidays are over because this is not one to watch with the family, especially if they’re harboring secrets of their own that have evolved into generational trauma.\u003c/p>\n\u003cfigure id=\"attachment_13939986\" class=\"wp-caption aligncenter\" style=\"max-width: 1850px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939986\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM.png\" alt=\"A man and a woman sit with a space between them outside in a wooded area.\" width=\"1850\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM.png 1850w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM-800x432.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM-1020x550.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM-160x86.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM-768x414.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-03-at-11.39.05-AM-1536x829.png 1536w\" sizes=\"(max-width: 1850px) 100vw, 1850px\">\u003cfigcaption class=\"wp-caption-text\">Peter Sarsgaard and Jessica Chastain star as Saul and Sylvia in ‘Memory.’ \u003ccite>(Ketchup Entertainment via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film binds you at first to Sylvia, a social worker and single mother who is suspicious of everything and everyone. She always seems ready to bolt for safety and survival. She lives by a strict routine: Walking her daughter, Anna (Brooke Timber), to school, going to work at an adult day care and her AA meetings. Home is a fortress: As soon as she steps into her downtrodden apartment, she’s triple locking her door and punching in the security code to arm the place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even knowing her this little, it’s surprising that her younger sister Olivia (Merritt Wever) is able to convince her to tag along to a high school reunion kind of event early in the film. The decision seems even more unfathomable when you learn additional details about Sylvia’s school years, but it’s clear that she is uncomfortable and unhappy at the event, which she soon leaves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For a moment, you wonder if perhaps her fears and anxieties are warranted as she realizes that night that a man is following her home, first down the street, then onto the same subway car, then off at the same spot, right to her doorstep. It is like a nightmare as she fumbles for her keys. You hold your breath until she’s made it inside. Hours later, the man is still there outside, looking up at her. Is he imagined? A dream? An ex? A stranger?\u003c/p>\n\u003cp>The man in question is Saul, who she finds out is suffering from early onset dementia. He won’t remember that he followed her home or why but he will remember her for whatever reason. His brother, Isaac (Josh Charles), asks if Sylvia would want to work for them as a companion to Saul.\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/X-0ZKLO5jPk'\n title='//www.youtube.com/embed/X-0ZKLO5jPk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And Saul and Sylvia develop a deep bond with one another that goes beyond professional caretaker boundaries. Both are damaged and longing for connection and their friendship is like a balm, until it evolves into something else. Without going into too many details, this relationship presents an ethical quandary that the movie does not seem willing to engage with in any serious way, making \u003cem>Memory\u003c/em> feel underdeveloped at best. At worst, it’s not even sure what it’s trying to say. This movie has one of those endings that presents itself as happy but leaves you with a lingering feeling of dread and worry for all involved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Movies can be empathy machines and also a form of therapy, giving audiences permission to step into a stranger’s shoes and feel things that otherwise might seem too difficult, too transgressive, too much.\u003c/p>\n\u003cp>Sarsgaard does a beautiful job of playing this man who has been dealt an awful card, whose body still works but whose mind is untrustworthy. His isn’t the only one: Sylvia also has flawed recall, as do members of her family, like her compartmentalizing mother played brilliantly by Jessica Harper. It all compounds into misery, secrets and shame.\u003c/p>\n\u003cp>Memory may be imperfect, this movie reminds us, but feelings rarely are.\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\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Memory’ is released nationwide on Jan. 5, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Happy new year, America! Now that the festive season is over, the ball has dropped and we’re swinging the door open on 2024, you might be wondering what the next 12 months has in store. Maybe you’re checking astrological charts for clues. Perhaps you’re studying political forecasts. If you’re less logical, you might even be looking back through movie archives to see what the silver screen has predicted about this year.