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"title": "‘Jack Frost’ Is Two of the Worst Christmas Movies Ever Made",
"headTitle": "‘Jack Frost’ Is Two of the Worst Christmas Movies Ever Made | KQED",
"content": "\u003cp>It’s impossible to fathom why Hollywood does a lot of things — \u003ca href=\"https://www.sheknows.com/entertainment/slideshow/2538896/actresses-who-play-moms-to-same-age-actors/4/\">casting women as the mothers of people the same age\u003c/a>, continuing to make James Bond movies, letting Mel Gibson do literally anything, etc. The list is long. You get it.\u003c/p>\n\u003cp>One of the most perplexing things that movie studios do is put out incredibly similar projects almost at the same time. Remember when we got \u003ca href=\"https://www.kqed.org/arts/1173/capote\">two Truman Capote biopics\u003c/a>? And when \u003cem>Armageddon\u003c/em> and \u003cem>Deep Impact\u003c/em> were released two months apart? Or when \u003ca href=\"https://jamesjguild.com/blog/2021/4/10/a-bugs-life-vs-antz-how-pixar-took-on-dreamworks-and-won\">\u003cem>A Bug’s Life\u003c/em> came out directly after \u003cem>Antz\u003c/em>\u003c/a>? Perhaps the most astounding example occurred in the late 1990s, when we got not one, but two movies about — dear, sweet Lord — possessed snowmen. Oh, and they were both called \u003cem>Jack Frost\u003c/em>, because the ’90s were apparently a simpler time when you could get away with that sort of thing.\u003c/p>\n\u003cp>The fact that both projects rolled with that title after an entirely different (and beloved) \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0079357/?ref_=nv_sr_srsg_3_tt_7_nm_1_q_jack%2520frost\">Jack Frost\u003c/a>\u003c/em> movie had already existed for 20 years only adds to the madness. To be clear, the 1979 \u003cem>Jack Frost\u003c/em> is bonkers, in a pseudo-psychedelic sort of way. The stop-motion movie begins with a bow tie–wearing groundhog singing “Me and My Shadow,” for crying out loud.\u003c/p>\n\u003cp>[aside postid='arts_13922351']The ’90s \u003cem>Jack Frost\u003c/em>s had something else in mind, to put it lightly. \u003ca href=\"https://www.imdb.com/title/tt0116671/?ref_=nv_sr_srsg_2_tt_7_nm_1_q_jack%2520frost\">The 1997 one\u003c/a> is a grisly little tale about a crazed serial killer doing a bunch of murders while inside the body of a snowman. (\u003cem>I know\u003c/em>.) \u003ca href=\"https://www.imdb.com/title/tt0141109/?ref_=nv_sr_srsg_0_tt_7_nm_1_q_jack%2520fro\">The 1998 \u003cem>Jack Frost\u003c/em>\u003c/a> is a strange little story in which the spirit of Michael Keaton’s eyebrows possesses a snowman so he can spend more time with his grieving son. And while, yes, those do make for distinctly different plot directions, the two movies have more in common than you might think.\u003c/p>\n\u003cp>Both have main characters who are named Jack Frost while they are living, human men, yet no one ever notes the incredible synchronicity of them suddenly becoming actual snowmen. Both men end up in their legless white forms after dying in crashes caused by snowstorms. Both immediately seek revenge on teen bullies for some reason. Both are, at one time or another, threatened with hairdryers. (Yes, in case you were wondering, melting does serve as a major plot point in both \u003cem>Jack Frost\u003c/em>s.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s the plot of 1998 \u003cem>Jack Frost\u003c/em> in more detail. Charlie is an 11-year-old boy who lives in a supremely irritating Colorado town where everyone is perpetually throwing snowballs at each other. Henry Rollins is Charlie’s hockey coach because Henry Rollins applied no discernment whatsoever to the movies he appeared in during the 1990s. Charlie’s mom is a generic blond mom and his dad is a white blues musician named — but of course — Jack Frost.\u003c/p>\n\u003cfigure id=\"attachment_13939156\" class=\"wp-caption aligncenter\" style=\"max-width: 1722px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM.png\" alt=\"A boy in winter clothes sits on the front of a sled as it zips down a snow-covered hill. Behind him sits a snowman holding onto his waist.\" width=\"1722\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM.png 1722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-800x505.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-1020x643.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-768x484.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-1536x969.png 1536w\" sizes=\"(max-width: 1722px) 100vw, 1722px\">\u003cfigcaption class=\"wp-caption-text\">Oh, look! It’s a boy sledding with a snowman that’s possessed by the spirit of his dead father! Cool. \u003ccite>(Warner Movies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One Christmas Day, Jack dies in a car crash (festive fun!) while off doing white blues-related nonsense. Time then jumps forward a year because no audience wants to watch a child cry grief tears for an hour and a half. One night, Charlie builds a snowman that is suddenly, inexplicably occupied by the spirit of his dead father. At first, Charlie is rightly horrified. But then Jack helps Charlie in — what else? — a snowball fight, so they start hanging out all the time. The movie is preposterous and in poor taste and yet somehow still incredibly dull.\u003c/p>\n\u003cp>All of those descriptors also apply to the 1997 \u003cem>Jack Frost\u003c/em>, though for entirely different reasons. In this one, a prison truck carrying a serial killer through a snowstorm to his execution collides with a genetic research truck. The serial killer ends up drenched in an experimental substance that kills and liquifies him, but then — ah, winter magic — helps him to become one with the snow. Jack Frost the serial killer transforms into Jack Frost the snowman … and also serial killer. This snowman serial killer has the puffiest little mitten hands you’ve ever seen, too, which is incredibly distracting during every single murder scene that follows.\u003c/p>\n\u003cfigure id=\"attachment_13939159\" class=\"wp-caption aligncenter\" style=\"max-width: 1888px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM.png\" alt=\"A snowman with twig eyebrows and icicle fangs interacts with a human.\" width=\"1888\" height=\"1262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM.png 1888w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-1536x1027.png 1536w\" sizes=\"(max-width: 1888px) 100vw, 1888px\">\u003cfigcaption class=\"wp-caption-text\">When your snowman is possessed by a serial killer, it needs twig eyebrows in order to convey its menacing soul. \u003ccite>(Prism Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The one good thing I will say for this trashiest of horror movies is that at least I got a couple of laughs out of it — one of which I’m fairly sure was intentional!\u003c/p>\n\u003cp>[aside postid='arts_13889748']There’s no making sense of the fact that these two movies were made in such close proximity, with the same central theme, but for entirely different audiences. But know this: If you have a vested interest in torturing your loved ones with truly terrible movies this holiday season, one or both of these will do the job.\u003c/p>\n\u003cp>And if even contemplating that prospect leaves you in need of a little palate cleanser, then please accept this clip from 1979’s \u003cem>Jack Frost\u003c/em>. Yes, it’s the dapper little groundhog singing “Me and My Shadow.”\u003c/p>\n\u003cp>Happy holidays, everyone.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AEGl8gh3Vks&t=48s\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘\u003ca href=\"https://tubitv.com/movies/545176/jack-frost\">Jack Frost\u003c/a>’ (1979), ‘\u003ca href=\"https://tubitv.com/movies/473246/jack-frost\">Jack Frost\u003c/a>’ (1997) and ‘\u003ca href=\"https://tubitv.com/movies/571531/jack-frost-2-revenge-of-the-mutant-killer-snowman\">Jack Frost 2\u003c/a>’ (2000) — because yes, of course there was a sequel — are all streaming on Tubi right now. ‘\u003ca href=\"https://www.hulu.com/movie/jack-frost-48a1a9ca-c5e7-44a8-9fe6-2a2cd1234ded\">Jack Frost\u003c/a>’ (1998) is over on Hulu.\u003c/em>\u003c/p>\n\n",
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"excerpt": "In the late-1990s, we got not one, but two movies about snowmen possessed with the spirits of human men named Jack Frost. Yeah.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s impossible to fathom why Hollywood does a lot of things — \u003ca href=\"https://www.sheknows.com/entertainment/slideshow/2538896/actresses-who-play-moms-to-same-age-actors/4/\">casting women as the mothers of people the same age\u003c/a>, continuing to make James Bond movies, letting Mel Gibson do literally anything, etc. The list is long. You get it.\u003c/p>\n\u003cp>One of the most perplexing things that movie studios do is put out incredibly similar projects almost at the same time. Remember when we got \u003ca href=\"https://www.kqed.org/arts/1173/capote\">two Truman Capote biopics\u003c/a>? And when \u003cem>Armageddon\u003c/em> and \u003cem>Deep Impact\u003c/em> were released two months apart? Or when \u003ca href=\"https://jamesjguild.com/blog/2021/4/10/a-bugs-life-vs-antz-how-pixar-took-on-dreamworks-and-won\">\u003cem>A Bug’s Life\u003c/em> came out directly after \u003cem>Antz\u003c/em>\u003c/a>? Perhaps the most astounding example occurred in the late 1990s, when we got not one, but two movies about — dear, sweet Lord — possessed snowmen. Oh, and they were both called \u003cem>Jack Frost\u003c/em>, because the ’90s were apparently a simpler time when you could get away with that sort of thing.\u003c/p>\n\u003cp>The fact that both projects rolled with that title after an entirely different (and beloved) \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0079357/?ref_=nv_sr_srsg_3_tt_7_nm_1_q_jack%2520frost\">Jack Frost\u003c/a>\u003c/em> movie had already existed for 20 years only adds to the madness. To be clear, the 1979 \u003cem>Jack Frost\u003c/em> is bonkers, in a pseudo-psychedelic sort of way. The stop-motion movie begins with a bow tie–wearing groundhog singing “Me and My Shadow,” for crying out loud.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The ’90s \u003cem>Jack Frost\u003c/em>s had something else in mind, to put it lightly. \u003ca href=\"https://www.imdb.com/title/tt0116671/?ref_=nv_sr_srsg_2_tt_7_nm_1_q_jack%2520frost\">The 1997 one\u003c/a> is a grisly little tale about a crazed serial killer doing a bunch of murders while inside the body of a snowman. (\u003cem>I know\u003c/em>.) \u003ca href=\"https://www.imdb.com/title/tt0141109/?ref_=nv_sr_srsg_0_tt_7_nm_1_q_jack%2520fro\">The 1998 \u003cem>Jack Frost\u003c/em>\u003c/a> is a strange little story in which the spirit of Michael Keaton’s eyebrows possesses a snowman so he can spend more time with his grieving son. And while, yes, those do make for distinctly different plot directions, the two movies have more in common than you might think.\u003c/p>\n\u003cp>Both have main characters who are named Jack Frost while they are living, human men, yet no one ever notes the incredible synchronicity of them suddenly becoming actual snowmen. Both men end up in their legless white forms after dying in crashes caused by snowstorms. Both immediately seek revenge on teen bullies for some reason. Both are, at one time or another, threatened with hairdryers. (Yes, in case you were wondering, melting does serve as a major plot point in both \u003cem>Jack Frost\u003c/em>s.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s the plot of 1998 \u003cem>Jack Frost\u003c/em> in more detail. Charlie is an 11-year-old boy who lives in a supremely irritating Colorado town where everyone is perpetually throwing snowballs at each other. Henry Rollins is Charlie’s hockey coach because Henry Rollins applied no discernment whatsoever to the movies he appeared in during the 1990s. Charlie’s mom is a generic blond mom and his dad is a white blues musician named — but of course — Jack Frost.\u003c/p>\n\u003cfigure id=\"attachment_13939156\" class=\"wp-caption aligncenter\" style=\"max-width: 1722px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM.png\" alt=\"A boy in winter clothes sits on the front of a sled as it zips down a snow-covered hill. Behind him sits a snowman holding onto his waist.\" width=\"1722\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM.png 1722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-800x505.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-1020x643.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-768x484.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-1536x969.png 1536w\" sizes=\"(max-width: 1722px) 100vw, 1722px\">\u003cfigcaption class=\"wp-caption-text\">Oh, look! It’s a boy sledding with a snowman that’s possessed by the spirit of his dead father! Cool. \u003ccite>(Warner Movies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One Christmas Day, Jack dies in a car crash (festive fun!) while off doing white blues-related nonsense. Time then jumps forward a year because no audience wants to watch a child cry grief tears for an hour and a half. One night, Charlie builds a snowman that is suddenly, inexplicably occupied by the spirit of his dead father. At first, Charlie is rightly horrified. But then Jack helps Charlie in — what else? — a snowball fight, so they start hanging out all the time. The movie is preposterous and in poor taste and yet somehow still incredibly dull.\u003c/p>\n\u003cp>All of those descriptors also apply to the 1997 \u003cem>Jack Frost\u003c/em>, though for entirely different reasons. In this one, a prison truck carrying a serial killer through a snowstorm to his execution collides with a genetic research truck. The serial killer ends up drenched in an experimental substance that kills and liquifies him, but then — ah, winter magic — helps him to become one with the snow. Jack Frost the serial killer transforms into Jack Frost the snowman … and also serial killer. This snowman serial killer has the puffiest little mitten hands you’ve ever seen, too, which is incredibly distracting during every single murder scene that follows.\u003c/p>\n\u003cfigure id=\"attachment_13939159\" class=\"wp-caption aligncenter\" style=\"max-width: 1888px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM.png\" alt=\"A snowman with twig eyebrows and icicle fangs interacts with a human.\" width=\"1888\" height=\"1262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM.png 1888w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-1536x1027.png 1536w\" sizes=\"(max-width: 1888px) 100vw, 1888px\">\u003cfigcaption class=\"wp-caption-text\">When your snowman is possessed by a serial killer, it needs twig eyebrows in order to convey its menacing soul. \u003ccite>(Prism Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The one good thing I will say for this trashiest of horror movies is that at least I got a couple of laughs out of it — one of which I’m fairly sure was intentional!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s no making sense of the fact that these two movies were made in such close proximity, with the same central theme, but for entirely different audiences. But know this: If you have a vested interest in torturing your loved ones with truly terrible movies this holiday season, one or both of these will do the job.\u003c/p>\n\u003cp>And if even contemplating that prospect leaves you in need of a little palate cleanser, then please accept this clip from 1979’s \u003cem>Jack Frost\u003c/em>. Yes, it’s the dapper little groundhog singing “Me and My Shadow.”\u003c/p>\n\u003cp>Happy holidays, everyone.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AEGl8gh3Vks'\n title='//www.youtube.com/embed/AEGl8gh3Vks'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘\u003ca href=\"https://tubitv.com/movies/545176/jack-frost\">Jack Frost\u003c/a>’ (1979), ‘\u003ca href=\"https://tubitv.com/movies/473246/jack-frost\">Jack Frost\u003c/a>’ (1997) and ‘\u003ca href=\"https://tubitv.com/movies/571531/jack-frost-2-revenge-of-the-mutant-killer-snowman\">Jack Frost 2\u003c/a>’ (2000) — because yes, of course there was a sequel — are all streaming on Tubi right now. ‘\u003ca href=\"https://www.hulu.com/movie/jack-frost-48a1a9ca-c5e7-44a8-9fe6-2a2cd1234ded\">Jack Frost\u003c/a>’ (1998) is over on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Haunting ‘All of Us Strangers’ Is a Perfect Holiday Movie",
"headTitle": "Haunting ‘All of Us Strangers’ Is a Perfect Holiday Movie | KQED",
"content": "\u003cp>A low-key high-wire act of emotional delicacy and devastating power, \u003cem>All of Us Strangers\u003c/em> is a perfect holiday movie. For adults in a certain mood, that is, for whom Christmas (or the winter solstice) opens a bittersweet portal for remembering and revisiting deceased relatives, friends and lovers.\u003c/p>\n\u003cp>\u003cem>All of Us Strangers\u003c/em> (opening Dec. 25 in the Bay Area) also speaks eloquently to anyone feeling alone or alienated at this particular juncture and who hankers, even tentatively, for the company of a kindred spirit. It’s one of my favorite films of the year, so let me be even more inviting: This is a splendid movie for people who love concise storytelling and precise filmmaking steeped start to finish in mystery and ambiguity.\u003c/p>\n\u003cp>Adapted from the 1987 novel \u003cem>Strangers\u003c/em> written by the Japanese television dramatist and author Taichi Yamada (who died in late November at 89) and transposed by writer-director Andrew Haigh to a familiar yet slightly \u003cem>off\u003c/em> England, \u003cem>All of Us Strangers\u003c/em> centers on a single gay man in his 40s who has chosen — or gradually, infinitesimally defaulted to — a life of isolation.\u003c/p>\n\u003cfigure id=\"attachment_13939712\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939712\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow.jpg\" alt=\"Bare-chested man lit orange looks out high rise window at reflected city\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Scott in ‘All of Us Strangers.’ \u003ccite>(Chris Harris/Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We could call it a life of the mind (without the hothouse Hollywood hysteria of \u003cem>Barton Fink\u003c/em>), for Adam (Andrew Scott) is a screenwriter, an erstwhile inventor of worlds. \u003cem>All of Us Strangers\u003c/em> begins in his apartment in a new, weirdly uninhabited high-rise on the outskirts of a strangely twilit London. Did the apocalypse happen this week? That would explain why there’s nothing in his fridge except leftover takeout.\u003c/p>\n\u003cp>[aside postID='arts_13938160']You may recall that Brendan Gleeson’s character in 2022’s terrific year-end U.K. import, \u003cem>The Banshees of Inisherin\u003c/em>, lived in a house on the island’s shore facing the mainland of Ireland — which he never visited. Adam gazes out his London window with the same combination of unspoken attraction and trepidation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In short order, however, Adam’s doorbell rings and the only other resident presents himself. Harry (Paul Mescal, the breakout star of last year’s \u003cem>Aftersun\u003c/em>) is tipsy, dodgy and needy, and we are relieved when Adam declines to invite the younger man in for a drink. But they run into each other a couple days later in the elevator lobby — a less fraught location — and eventually one thing leads to another.\u003c/p>\n\u003cp>Meanwhile, triggered by a packet of family snapshots he stumbled across, Adam makes a pilgrimage by train to his suburban childhood home. Once there, Haigh plausibly guides Adam, in a beautifully constructed piece of visual filmmaking, to a totally implausible destination: a reunion with his parents, fixed forever in their early 30s.