\u003c/p>\n\u003cp>Which leads us to \u003cem>A Boy and His Dog\u003c/em>, a 1975 gem* of a film set in 2024. Never heard of it? Not to worry, for I am about to tell you all about it. And you might want to strap in, kids, because if this version of 2024 is even halfway correct, we’re all in big, big trouble.\u003c/p>\n\u003cp>(*Wait. Did I say gem? I meant piece of crap. My bad.)\u003c/p>\n\u003cp>\u003cem>A Boy and His Dog\u003c/em> stars a young Don “\u003cem>Miami Vice\u003c/em>” Johnson (Dakota’s dad!) and an actress named Susanne Benton who I thought for this entire movie was a young Jessica Walter. (Walter played Lucille Bluth in \u003cem>Arrested Development\u003c/em>. Pretend it’s her. It’s more fun.)\u003c/p>\n\u003cfigure id=\"attachment_13939931\" class=\"wp-caption aligncenter\" style=\"max-width: 1648px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939931\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM.png\" alt=\"A young woman with shoulder-length hair gazes upwards.\" width=\"1648\" height=\"934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM.png 1648w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-800x453.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-1020x578.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-160x91.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-768x435.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-1536x871.png 1536w\" sizes=\"(max-width: 1648px) 100vw, 1648px\">\u003cfigcaption class=\"wp-caption-text\">Tell me you don’t see it!\u003c/figcaption>\u003c/figure>\n\u003cp>The story is set in the aftermath of World War IV, a conflict that helpful subtitles inform us “lasted 5 days” and “finally solved the problem of urban blight.” (Seems totally reasonable!) Johnson plays Vic, a feral 18-year-old whose days revolve around seeking out women to rape. (We don’t see any on-screen raping because that might make him too much of an unlikeable protagonist, right? Cool.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vic is fairly successful at All Of The Sexual Assault because his companion is — brace yourselves! — a psychic dog named Blood who can telepathically communicate with Vic. (I did tell you to brace yourselves…) Vic rewards Blood for this service with food, since Blood lost the ability to hunt when he acquired his special abilities. And we’re already in knots from trying to get this plot to make a modicum of sense.\u003c/p>\n\u003cp>[aside postid='arts_13907576']When Blood is psychically searching his vicinity for women/marauding enemies/food to steal, he lies down and an audible radar sounds. Like, actual beeping. Every single time this happens, you have to make an active effort to not think about which part of this dog is making this noise.\u003c/p>\n\u003cp>It’s a sidenote, but the very cute shaggy dog (\u003ca href=\"https://www.imdb.com/name/nm1948753/?ref_=ttfc_fc_cl_t16\">real name: Tiger\u003c/a>) playing the misanthropic Blood is woefully miscast, looking more like the lead in a Disney movie where family pets get into cuddly japes then rescue someone from a fire. I ask you: Does this dog look like a rape apologist to you? \u003cem>Does he?!\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939932\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939932\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM.png\" alt=\"A shaggy white and grey dog sits on a chair.\" width=\"1024\" height=\"654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-800x511.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-1020x651.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-768x491.png 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">I mean…\u003c/figcaption>\u003c/figure>\n\u003cp>When we first find Vic and Blood, Vic is demanding Blood find him a woman to attack and Blood (who sounds like the car from \u003cem>Knight Rider\u003c/em> is speaking inside a cave) is berating him with insults, correcting his grammar and laughing at Vic’s sexual frustration. “You’re not a nice person Albert,” Blood says. “You’re not a nice person at all.” (There is never an explanation about why Blood calls Vic “Albert” or why Vic hates it so much, which is not at all confusing.)\u003c/p>\n\u003cp>After Blood does an intense radar session, he declares: “I detect no living female person within my range, sir. I have sniffed and I have cast and I have a negative reading. However, I’d be delighted to tell you a suggestive story if you think that would help?” If Disney ever made a movie about a porn dog, Tiger would’ve nailed it.\u003c/p>\n\u003cp>Blood tries to make Vic a little more refined by teaching him about history. What we learn is that “World War III, hot and cold, lasted from June 1950 to March 1983.” When Blood makes Vic list former presidents, Vic says “Johnson, Nixon, Ford, Kennedy, Kennedy, Kennedy.” Man. It is startling how much no one saw Ronald Reagan coming.\u003c/p>\n\u003cp>[aside postid='arts_13890789']Out in the deserts of what apparently used to be Phoenix, Vic and Blood run into two types of people. The first I’m calling Bands of Burners (I know you can already picture what \u003cem>that\u003c/em> looks like). The second are referred to as “screamers” — some kind of monstrous humanoids we never see on camera. Vic says Blood saved him from the screamers once, describing them only as “oozing and eyelashes.” One gets the sense that \u003cem>A Boy and His Dog\u003c/em>’s budget ran out before anyone could get around to making these monsters.\u003c/p>\n\u003cp>To break up the monotony of their existence, one night Vic and Blood head to their local porn movie theater because every single human in this movie is obsessed with sex. At the outdoor ramshackle space, you can also get a haircut, popcorn, a shower, fire in a barrel and the use of some kind of gun coat-check manned by a boy in a box. Hopefully by the end of real-life 2024, these types of establishments will be everywhere.\u003c/p>\n\u003cp>Blood’s radar locates a woman at the dusty public porn hub. She’s disguised as a man but, under Blood’s direction, Vic manages to follow her into an underground pit where she stands completely naked, surrounded by cobwebs, casually brushing her hair into a bouffant. This is presumably how director L. Q. Jones thinks all women groom themselves in the privacy of their own pits. Vic tries to get all rapey with her but the girl starts a conversation instead, introducing herself as Quilla. Then a Band of Burners shows up and everyone has an incredibly confusing shootout. Blood gets injured by the Burners’ dog and starts limping about the place.\u003c/p>\n\u003cp>What even is this movie?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mTck2RnpPy4\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>After the shootout, Vic, Quilla and Blood all find a secure place to hide. Vic and Quilla do some consensual lovin’, during which Blood bounces up and down on a mattress and mutters “Once more into the breach, dear friend.” After a bunch of enthusiastic humping has taken place, Blood announces “I’m not going to keep pretending I am asleep, Albert.” (We’ve all been there, Blood…)\u003c/p>\n\u003cp>In the morning, Blood calls Vic into a separate room and suggests they ditch Quilla. This is bizarre, given that keeping her around would actually save Blood from having to find women for Vic to rape all the live long day. Isn’t it better for \u003ci>literally everyone\u003c/i> if Vic has a girlfriend? This movie makes no sense.\u003c/p>\n\u003cp>Quilla tries to persuade Vic to go to “Downunder,” where she lives. Vic vehemently objects to this proposal, tells her she must stay with him, so she knocks him out and escapes. This is the first sensible thing that has happened.\u003c/p>\n\u003cp>[aside postid='arts_13939003']When Vic comes to, he decides to go in search of Quilla, abandoning Blood next to the metal door that leads to Downunder (Quilla said dogs aren’t particularly welcome there). And with that, Vic and Blood are suddenly rule followers!\u003c/p>\n\u003cp>Once in Downunder, Vic runs into a group of farmer-looking dudes who, for some reason, are all wearing — in addition to plaid red shirts and overalls — white face paint, cartoon rosy cheeks and lipstick. Naturally, they force Vic into a bubble bath and scrub him with a brush.\u003c/p>\n\u003cp>\u003cem>What. Is. Happening?\u003c/em>\u003c/p>\n\u003cp>After bath time, Vic witnesses marching bands, wholesome family gatherings and a frankly terrifying barbershop quartet. Everyone has the same goddamn makeup on.\u003c/p>\n\u003cfigure id=\"attachment_13939928\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939928\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/scary-barbershop-quartet-e1704134946423.png\" alt=\"Four men in matching facepaint and grey and yellow suits sing together. They are all wearing glasses.\" width=\"1920\" height=\"1075\">\u003cfigcaption class=\"wp-caption-text\">Yes, they do want to eat your soul. Thanks for asking.\u003c/figcaption>\u003c/figure>\n\u003cp>Vic winds up in a strange courtroom where the granddad from the 1989 classic \u003cem>Parenthood\u003c/em> sentences everyone (including another psychic dog!) to death for minor infractions. We then find out that Quilla lured Vic to her underground community in exchange for a place on the court. Despite getting what he wanted, \u003cem>Parenthood\u003c/em> granddad denies Quilla her reward, scoffs at her ambition and arranges to have her married off, along with every other young woman in town. Because, okay!