\u003c/p>\n\u003cfigure id=\"attachment_13939709\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939709\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas.jpg\" alt=\"Man and woman decorate a Christmas tree with a third figure seated in front of them\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Bell and Claire Foy in ‘All of Us Strangers.’ \u003ccite>(Chris Harris/Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>All of Us Strangers\u003c/em> allows viewers resistant to supernatural forces or themes to entertain various logical explanations for this and subsequent meetings between Adam and his late father and mother (Jamie Bell and Claire Foy, both extraordinary). Adam is having a fever dream, or a ketamine nightmare. Or everything that’s happening, including his intoxicating romance with Harry, is the product of his imagination — that is, a screenplay he is writing.\u003c/p>\n\u003cp>I am one of those literal moviegoers who craves real-world reasons for otherworldly occurrences, yet I dove headlong into the parents-child relationship. I am always rooting for reconciliation in movies, I confess, and nothing makes me more emotional than characters hearing (or saying) what they need to hear or say.\u003c/p>\n\u003cp>I could add the qualification that the characters must earn it, and the filmmaker has to handle it with a modicum of sentimentality. You may not be surprised that the key conversations in \u003cem>All of Us Strangers\u003c/em> involve Adam’s homosexuality and his parents’ late-to-the-party acceptance. The pitch and tenor of these scenes, steeped in the ordinariness of domestic life, sharpens the stakes to a degree where you may not be aware you are holding your breath.\u003c/p>\n\u003cfigure id=\"attachment_13939714\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939714\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator.jpg\" alt=\"Two men stand in elevator, one reflected in mirror\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Paul Mescal and Andrew Scott in ‘All of Us Strangers.’ \u003ccite>(Chris Harris/Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead of a high-wattage star turn, Andrew Scott (Professor Moriarty on PBS’s \u003cem>Sherlock\u003c/em>, The Priest on \u003ci>Fleabag\u003c/i>) gives us an Everyman whose veneer of self-protective cautiousness dissolves under the influence of tolerance and acceptance. There’s some pent-up grief in there, to be sure, which Scott conveys as personal and individual and which Haigh expands, in my view, to encompass every gay man who has died of AIDS.\u003c/p>\n\u003cp>[aside postID='arts_13939435']Haigh (\u003cem>Lean on Pete\u003c/em>, \u003cem>45 Years\u003c/em>, \u003cem>Weekend\u003c/em>) spotlights songs by Frankie Goes to Hollywood and The Pet Shop Boys that take us back to the peak of the plague. We can infer that Adam is not only grieving the death of his parents at a young age but the subsequent losses of friends and lovers. The London that Adam sees in the distance from his upper-floor window is, in fact, a post-apocalypse landscape.\u003c/p>\n\u003cp>From this vantage point, \u003cem>All of Us Strangers\u003c/em> is simultaneously a eulogy and an act of healing. But even if you don’t embrace my big-picture musings, you will not be unmoved by the four characters’ conversations. Heart-to-hearts are an important part of the holidays, in my fantasy world, so I’ll double down: \u003cem>All of Us Strangers\u003c/em>, buttressed by a poignant tree-trimming scene, is a holiday movie.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘All of Us Strangers’ opens Dec. 25, 2023.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A low-key high-wire act of emotional delicacy and devastating power, \u003cem>All of Us Strangers\u003c/em> is a perfect holiday movie. For adults in a certain mood, that is, for whom Christmas (or the winter solstice) opens a bittersweet portal for remembering and revisiting deceased relatives, friends and lovers.\u003c/p>\n\u003cp>\u003cem>All of Us Strangers\u003c/em> (opening Dec. 25 in the Bay Area) also speaks eloquently to anyone feeling alone or alienated at this particular juncture and who hankers, even tentatively, for the company of a kindred spirit. It’s one of my favorite films of the year, so let me be even more inviting: This is a splendid movie for people who love concise storytelling and precise filmmaking steeped start to finish in mystery and ambiguity.\u003c/p>\n\u003cp>Adapted from the 1987 novel \u003cem>Strangers\u003c/em> written by the Japanese television dramatist and author Taichi Yamada (who died in late November at 89) and transposed by writer-director Andrew Haigh to a familiar yet slightly \u003cem>off\u003c/em> England, \u003cem>All of Us Strangers\u003c/em> centers on a single gay man in his 40s who has chosen — or gradually, infinitesimally defaulted to — a life of isolation.\u003c/p>\n\u003cfigure id=\"attachment_13939712\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939712\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow.jpg\" alt=\"Bare-chested man lit orange looks out high rise window at reflected city\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_ScottWindow-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Scott in ‘All of Us Strangers.’ \u003ccite>(Chris Harris/Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We could call it a life of the mind (without the hothouse Hollywood hysteria of \u003cem>Barton Fink\u003c/em>), for Adam (Andrew Scott) is a screenwriter, an erstwhile inventor of worlds. \u003cem>All of Us Strangers\u003c/em> begins in his apartment in a new, weirdly uninhabited high-rise on the outskirts of a strangely twilit London. Did the apocalypse happen this week? That would explain why there’s nothing in his fridge except leftover takeout.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>You may recall that Brendan Gleeson’s character in 2022’s terrific year-end U.K. import, \u003cem>The Banshees of Inisherin\u003c/em>, lived in a house on the island’s shore facing the mainland of Ireland — which he never visited. Adam gazes out his London window with the same combination of unspoken attraction and trepidation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In short order, however, Adam’s doorbell rings and the only other resident presents himself. Harry (Paul Mescal, the breakout star of last year’s \u003cem>Aftersun\u003c/em>) is tipsy, dodgy and needy, and we are relieved when Adam declines to invite the younger man in for a drink. But they run into each other a couple days later in the elevator lobby — a less fraught location — and eventually one thing leads to another.\u003c/p>\n\u003cp>Meanwhile, triggered by a packet of family snapshots he stumbled across, Adam makes a pilgrimage by train to his suburban childhood home. Once there, Haigh plausibly guides Adam, in a beautifully constructed piece of visual filmmaking, to a totally implausible destination: a reunion with his parents, fixed forever in their early 30s.\u003c/p>\n\u003cfigure id=\"attachment_13939709\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939709\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas.jpg\" alt=\"Man and woman decorate a Christmas tree with a third figure seated in front of them\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Christmas-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Bell and Claire Foy in ‘All of Us Strangers.’ \u003ccite>(Chris Harris/Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>All of Us Strangers\u003c/em> allows viewers resistant to supernatural forces or themes to entertain various logical explanations for this and subsequent meetings between Adam and his late father and mother (Jamie Bell and Claire Foy, both extraordinary). Adam is having a fever dream, or a ketamine nightmare. Or everything that’s happening, including his intoxicating romance with Harry, is the product of his imagination — that is, a screenplay he is writing.\u003c/p>\n\u003cp>I am one of those literal moviegoers who craves real-world reasons for otherworldly occurrences, yet I dove headlong into the parents-child relationship. I am always rooting for reconciliation in movies, I confess, and nothing makes me more emotional than characters hearing (or saying) what they need to hear or say.\u003c/p>\n\u003cp>I could add the qualification that the characters must earn it, and the filmmaker has to handle it with a modicum of sentimentality. You may not be surprised that the key conversations in \u003cem>All of Us Strangers\u003c/em> involve Adam’s homosexuality and his parents’ late-to-the-party acceptance. The pitch and tenor of these scenes, steeped in the ordinariness of domestic life, sharpens the stakes to a degree where you may not be aware you are holding your breath.\u003c/p>\n\u003cfigure id=\"attachment_13939714\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939714\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator.jpg\" alt=\"Two men stand in elevator, one reflected in mirror\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AOUS_Elevator-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Paul Mescal and Andrew Scott in ‘All of Us Strangers.’ \u003ccite>(Chris Harris/Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead of a high-wattage star turn, Andrew Scott (Professor Moriarty on PBS’s \u003cem>Sherlock\u003c/em>, The Priest on \u003ci>Fleabag\u003c/i>) gives us an Everyman whose veneer of self-protective cautiousness dissolves under the influence of tolerance and acceptance. There’s some pent-up grief in there, to be sure, which Scott conveys as personal and individual and which Haigh expands, in my view, to encompass every gay man who has died of AIDS.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Haigh (\u003cem>Lean on Pete\u003c/em>, \u003cem>45 Years\u003c/em>, \u003cem>Weekend\u003c/em>) spotlights songs by Frankie Goes to Hollywood and The Pet Shop Boys that take us back to the peak of the plague. We can infer that Adam is not only grieving the death of his parents at a young age but the subsequent losses of friends and lovers. The London that Adam sees in the distance from his upper-floor window is, in fact, a post-apocalypse landscape.\u003c/p>\n\u003cp>From this vantage point, \u003cem>All of Us Strangers\u003c/em> is simultaneously a eulogy and an act of healing. But even if you don’t embrace my big-picture musings, you will not be unmoved by the four characters’ conversations. Heart-to-hearts are an important part of the holidays, in my fantasy world, so I’ll double down: \u003cem>All of Us Strangers\u003c/em>, buttressed by a poignant tree-trimming scene, is a holiday movie.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘All of Us Strangers’ opens Dec. 25, 2023.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘American Fiction’ Makes a Magnificent Mockery of Our Cultural Status Quo",
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"content": "\u003cp>There are two distinctly different stories scuffing up against one another in \u003cem>American Fiction\u003c/em>. One concerns a professionally successful but personally messy family navigating a series of hardships. The other is about what happens when an intellectual writer allows his frustration with the world to compromise his artistic vision.\u003c/p>\n\u003cp>Based on Percival Everett’s 2011 novel \u003cem>\u003ca href=\"https://www.graywolfpress.org/books/erasure\">Erasure\u003c/a>\u003c/em>, \u003cem>American Fiction\u003c/em>, written and directed by Cord Jefferson, revolves around author Thelonious “Monk” Ellison (played engagingly by Jeffrey Wright). When we first find him, Monk is tired of seeing his novels sidelined into the African American Studies section of the bookstore, while works that reinforce racist stereotypes are welcomed into central displays. His frustration is compounded when he is forced to take a leave of absence from his university job for being too unfiltered and ornery.\u003c/p>\n\u003cp>[aside postid='arts_13938158']In the midst of dealing with those professional problems, Monk is called home to Boston where he faces additional issues hitting his mother and siblings. (Wright’s chemistry with Sterling K. Brown and Tracee Ellis Ross, who play Monk’s brother and sister, is a consistent delight). The combination of all these stresses one night prompts Monk to sit down and angrily pen a manuscript steeped in Black stereotypes and awash with pandering storylines. The book, titled \u003cem>My Pafology\u003c/em>, is intended as a middle finger to the publishers who think Monk’s other most recent novel isn’t “Black enough” to warrant release.\u003c/p>\n\u003cp>To Monk’s surprise and consternation, those same publishers fall over themselves to pick up \u003cem>Pafology\u003c/em>. Before long, the writer is doing interviews as his alter-ego, Stagg. R. Leigh (a fun nod to \u003ca href=\"https://en.wikipedia.org/wiki/Lee_Shelton\">infamous 19th century pimp Stagger Lee\u003c/a>, who has inspired \u003ca href=\"https://en.wikipedia.org/wiki/Stagger_Lee\">countless songs\u003c/a> over the years). A series of increasingly ludicrous events follow as Monk’s personal ethical conundrums spiral out into the wider literary world.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i0MbLCpYJPA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Within \u003cem>American Fiction\u003c/em>, the delicate family drama at play does not always gel cohesively with its often comedic rendering of the publishing world. But perhaps dissonance is the point. \u003cem>American Fiction\u003c/em> is, at its core, a story about the many ways that mainstream popular culture fails to reflect the true breadth of the Black American experience. By juxtaposing Monk’s home life — his academic career, his doctor siblings and quaint beach house — with the cartoonish criminal persona he is forced to adopt to promote \u003cem>Pafology\u003c/em>, the absurdity of America’s cultural status quo is quite thoroughly reflected.\u003c/p>\n\u003cp>[aside postid='arts_13938942']\u003cem>American Fiction\u003c/em> is at its most fun when it’s mocking white thirst for violent and reductive Black stories. Adam Brody is deliciously smarmy as a misguided movie producer who profits from peddling racial stereotypes. Miriam Shor is hilarious as an urbane publisher pretending to understand street life. A scene in which two white literary judges shut down two Black judges because “it’s essential to listen to Black voices right now,” is brilliantly executed. All of these moments are aimed squarely at white people who feel they can absolve themselves of racism if they look directly at depictions of Black suffering for long enough. That these white folks think they’re brave for doing so is the punchline.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>American Fiction\u003c/em> is, all at once, an effective family drama, a hilarious critique of institutional racism and a complicated look at the consequences (and potential benefits) of complicity. The fact that no easy answers or solutions are provided to the many questions the movie prompts will keep you pondering long after the credits have rolled. And you’ll never view \u003cem>Precious: Based on the Novel ‘Push’ by Sapphire\u003c/em> the same way again.\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\"> \u003cem>‘American Fiction’ opens nationwide on Dec. 22, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Within \u003cem>American Fiction\u003c/em>, the delicate family drama at play does not always gel cohesively with its often comedic rendering of the publishing world. But perhaps dissonance is the point. \u003cem>American Fiction\u003c/em> is, at its core, a story about the many ways that mainstream popular culture fails to reflect the true breadth of the Black American experience. By juxtaposing Monk’s home life — his academic career, his doctor siblings and quaint beach house — with the cartoonish criminal persona he is forced to adopt to promote \u003cem>Pafology\u003c/em>, the absurdity of America’s cultural status quo is quite thoroughly reflected.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>American Fiction\u003c/em> is at its most fun when it’s mocking white thirst for violent and reductive Black stories. Adam Brody is deliciously smarmy as a misguided movie producer who profits from peddling racial stereotypes. Miriam Shor is hilarious as an urbane publisher pretending to understand street life. A scene in which two white literary judges shut down two Black judges because “it’s essential to listen to Black voices right now,” is brilliantly executed. All of these moments are aimed squarely at white people who feel they can absolve themselves of racism if they look directly at depictions of Black suffering for long enough. That these white folks think they’re brave for doing so is the punchline.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>American Fiction\u003c/em> is, all at once, an effective family drama, a hilarious critique of institutional racism and a complicated look at the consequences (and potential benefits) of complicity. The fact that no easy answers or solutions are provided to the many questions the movie prompts will keep you pondering long after the credits have rolled. And you’ll never view \u003cem>Precious: Based on the Novel ‘Push’ by Sapphire\u003c/em> the same way again.\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\"> \u003cem>‘American Fiction’ opens nationwide on Dec. 22, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Thuy Makes a Stunning Return to the Bay, Inspires the ‘Most Wholesome Mosh Pit Ever’",
"headTitle": "Thuy Makes a Stunning Return to the Bay, Inspires the ‘Most Wholesome Mosh Pit Ever’ | KQED",
"content": "\u003cp>With silky vocals, Bay Area throwbacks and a surprise \u003ca href=\"https://www.kqed.org/arts/13811392/behind-the-beats-p-lo\">P-Lo\u003c/a> feature, Thuy’s first headlining performance at San Francisco’s Warfield Theater solidified her as a rising R&B darling.\u003c/p>\n\u003cp>Throughout the evening on Saturday, Dec. 16, the Bay Area-born-and-raised singer — she grew up belting Britney Spears and Christina Aguilera lyrics in her garage in the East Bay town of Newark — delivered sparkling stage presence and powerful melodies. The sold-out crowd responded in kind, roaring Thuy’s lyrics back at her all night.\u003c/p>\n\u003cp>[aside postID='arts_13903701']Both of Thuy’s EPs, 2021’s\u003cem> I Hope U See This\u003c/em>, and her follow-up, 2022’s \u003cem>Girls Like Me Don’t Cry\u003c/em>, have garnered national attention. But this was a hometown party from the jump: Ahead of Thuy’s set, DJ Cook Beats set the regional tone with Too Short’s “Blow the Whistle,” while opener ASTN got the crowd in a holiday mood with his cover of “Last Christmas” and then Thuy opened with her glossy, upbeat track “I Got It,” a fitting anthem about self-confidence for an artist on the rise who’s been open about her insecurities.\u003c/p>\n\u003cp>“I got to step out and be more confident and love my body,” she told the crowd to mass cheering.\u003c/p>\n\u003cfigure id=\"attachment_13939644\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939644 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2.jpg\" alt=\"A person with long hair on stage in an indoor venue in front of a large crowd.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thuy performs to a sold out audience at the Warfield, in a hometown show that included several local surprise guests. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thuy also noted that the last time she was at the Warfield as an opener, she promised her team they’d be back as the headliner — and she manifested that in a big way.\u003c/p>\n\u003cp>Her community turned up to see it: the Bay Area’s pride for our own was the lifeblood of the show, which was also Thuy’s last performance of 2023. The crowd included Thuy’s actual uncles and aunties, as well as chosen family — plenty of her fellow local Millennials showed out.\u003c/p>\n\u003cp>One fan brought a South Vietnamese flag as a nod to Thuy’s heritage, which the artist pointed to mid-performance. “I want that flag up here!” she called out.\u003c/p>\n\u003cp>Thuy’s dad, in a gray wool blazer and an enormous smile, filmed the whole performance through his phone, repping proud immigrant dads everywhere. When Thuy asked the crowd if they were any “dog mommies and daddies,” her dad yelled back towards the stage, “I have a dog! I have a dog!”\u003c/p>\n\u003cfigure id=\"attachment_13939631\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939631 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED.jpg\" alt=\"A person with long hair on stage in an indoor venue in front of a large crowd.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thuy performs to a sold out audience at the Warfield. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In chunky silver hoops, a corset and mini skirt set and wooly black boots, Thuy shimmied through sultry tracks like “you should feel special” and “All Night Long.” But she also spent a fair amount of time in her bag, backdropped by visuals of swirly pink marbles and crystalline orchids.\u003c/p>\n\u003cp>“Even though I can be sassy, I’m a lover at heart,” she said.\u003c/p>\n\u003cp>[aside postID='arts_13936865']At one point she asked everyone to turn their phone flashlights into a makeshift halo around a couple in the crowd as they looked lovingly into each other’s eyes. They slow-danced as she sang “cause you are my universe, my everything, my sunset” from her 2021 song “universe,” quite possibly moving even the Grinch-iest of hearts in the audience.\u003c/p>\n\u003cp>“I can’t believe I did the most wholesome mosh pit ever!” she laughed.\u003c/p>\n\u003cp>Thuy’s Bay Area upbringing continued to take center stage throughout the performance, with the help of surprise appearances by Berkeley rapper Rexx Life Raj, who’s been on three tracks with her over the last couple years, as well as \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">Vallejo artist LaRussell\u003c/a>. The crowd met each surprise guest with deafening approval, especially Pinole rapper P-Lo, who roused the crowd with his dependable hit “Put Me On Somethin.’”\u003c/p>\n\u003cfigure id=\"attachment_13939629\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939629 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED.jpg\" alt=\"A large crowd bathed in blue light cheers.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thuy fans cheer and sing along at the Warfield on Dec. 16, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Towards the end of her performance, Thuy sat on a barstool, heels dangling over the stage, to give a tearful monologue about her love for the Bay, her childhood and why she’s donating a portion of the concert’s proceeds to Toys for Tots.\u003c/p>\n\u003cp>“It’s about community and coming back to love,” she said. “And everytime I feel like I’ve lost myself, I know that when I come home here you guys always show me so much love.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "The rising R&B star’s sold-out San Francisco show paid tribute to her local roots with P-Lo and other surprise guests.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With silky vocals, Bay Area throwbacks and a surprise \u003ca href=\"https://www.kqed.org/arts/13811392/behind-the-beats-p-lo\">P-Lo\u003c/a> feature, Thuy’s first headlining performance at San Francisco’s Warfield Theater solidified her as a rising R&B darling.\u003c/p>\n\u003cp>Throughout the evening on Saturday, Dec. 16, the Bay Area-born-and-raised singer — she grew up belting Britney Spears and Christina Aguilera lyrics in her garage in the East Bay town of Newark — delivered sparkling stage presence and powerful melodies. The sold-out crowd responded in kind, roaring Thuy’s lyrics back at her all night.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Both of Thuy’s EPs, 2021’s\u003cem> I Hope U See This\u003c/em>, and her follow-up, 2022’s \u003cem>Girls Like Me Don’t Cry\u003c/em>, have garnered national attention. But this was a hometown party from the jump: Ahead of Thuy’s set, DJ Cook Beats set the regional tone with Too Short’s “Blow the Whistle,” while opener ASTN got the crowd in a holiday mood with his cover of “Last Christmas” and then Thuy opened with her glossy, upbeat track “I Got It,” a fitting anthem about self-confidence for an artist on the rise who’s been open about her insecurities.\u003c/p>\n\u003cp>“I got to step out and be more confident and love my body,” she told the crowd to mass cheering.\u003c/p>\n\u003cfigure id=\"attachment_13939644\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939644 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2.jpg\" alt=\"A person with long hair on stage in an indoor venue in front of a large crowd.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-06-KQED-2-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thuy performs to a sold out audience at the Warfield, in a hometown show that included several local surprise guests. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thuy also noted that the last time she was at the Warfield as an opener, she promised her team they’d be back as the headliner — and she manifested that in a big way.\u003c/p>\n\u003cp>Her community turned up to see it: the Bay Area’s pride for our own was the lifeblood of the show, which was also Thuy’s last performance of 2023. The crowd included Thuy’s actual uncles and aunties, as well as chosen family — plenty of her fellow local Millennials showed out.\u003c/p>\n\u003cp>One fan brought a South Vietnamese flag as a nod to Thuy’s heritage, which the artist pointed to mid-performance. “I want that flag up here!” she called out.\u003c/p>\n\u003cp>Thuy’s dad, in a gray wool blazer and an enormous smile, filmed the whole performance through his phone, repping proud immigrant dads everywhere. When Thuy asked the crowd if they were any “dog mommies and daddies,” her dad yelled back towards the stage, “I have a dog! I have a dog!”\u003c/p>\n\u003cfigure id=\"attachment_13939631\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939631 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED.jpg\" alt=\"A person with long hair on stage in an indoor venue in front of a large crowd.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thuy performs to a sold out audience at the Warfield. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In chunky silver hoops, a corset and mini skirt set and wooly black boots, Thuy shimmied through sultry tracks like “you should feel special” and “All Night Long.” But she also spent a fair amount of time in her bag, backdropped by visuals of swirly pink marbles and crystalline orchids.\u003c/p>\n\u003cp>“Even though I can be sassy, I’m a lover at heart,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At one point she asked everyone to turn their phone flashlights into a makeshift halo around a couple in the crowd as they looked lovingly into each other’s eyes. They slow-danced as she sang “cause you are my universe, my everything, my sunset” from her 2021 song “universe,” quite possibly moving even the Grinch-iest of hearts in the audience.\u003c/p>\n\u003cp>“I can’t believe I did the most wholesome mosh pit ever!” she laughed.\u003c/p>\n\u003cp>Thuy’s Bay Area upbringing continued to take center stage throughout the performance, with the help of surprise appearances by Berkeley rapper Rexx Life Raj, who’s been on three tracks with her over the last couple years, as well as \u003ca href=\"https://www.kqed.org/arts/13937331/larussell-vallejo-def-jam-record-deal\">Vallejo artist LaRussell\u003c/a>. The crowd met each surprise guest with deafening approval, especially Pinole rapper P-Lo, who roused the crowd with his dependable hit “Put Me On Somethin.’”\u003c/p>\n\u003cfigure id=\"attachment_13939629\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13939629 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED.jpg\" alt=\"A large crowd bathed in blue light cheers.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/231216-THUY-MD-08-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Thuy fans cheer and sing along at the Warfield on Dec. 16, 2023. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Towards the end of her performance, Thuy sat on a barstool, heels dangling over the stage, to give a tearful monologue about her love for the Bay, her childhood and why she’s donating a portion of the concert’s proceeds to Toys for Tots.\u003c/p>\n\u003cp>“It’s about community and coming back to love,” she said. “And everytime I feel like I’ve lost myself, I know that when I come home here you guys always show me so much love.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "One Last Hanukkah Gift From Hallmark: ‘Round and Round’ Is a Really Fun Romcom",
"headTitle": "One Last Hanukkah Gift From Hallmark: ‘Round and Round’ Is a Really Fun Romcom | KQED",