\u003c/p>\n\u003cp>[aside postid='pop_107664']We learn that \u003cem>Parenthood\u003c/em> granddad wanted Vic lured into his domain because Downunder men are sterile from living underground for too long. (Apparently, these exact same conditions haven’t had as much impact on female reproductive organs, which is all terribly convenient.) Vic is to be held against his will so that he might help repopulate the Earth. Unfortunately for him, that doesn’t involve more doin’ it. Rather, Vic is strapped down, gagged and attached to a mysterious sperm extraction machine and I must ask again: \u003cem>WHAT EVEN IS THIS MOVIE?\u003c/em>\u003c/p>\n\u003cp>Quilla shows up in a wedding dress and helps get Vic free. She is aided by a group of other rebellious teens who subsequently get their necks snapped by a farmer-looking robot dude, because \u003ca href=\"https://www.kqed.org/pop/107664/missing-hbos-westworld-watch-the-amazing-1973-original\">there is always a robot trying to kill people in 1970s sci-fi movies\u003c/a>. By the time Vic and Quilla escape to the desert upstairs, the still-waiting Blood is half-dead, weary from his injuries and starving. Vic, unwilling to lose his longtime psychic companion, concludes that the best way to solve this problem is to get Blood a good, hearty meal right then and there. So he kills Quilla (off camera of course!) and Blood eats her.\u003c/p>\n\u003cp>And that’s the end.\u003c/p>\n\u003cp>I’m not joking. That’s the whole movie. Someone actually made this. And it’s what some people in 1975 thought 2024 might look like.\u003c/p>\n\u003cp>Please try and take comfort in the fact that whatever really happens this year, it probably won’t be as stupid as \u003cem>A Boy and His Dog\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Good luck out there.\u003c/p>\n\n",
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"excerpt": "Whatever happens this year, just be grateful it doesn’t involve a predatory Don Johnson and a telepathic dog.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Happy new year, America! Now that the festive season is over, the ball has dropped and we’re swinging the door open on 2024, you might be wondering what the next 12 months has in store. Maybe you’re checking astrological charts for clues. Perhaps you’re studying political forecasts. If you’re less logical, you might even be looking back through movie archives to see what the silver screen has predicted about this year.\u003c/p>\n\u003cp>Which leads us to \u003cem>A Boy and His Dog\u003c/em>, a 1975 gem* of a film set in 2024. Never heard of it? Not to worry, for I am about to tell you all about it. And you might want to strap in, kids, because if this version of 2024 is even halfway correct, we’re all in big, big trouble.\u003c/p>\n\u003cp>(*Wait. Did I say gem? I meant piece of crap. My bad.)\u003c/p>\n\u003cp>\u003cem>A Boy and His Dog\u003c/em> stars a young Don “\u003cem>Miami Vice\u003c/em>” Johnson (Dakota’s dad!) and an actress named Susanne Benton who I thought for this entire movie was a young Jessica Walter. (Walter played Lucille Bluth in \u003cem>Arrested Development\u003c/em>. Pretend it’s her. It’s more fun.)\u003c/p>\n\u003cfigure id=\"attachment_13939931\" class=\"wp-caption aligncenter\" style=\"max-width: 1648px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939931\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM.png\" alt=\"A young woman with shoulder-length hair gazes upwards.\" width=\"1648\" height=\"934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM.png 1648w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-800x453.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-1020x578.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-160x91.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-768x435.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.02.18-PM-1536x871.png 1536w\" sizes=\"(max-width: 1648px) 100vw, 1648px\">\u003cfigcaption class=\"wp-caption-text\">Tell me you don’t see it!\u003c/figcaption>\u003c/figure>\n\u003cp>The story is set in the aftermath of World War IV, a conflict that helpful subtitles inform us “lasted 5 days” and “finally solved the problem of urban blight.” (Seems totally reasonable!) Johnson plays Vic, a feral 18-year-old whose days revolve around seeking out women to rape. (We don’t see any on-screen raping because that might make him too much of an unlikeable protagonist, right? Cool.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vic is fairly successful at All Of The Sexual Assault because his companion is — brace yourselves! — a psychic dog named Blood who can telepathically communicate with Vic. (I did tell you to brace yourselves…) Vic rewards Blood for this service with food, since Blood lost the ability to hunt when he acquired his special abilities. And we’re already in knots from trying to get this plot to make a modicum of sense.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When Blood is psychically searching his vicinity for women/marauding enemies/food to steal, he lies down and an audible radar sounds. Like, actual beeping. Every single time this happens, you have to make an active effort to not think about which part of this dog is making this noise.\u003c/p>\n\u003cp>It’s a sidenote, but the very cute shaggy dog (\u003ca href=\"https://www.imdb.com/name/nm1948753/?ref_=ttfc_fc_cl_t16\">real name: Tiger\u003c/a>) playing the misanthropic Blood is woefully miscast, looking more like the lead in a Disney movie where family pets get into cuddly japes then rescue someone from a fire. I ask you: Does this dog look like a rape apologist to you? \u003cem>Does he?!\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939932\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939932\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM.png\" alt=\"A shaggy white and grey dog sits on a chair.\" width=\"1024\" height=\"654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM.png 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-800x511.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-1020x651.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-01-at-7.07.01-PM-768x491.png 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">I mean…\u003c/figcaption>\u003c/figure>\n\u003cp>When we first find Vic and Blood, Vic is demanding Blood find him a woman to attack and Blood (who sounds like the car from \u003cem>Knight Rider\u003c/em> is speaking inside a cave) is berating him with insults, correcting his grammar and laughing at Vic’s sexual frustration. “You’re not a nice person Albert,” Blood says. “You’re not a nice person at all.” (There is never an explanation about why Blood calls Vic “Albert” or why Vic hates it so much, which is not at all confusing.)\u003c/p>\n\u003cp>After Blood does an intense radar session, he declares: “I detect no living female person within my range, sir. I have sniffed and I have cast and I have a negative reading. However, I’d be delighted to tell you a suggestive story if you think that would help?” If Disney ever made a movie about a porn dog, Tiger would’ve nailed it.\u003c/p>\n\u003cp>Blood tries to make Vic a little more refined by teaching him about history. What we learn is that “World War III, hot and cold, lasted from June 1950 to March 1983.” When Blood makes Vic list former presidents, Vic says “Johnson, Nixon, Ford, Kennedy, Kennedy, Kennedy.” Man. It is startling how much no one saw Ronald Reagan coming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Out in the deserts of what apparently used to be Phoenix, Vic and Blood run into two types of people. The first I’m calling Bands of Burners (I know you can already picture what \u003cem>that\u003c/em> looks like). The second are referred to as “screamers” — some kind of monstrous humanoids we never see on camera. Vic says Blood saved him from the screamers once, describing them only as “oozing and eyelashes.” One gets the sense that \u003cem>A Boy and His Dog\u003c/em>’s budget ran out before anyone could get around to making these monsters.\u003c/p>\n\u003cp>To break up the monotony of their existence, one night Vic and Blood head to their local porn movie theater because every single human in this movie is obsessed with sex. At the outdoor ramshackle space, you can also get a haircut, popcorn, a shower, fire in a barrel and the use of some kind of gun coat-check manned by a boy in a box. Hopefully by the end of real-life 2024, these types of establishments will be everywhere.\u003c/p>\n\u003cp>Blood’s radar locates a woman at the dusty public porn hub. She’s disguised as a man but, under Blood’s direction, Vic manages to follow her into an underground pit where she stands completely naked, surrounded by cobwebs, casually brushing her hair into a bouffant. This is presumably how director L. Q. Jones thinks all women groom themselves in the privacy of their own pits. Vic tries to get all rapey with her but the girl starts a conversation instead, introducing herself as Quilla. Then a Band of Burners shows up and everyone has an incredibly confusing shootout. Blood gets injured by the Burners’ dog and starts limping about the place.\u003c/p>\n\u003cp>What even is this movie?