"content": "\u003cp>I’ve always defended my love of Hallmark movies — the Christmas trees, the meet-cutes, the small-town businesses struggling to avoid being taken over by people from the big city. But there’s no denying that they are \u003cem>of a type\u003c/em>, shall we say, and many times, their precise pleasure is that you wouldn’t mistake them for anything else. Furthermore, even as Hallmark has expanded its vision with changes like introducing LGBTQ+ characters and stories now and then, their efforts to expand beyond Christmas into Hanukkah have sometimes felt a bit tentative.\u003c/p>\n\u003cp>Imagine my delight at finding \u003ca href=\"https://www.hallmarkchannel.com/round-and-round\">\u003cem>Round and Round\u003c/em>,\u003c/a> a lovely new entry that’s a solid light romantic comedy that you wouldn’t be surprised to find somewhere else besides Hallmark, and that also embraces Hanukkah as its theme in a way that feels complete and thoughtful.\u003c/p>\n\u003cp>[aside postid='arts_13889581']The structure is familiar: it’s a time-loop movie. Rachel (Vic Michaelis) goes to her parents’ Hanukkah party, where her grandmother tries to set her up with Zach (Bryan Greenberg), a handsome fellow who unfortunately bumped into her earlier in the day and destroyed the box of \u003cem>sufganiyot \u003c/em>(jelly doughnuts) she was bringing to the party. But Rachel has a boyfriend, so she doesn’t take much of an interest, but when she wakes up the next morning … it’s the same morning all over again, the seventh night of Hanukkah. So now, like so many protagonists before her (\u003cem>Groundhog Day\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13883236/kick-back-with-palm-springs-a-witty-romcom-about-fighting-despair\">\u003cem>Palm Springs \u003c/em>\u003c/a>both get explicit shout-outs in the dialogue), she’s trapped and needs to figure out how to break the loop so her life can continue.\u003c/p>\n\u003cp>As she continues in the loop, she decides to bring Zach in on her problem, and he — an adorable nerd who’s carrying around his D&D dice in a special box, and whose friends run a comic-book store — resolves to try to help, even though every day he has to be brought up to speed all over again.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-uFjJH8NhnY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This all sounds very familiar, I know. But the execution is terrific. The dialogue sparkles, the relationship feels genuine, the ending is warm and really satisfying, and you get to watch the marvelous Rick Hoffman (who played Louis on \u003cem>Suits\u003c/em>!) play Rachel’s loving father, who is the smart and fun kind of weird dad. And Rachel’s sister is married to a woman and they have a child, and their relationship is treated just like everybody else’s, which is a nice place for Hallmark to be.\u003c/p>\n\u003cp>But maybe what I liked most, the farther from the film I got, is that it takes themes of the family’s celebration of Hanukkah — miracles, especially — and \u003cem>lightly \u003c/em>incorporates them, so that without being heavy-handed, when the characters talk about the holiday, it resonates a bit with the underlying story. (And with the eventual resolution to the time loop, which is a delight.) Between the traditions the family observes (not just the menorah, but the food, the prayers, and so on) and some recognition that this is not a huge gift-giving holiday for adults but mostly a family celebration, it really seems like a Hanukkah movie, while also being a \u003cem>lot \u003c/em>of fun. (I don’t celebrate Hanukkah, but here’s a \u003ca href=\"https://www.kveller.com/round-and-round-is-hallmarks-best-hanukkah-movie-yet/\">similarly positive take\u003c/a> from someone who does.)\u003c/p>\n\u003cp>[aside postid='arts_13889748']It helps that Michaelis comes from oddball comedy — they hosted a show for the comedy streaming service \u003cem>Dropout\u003c/em>, and they’ve worked with \u003ca href=\"https://ucbcomedy.com/people/vic-michaelis/\">Upright Citizens Brigade\u003c/a>. You can see those comedy chops in Rachel’s sharp approach to her dilemma that is somehow both confident and baffled. The script from Tamar Laddy and the direction from Stacey N. Harding are very well-suited to the project.\u003c/p>\n\u003cp>When I tell people a Hallmark movie is good, they often assume that there’s an undercurrent that you grade these things on a curve — that they are not good in the way other things are good. \u003cem>Round and Round \u003c/em>is plain old good, a spry and funny romcom I’d have been delighted to discover inside or outside the Hallmark universe.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=One+last+Hanukkah+gift+from+Hallmark%3A+%27Round+and+Round%27+is+a+really+fun+romcom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>‘Round and Round’ is streaming now on Hallmark Movies Now and Peacock.\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ve always defended my love of Hallmark movies — the Christmas trees, the meet-cutes, the small-town businesses struggling to avoid being taken over by people from the big city. But there’s no denying that they are \u003cem>of a type\u003c/em>, shall we say, and many times, their precise pleasure is that you wouldn’t mistake them for anything else. Furthermore, even as Hallmark has expanded its vision with changes like introducing LGBTQ+ characters and stories now and then, their efforts to expand beyond Christmas into Hanukkah have sometimes felt a bit tentative.\u003c/p>\n\u003cp>Imagine my delight at finding \u003ca href=\"https://www.hallmarkchannel.com/round-and-round\">\u003cem>Round and Round\u003c/em>,\u003c/a> a lovely new entry that’s a solid light romantic comedy that you wouldn’t be surprised to find somewhere else besides Hallmark, and that also embraces Hanukkah as its theme in a way that feels complete and thoughtful.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The structure is familiar: it’s a time-loop movie. Rachel (Vic Michaelis) goes to her parents’ Hanukkah party, where her grandmother tries to set her up with Zach (Bryan Greenberg), a handsome fellow who unfortunately bumped into her earlier in the day and destroyed the box of \u003cem>sufganiyot \u003c/em>(jelly doughnuts) she was bringing to the party. But Rachel has a boyfriend, so she doesn’t take much of an interest, but when she wakes up the next morning … it’s the same morning all over again, the seventh night of Hanukkah. So now, like so many protagonists before her (\u003cem>Groundhog Day\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13883236/kick-back-with-palm-springs-a-witty-romcom-about-fighting-despair\">\u003cem>Palm Springs \u003c/em>\u003c/a>both get explicit shout-outs in the dialogue), she’s trapped and needs to figure out how to break the loop so her life can continue.\u003c/p>\n\u003cp>As she continues in the loop, she decides to bring Zach in on her problem, and he — an adorable nerd who’s carrying around his D&D dice in a special box, and whose friends run a comic-book store — resolves to try to help, even though every day he has to be brought up to speed all over again.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-uFjJH8NhnY'\n title='//www.youtube.com/embed/-uFjJH8NhnY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This all sounds very familiar, I know. But the execution is terrific. The dialogue sparkles, the relationship feels genuine, the ending is warm and really satisfying, and you get to watch the marvelous Rick Hoffman (who played Louis on \u003cem>Suits\u003c/em>!) play Rachel’s loving father, who is the smart and fun kind of weird dad. And Rachel’s sister is married to a woman and they have a child, and their relationship is treated just like everybody else’s, which is a nice place for Hallmark to be.\u003c/p>\n\u003cp>But maybe what I liked most, the farther from the film I got, is that it takes themes of the family’s celebration of Hanukkah — miracles, especially — and \u003cem>lightly \u003c/em>incorporates them, so that without being heavy-handed, when the characters talk about the holiday, it resonates a bit with the underlying story. (And with the eventual resolution to the time loop, which is a delight.) Between the traditions the family observes (not just the menorah, but the food, the prayers, and so on) and some recognition that this is not a huge gift-giving holiday for adults but mostly a family celebration, it really seems like a Hanukkah movie, while also being a \u003cem>lot \u003c/em>of fun. (I don’t celebrate Hanukkah, but here’s a \u003ca href=\"https://www.kveller.com/round-and-round-is-hallmarks-best-hanukkah-movie-yet/\">similarly positive take\u003c/a> from someone who does.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It helps that Michaelis comes from oddball comedy — they hosted a show for the comedy streaming service \u003cem>Dropout\u003c/em>, and they’ve worked with \u003ca href=\"https://ucbcomedy.com/people/vic-michaelis/\">Upright Citizens Brigade\u003c/a>. You can see those comedy chops in Rachel’s sharp approach to her dilemma that is somehow both confident and baffled. The script from Tamar Laddy and the direction from Stacey N. Harding are very well-suited to the project.\u003c/p>\n\u003cp>When I tell people a Hallmark movie is good, they often assume that there’s an undercurrent that you grade these things on a curve — that they are not good in the way other things are good. \u003cem>Round and Round \u003c/em>is plain old good, a spry and funny romcom I’d have been delighted to discover inside or outside the Hallmark universe.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=One+last+Hanukkah+gift+from+Hallmark%3A+%27Round+and+Round%27+is+a+really+fun+romcom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>‘Round and Round’ is streaming now on Hallmark Movies Now and Peacock.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Fairs, Films and a Touch of Goth: Alternative Ideas for Bay Area Holiday Events",
"headTitle": "Fairs, Films and a Touch of Goth: Alternative Ideas for Bay Area Holiday Events | KQED",
"content": "\u003cp>The last weeks of December 2023 are almost upon us. And for many who don’t observe the Christmas holiday, or aren’t traveling to see family, it can feel like things get a little … slow in the Bay Area during this time.\u003c/p>\n\u003cp>But don’t worry – in truth, \u003ca href=\"https://www.kqed.org/arts/13939198/fresh-sounds-for-the-holidays\">the region has \u003ci>plenty \u003c/i>happening in these last couple of weeks\u003c/a> before the new calendar year hits. And it’s not just productions of \u003ci>The Nutcracker \u003c/i>and \u003ci>A Christmas Carol\u003c/i>.\u003c/p>\n\u003cp>So keep reading for our roundup of events, screenings, markets and more – a mix of both classically holiday-themed events and unique pop-ups that go beyond the festive cliches – to explore in the last days of 2023.\u003c/p>\n\u003ch2>Stroll a holiday market\u003c/h2>\n\u003cul>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.billgrahammenorah.org/schedule\">The Bill Graham Menorah Lighting\u003c/a> at \u003ca href=\"https://visitunionsquaresf.com/calendar\">Union Square\u003c/a> on Thursday, Dec. 14.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/anti-capitalist-holiday-market-tickets-759838396097\">Anti-Capitalist Holiday Market\u003c/a> in San Francisco on Friday, Dec. 15.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://dickensfair.com/general-information/\">The Great Dickens Christmas Fair\u003c/a> in Daly City on Saturday, Dec. 16 and Sunday, Dec. 17.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.ferrybuildingmarketplace.com/events/creativity-explored-holiday-pop-up-4/\">Creativity Explored holiday pop-up\u003c/a> at the San Francisco Ferry Building on Saturday, Dec. 16.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/harajuku-holiday-san-francisco-tickets-745591192327\">Harajuku Holiday\u003c/a> in San Francisco on Saturday, Dec. 16.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/holiday-market-at-dokkaebier-taproom-tickets-767918985357\">Holiday Market at Dokkaebier Taproom\u003c/a> in Oakland on Wednesday, Dec. 20.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://winchestermysteryhouse.com/holidays/\">Holiday Candlelight Tour\u003c/a> at the Winchester Mystery House on Saturday, Dec. 16, Saturday Dec. 23 and Saturday, Dec. 30.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://winchestermysteryhouse.com/holidays/\">Annual Menagerie Holiday Oddities & Curiosities Market \u003c/a>also at the Winchester Mystery House on Saturday, Dec. 16.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://headwestmarketplace.com/dates/stgeorgespirits-december2023\">Head West Holiday Market\u003c/a> at George Spirits in Alameda on Sunday, Dec. 17.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/gothmas-popup-market-at-ghost-town-brewing-tickets-758422039737?aff=ebdsoporgprofile\">Gothmas PopUp Market at Ghost Town Brewing\u003c/a> in West Oakland on Sunday, Dec. 17. (Get a skull!)\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.telegraphfair.com/\">Telegraph Avenue Holiday Street Fair\u003c/a> in Berkeley on Saturday, Dec. 16 and Sunday, Dec. 17; Saturday, Dec. 23 and Sunday, Dec. 24.\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13939503\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939503\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Great Dickens Christmas Fair, recreating Victorian London. \u003ccite>(Rich Yee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Take advantage of a free museum day\u003c/h2>\n\u003cul>\n\u003cli>Free entry to the \u003ca href=\"https://gggp.org/gifts-at-the-garden/\">San Francisco Botanical Garden for a holiday market\u003c/a> on Saturday, Dec. 16 and Sunday, Dec. 17.\u003c/li>\n\u003cli>San Francisco Botanical Garden is open and \u003ca href=\"https://sf.funcheap.com/event-series/series-san-francisco-botanical-garden-free-days/\">free on Monday, Dec. 25\u003c/a>.\u003c/li>\n\u003cli>\u003ca href=\"https://sfmcd.org/visit/\">San Francisco Museum of Craft and Design\u003c/a> is free on Wednesday, Dec. 20 and Wednesday, Dec. 27.\u003c/li>\n\u003c/ul>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/11943906/how-to-find-free-museum-tickets-in-the-bay-area\">Read more about other free museum days around the Bay Area.\u003c/a>\u003c/p>\n\u003ch2>Catch a special screening\u003c/h2>\n\u003cp>In addition to offering the chance to catch the newest release (I personally am excited for \u003ca href=\"https://www.youtube.com/watch?v=RlbR5N6veqw&pp=ygULcG9vciB0aGluZ3M%3D\">\u003ci>Poor Things\u003c/i>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=t5khm-VjEu4&pp=ygUNYm95IGFuZCBoZXJvbg%3D%3D\">\u003ci>The Boy and the Heron\u003c/i>\u003c/a>\u003ci>), \u003c/i>Alamo Drafthouse Theater in San Francisco’s Mission District is \u003ca href=\"https://drafthouse.com/sf/movies/a-very-alamo-holiday\">hosting several brunch and movie parties\u003c/a>. (Be sure to get your tickets in advance, as screenings may sell out.)\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://drafthouse.com/sf/event/movie-party-elf\">An \u003ci>Elf \u003c/i>party\u003c/a>, centering the movie starring Will Ferrell, and \u003ca href=\"https://drafthouse.com/sf/event/movie-party-national-lampoons-christmas-vacation\">\u003ci>National Lampoon’s Christmas Vacation\u003c/i>\u003c/a>: both showing on Saturday, Dec.16.\u003c/li>\n\u003cli>\u003ca href=\"https://drafthouse.com/sf/event/brunch-screenings-its-a-wonderful-life-brunch\">\u003ci>It’s a Wonderful Life\u003c/i> brunch\u003c/a> on Sunday, Dec. 24.\u003c/li>\n\u003cli>\u003ca href=\"https://drafthouse.com/sf/event/carol-brunch\">\u003ci>Carol \u003c/i>brunch\u003c/a> on Monday, Dec. 25.\u003c/li>\n\u003c/ul>\n\u003cp>Also in the Mission District, the Roxie Theater is playing Oscar-winning film \u003ca href=\"https://roxie.com/film/there-will-be-blood-35mm/\">\u003ci>There Will Be Blood \u003c/i>on 35mm\u003c/a> on December 25.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"https://www.thenewparkway.com/upcomingevents/calendar/\">New Parkway Theater\u003c/a> in Oakland also has a bunch of showings during the holidays:\u003c/p>\n\u003cul>\n\u003cli>A Dec. 15 showing of a \u003ca href=\"https://www.thenewparkway.com/upcomingevents/calendar/\">“so bad it’s good” (the theater’s words)\u003c/a> animated movie called \u003ca href=\"https://www.imdb.com/title/tt0341543/\">\u003ci>Rapsittie Street Kids: Believe in Santa\u003c/i>\u003c/a> that somehow has performances from the legendary voice actor Nancy Cartwright (Bart Simpson) and Mark Hamill (Luke Skywalker, the Batman Animated Series’ Joker). Grab a drink for this one.\u003c/li>\n\u003cli>You can catch the Warriors vs. Nuggets game on Dec. 25 or enjoy \u003ci>Fiddler on the Roof\u003c/i> later that same day.\u003c/li>\n\u003cli>Speaking of Batman, there’s also a showing of \u003ci>Mask of the Phantasm\u003c/i> on Dec. 28. Some people’s favorite Batman movie, period (not mine, though.)\u003c/li>\n\u003c/ul>\n\u003cp>The \u003ca href=\"https://rialtocinemas.com/cerrito/\">Rialto cinema\u003c/a> chain (locations in Berkeley, El Cerrito and Sebastopol) has free family matinee showings for movies like \u003ci>Prancer, Elf, \u003c/i>and \u003ci>An American Tail.\u003c/i>\u003c/p>\n\u003ch2>Head out to a Saturday party\u003c/h2>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.eventbrite.com/e/the-box-dance-party-tickets-754819133347?aff=ebdssbdestsearch\">The Box Dance Party\u003c/a> in Oakland on Saturday, Dec. 30.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/lady-bunny-a-very-blue-xmas-tickets-755034146457?aff=ebdssbdestsearch\">Lady Bunny: A Very Blue Xmas\u003c/a> in San Francisco’s Oasis on Saturday, Dec.23. (On the same day? A\u003ca href=\"https://www.eventbrite.com/e/princess-cher-mas-a-holigay-spectacular-queer-market-tickets-751349926857?aff=ebdssbdestsearch\"> Cher-themed party\u003c/a>.)\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/princess-gaymer-nite-zelda-tickets-749643643317?aff=ebdssbdestsearch\">Princess GAYMER Nite: ZELDA Drag Tribute\u003c/a> in San Francisco on Saturday, Dec. 30.\u003c/li>\n\u003cli aria-level=\"1\">And it isn’t \u003ca href=\"https://www.kqed.org/arts/13937049/this-is-getting-good-now-bay-areas-fans-brace-themselves-for-taylor-swifts-1989-album-re-release\">a story by me, Nisa\u003c/a>, without including \u003ca href=\"https://www.eventbrite.com/e/swift-me-away-dance-party-tickets-773467661597?aff=ebdssbdestsearch\">a Taylor Swift-themed party\u003c/a>: this time at San Francisco’s Milk Bar on Saturday, Dec. 30.\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_11956143\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11956143\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/07/RS67126_GettyImages-1474304416-qut.jpg\" alt=\"Taylor Swift, a white woman with blond hair, stands on a stage in a pink flowing long-sleeved dress looking backward at the camera.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs onstage for the opening night of ‘Taylor Swift | The Eras Tour’ at State Farm Stadium on March 17, 2023, in Swift City, ERAzona (Glendale, Arizona)\u003c/figcaption>\u003c/figure>\n\u003cp>Looking for more music? KQED Arts has also rounded up\u003ca href=\"https://www.kqed.org/arts/13939198/fresh-sounds-for-the-holidays\"> the best spots to catch a non-traditional live musical performance this holiday season\u003c/a>.\u003c/p>\n\u003ch2>And if you’re looking for something a little more interactive …\u003c/h2>\n\u003cul>\n\u003cli style=\"list-style-type: none;\">\n\u003cul>\n\u003cli>\u003ca href=\"https://enchantchristmas.com/san-jose-ca-paypal-park/\">Santa’s Magic Timepiece\u003c/a> (a light maze, village, and more) in San Jose that runs through Sunday, Dec. 31.\u003c/li>\n\u003cli>For family and kids, interactive games and a circus at San Francisco’s \u003ca href=\"https://www.eventbrite.com/e/reindeer-games-tickets-741268693617?aff=ebdssbdestsearch\">Reindeer Games\u003c/a> on Saturday, Dec. 23.