\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/mTck2RnpPy4'\n title='//www.youtube.com/embed/mTck2RnpPy4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>After the shootout, Vic, Quilla and Blood all find a secure place to hide. Vic and Quilla do some consensual lovin’, during which Blood bounces up and down on a mattress and mutters “Once more into the breach, dear friend.” After a bunch of enthusiastic humping has taken place, Blood announces “I’m not going to keep pretending I am asleep, Albert.” (We’ve all been there, Blood…)\u003c/p>\n\u003cp>In the morning, Blood calls Vic into a separate room and suggests they ditch Quilla. This is bizarre, given that keeping her around would actually save Blood from having to find women for Vic to rape all the live long day. Isn’t it better for \u003ci>literally everyone\u003c/i> if Vic has a girlfriend? This movie makes no sense.\u003c/p>\n\u003cp>Quilla tries to persuade Vic to go to “Downunder,” where she lives. Vic vehemently objects to this proposal, tells her she must stay with him, so she knocks him out and escapes. This is the first sensible thing that has happened.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When Vic comes to, he decides to go in search of Quilla, abandoning Blood next to the metal door that leads to Downunder (Quilla said dogs aren’t particularly welcome there). And with that, Vic and Blood are suddenly rule followers!\u003c/p>\n\u003cp>Once in Downunder, Vic runs into a group of farmer-looking dudes who, for some reason, are all wearing — in addition to plaid red shirts and overalls — white face paint, cartoon rosy cheeks and lipstick. Naturally, they force Vic into a bubble bath and scrub him with a brush.\u003c/p>\n\u003cp>\u003cem>What. Is. Happening?\u003c/em>\u003c/p>\n\u003cp>After bath time, Vic witnesses marching bands, wholesome family gatherings and a frankly terrifying barbershop quartet. Everyone has the same goddamn makeup on.\u003c/p>\n\u003cfigure id=\"attachment_13939928\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939928\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/scary-barbershop-quartet-e1704134946423.png\" alt=\"Four men in matching facepaint and grey and yellow suits sing together. They are all wearing glasses.\" width=\"1920\" height=\"1075\">\u003cfigcaption class=\"wp-caption-text\">Yes, they do want to eat your soul. Thanks for asking.\u003c/figcaption>\u003c/figure>\n\u003cp>Vic winds up in a strange courtroom where the granddad from the 1989 classic \u003cem>Parenthood\u003c/em> sentences everyone (including another psychic dog!) to death for minor infractions. We then find out that Quilla lured Vic to her underground community in exchange for a place on the court. Despite getting what he wanted, \u003cem>Parenthood\u003c/em> granddad denies Quilla her reward, scoffs at her ambition and arranges to have her married off, along with every other young woman in town. Because, okay!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We learn that \u003cem>Parenthood\u003c/em> granddad wanted Vic lured into his domain because Downunder men are sterile from living underground for too long. (Apparently, these exact same conditions haven’t had as much impact on female reproductive organs, which is all terribly convenient.) Vic is to be held against his will so that he might help repopulate the Earth. Unfortunately for him, that doesn’t involve more doin’ it. Rather, Vic is strapped down, gagged and attached to a mysterious sperm extraction machine and I must ask again: \u003cem>WHAT EVEN IS THIS MOVIE?\u003c/em>\u003c/p>\n\u003cp>Quilla shows up in a wedding dress and helps get Vic free. She is aided by a group of other rebellious teens who subsequently get their necks snapped by a farmer-looking robot dude, because \u003ca href=\"https://www.kqed.org/pop/107664/missing-hbos-westworld-watch-the-amazing-1973-original\">there is always a robot trying to kill people in 1970s sci-fi movies\u003c/a>. By the time Vic and Quilla escape to the desert upstairs, the still-waiting Blood is half-dead, weary from his injuries and starving. Vic, unwilling to lose his longtime psychic companion, concludes that the best way to solve this problem is to get Blood a good, hearty meal right then and there. So he kills Quilla (off camera of course!) and Blood eats her.\u003c/p>\n\u003cp>And that’s the end.\u003c/p>\n\u003cp>I’m not joking. That’s the whole movie. Someone actually made this. And it’s what some people in 1975 thought 2024 might look like.\u003c/p>\n\u003cp>Please try and take comfort in the fact that whatever really happens this year, it probably won’t be as stupid as \u003cem>A Boy and His Dog\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Golden Globes: How to Watch, Who’s Hosting and Other Key Things to Know",
"headTitle": "The Golden Globes: How to Watch, Who’s Hosting and Other Key Things to Know | KQED",
"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>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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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
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"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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