\u003c/li>\n\u003cli>\u003ca href=\"https://www.thegoldengirlslive.com/\">The \u003cem>Golden Girls Live!\u003c/em> drag show runs through Saturday, Dec. 23\u003c/a> at San Francisco’s Victoria Theater.\u003c/li>\n\u003cli>\u003ca href=\"https://www.eventbrite.com/e/goth-skate-winter-edition-tickets-769424207517?aff=ebdssbdestsearch\">Goth Skate at the Church Of 8 Wheels\u003c/a> in San Francisco on Wednesday, Dec. 27.\u003c/li>\n\u003cli>\u003ca href=\"https://www.eventbrite.com/e/kwanzaa-book-brunch-tickets-767176925837?aff=ebdssbdestsearch\">Kwanzaa Book & Brunch\u003c/a> in Richmond on Saturday, Dec. 30.\u003c/li>\n\u003cli>\u003ca href=\"https://www.eventbrite.com/e/bloom-a-filipino-plant-based-dinner-party-tickets-773428303877?aff=ebdssbdestsearch\">Bloom, Filipino plant-based dinner party\u003c/a> in San Francisco on Saturday, Dec. 30.\u003c/li>\n\u003c/ul>\n\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13939495\" class=\"wp-caption alignnone\" style=\"max-width: 1020px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939495\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Muir-Woods-1-1020x692-1.jpeg\" alt=\"A person in a wheelchair is on a boardwalk underneath redwood trees, looking up at the sky.\" width=\"1020\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Muir-Woods-1-1020x692-1.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Muir-Woods-1-1020x692-1-800x543.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Muir-Woods-1-1020x692-1-160x109.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Muir-Woods-1-1020x692-1-768x521.jpeg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Olson from wheelchairtraveling.com stares up at the mighty coastal redwoods on the boardwalk section of the accessible loop trail at Muir Woods National Monument. \u003ccite>(Courtesy Ashley Olson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Finally … take a hike\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>Rather be stretching your legs? KQED has a \u003ca href=\"https://www.kqed.org/news/11632557/photos-bay-areas-best-hikes-chosen-by-you\">2019 guide to the best holiday hikes\u003c/a> in the Bay Area, and \u003ca href=\"https://www.kqed.org/news/11953167/best-bay-area-accessible-hiking-trails-recommended-by-disability-advocates\">a 2023 guide to the best accessible hiking trails locally\u003c/a>, as recommended by disability advocates.\u003c/p>\n\n",
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"excerpt": "Looking for things to do in the Bay Area during the holiday season? We've got a roundup that includes fairs, free museums, movies and more (and no 'Nutcracker').",
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"description": "Looking for things to do in the Bay Area during the holiday season? We've got a roundup that includes fairs, free museums, movies and more (and no 'Nutcracker').",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last weeks of December 2023 are almost upon us. And for many who don’t observe the Christmas holiday, or aren’t traveling to see family, it can feel like things get a little … slow in the Bay Area during this time.\u003c/p>\n\u003cp>But don’t worry – in truth, \u003ca href=\"https://www.kqed.org/arts/13939198/fresh-sounds-for-the-holidays\">the region has \u003ci>plenty \u003c/i>happening in these last couple of weeks\u003c/a> before the new calendar year hits. And it’s not just productions of \u003ci>The Nutcracker \u003c/i>and \u003ci>A Christmas Carol\u003c/i>.\u003c/p>\n\u003cp>So keep reading for our roundup of events, screenings, markets and more – a mix of both classically holiday-themed events and unique pop-ups that go beyond the festive cliches – to explore in the last days of 2023.\u003c/p>\n\u003ch2>Stroll a holiday market\u003c/h2>\n\u003cul>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.billgrahammenorah.org/schedule\">The Bill Graham Menorah Lighting\u003c/a> at \u003ca href=\"https://visitunionsquaresf.com/calendar\">Union Square\u003c/a> on Thursday, Dec. 14.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/anti-capitalist-holiday-market-tickets-759838396097\">Anti-Capitalist Holiday Market\u003c/a> in San Francisco on Friday, Dec. 15.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://dickensfair.com/general-information/\">The Great Dickens Christmas Fair\u003c/a> in Daly City on Saturday, Dec. 16 and Sunday, Dec. 17.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.ferrybuildingmarketplace.com/events/creativity-explored-holiday-pop-up-4/\">Creativity Explored holiday pop-up\u003c/a> at the San Francisco Ferry Building on Saturday, Dec. 16.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/harajuku-holiday-san-francisco-tickets-745591192327\">Harajuku Holiday\u003c/a> in San Francisco on Saturday, Dec. 16.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/holiday-market-at-dokkaebier-taproom-tickets-767918985357\">Holiday Market at Dokkaebier Taproom\u003c/a> in Oakland on Wednesday, Dec. 20.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://winchestermysteryhouse.com/holidays/\">Holiday Candlelight Tour\u003c/a> at the Winchester Mystery House on Saturday, Dec. 16, Saturday Dec. 23 and Saturday, Dec. 30.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://winchestermysteryhouse.com/holidays/\">Annual Menagerie Holiday Oddities & Curiosities Market \u003c/a>also at the Winchester Mystery House on Saturday, Dec. 16.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://headwestmarketplace.com/dates/stgeorgespirits-december2023\">Head West Holiday Market\u003c/a> at George Spirits in Alameda on Sunday, Dec. 17.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/gothmas-popup-market-at-ghost-town-brewing-tickets-758422039737?aff=ebdsoporgprofile\">Gothmas PopUp Market at Ghost Town Brewing\u003c/a> in West Oakland on Sunday, Dec. 17. (Get a skull!)\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.telegraphfair.com/\">Telegraph Avenue Holiday Street Fair\u003c/a> in Berkeley on Saturday, Dec. 16 and Sunday, Dec. 17; Saturday, Dec. 23 and Sunday, Dec. 24.\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13939503\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939503\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Dickens-Fair-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Great Dickens Christmas Fair, recreating Victorian London. \u003ccite>(Rich Yee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Take advantage of a free museum day\u003c/h2>\n\u003cul>\n\u003cli>Free entry to the \u003ca href=\"https://gggp.org/gifts-at-the-garden/\">San Francisco Botanical Garden for a holiday market\u003c/a> on Saturday, Dec. 16 and Sunday, Dec. 17.\u003c/li>\n\u003cli>San Francisco Botanical Garden is open and \u003ca href=\"https://sf.funcheap.com/event-series/series-san-francisco-botanical-garden-free-days/\">free on Monday, Dec. 25\u003c/a>.\u003c/li>\n\u003cli>\u003ca href=\"https://sfmcd.org/visit/\">San Francisco Museum of Craft and Design\u003c/a> is free on Wednesday, Dec. 20 and Wednesday, Dec. 27.\u003c/li>\n\u003c/ul>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/11943906/how-to-find-free-museum-tickets-in-the-bay-area\">Read more about other free museum days around the Bay Area.\u003c/a>\u003c/p>\n\u003ch2>Catch a special screening\u003c/h2>\n\u003cp>In addition to offering the chance to catch the newest release (I personally am excited for \u003ca href=\"https://www.youtube.com/watch?v=RlbR5N6veqw&pp=ygULcG9vciB0aGluZ3M%3D\">\u003ci>Poor Things\u003c/i>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=t5khm-VjEu4&pp=ygUNYm95IGFuZCBoZXJvbg%3D%3D\">\u003ci>The Boy and the Heron\u003c/i>\u003c/a>\u003ci>), \u003c/i>Alamo Drafthouse Theater in San Francisco’s Mission District is \u003ca href=\"https://drafthouse.com/sf/movies/a-very-alamo-holiday\">hosting several brunch and movie parties\u003c/a>. (Be sure to get your tickets in advance, as screenings may sell out.)\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://drafthouse.com/sf/event/movie-party-elf\">An \u003ci>Elf \u003c/i>party\u003c/a>, centering the movie starring Will Ferrell, and \u003ca href=\"https://drafthouse.com/sf/event/movie-party-national-lampoons-christmas-vacation\">\u003ci>National Lampoon’s Christmas Vacation\u003c/i>\u003c/a>: both showing on Saturday, Dec.16.\u003c/li>\n\u003cli>\u003ca href=\"https://drafthouse.com/sf/event/brunch-screenings-its-a-wonderful-life-brunch\">\u003ci>It’s a Wonderful Life\u003c/i> brunch\u003c/a> on Sunday, Dec. 24.\u003c/li>\n\u003cli>\u003ca href=\"https://drafthouse.com/sf/event/carol-brunch\">\u003ci>Carol \u003c/i>brunch\u003c/a> on Monday, Dec. 25.\u003c/li>\n\u003c/ul>\n\u003cp>Also in the Mission District, the Roxie Theater is playing Oscar-winning film \u003ca href=\"https://roxie.com/film/there-will-be-blood-35mm/\">\u003ci>There Will Be Blood \u003c/i>on 35mm\u003c/a> on December 25.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.thenewparkway.com/upcomingevents/calendar/\">New Parkway Theater\u003c/a> in Oakland also has a bunch of showings during the holidays:\u003c/p>\n\u003cul>\n\u003cli>A Dec. 15 showing of a \u003ca href=\"https://www.thenewparkway.com/upcomingevents/calendar/\">“so bad it’s good” (the theater’s words)\u003c/a> animated movie called \u003ca href=\"https://www.imdb.com/title/tt0341543/\">\u003ci>Rapsittie Street Kids: Believe in Santa\u003c/i>\u003c/a> that somehow has performances from the legendary voice actor Nancy Cartwright (Bart Simpson) and Mark Hamill (Luke Skywalker, the Batman Animated Series’ Joker). Grab a drink for this one.\u003c/li>\n\u003cli>You can catch the Warriors vs. Nuggets game on Dec. 25 or enjoy \u003ci>Fiddler on the Roof\u003c/i> later that same day.\u003c/li>\n\u003cli>Speaking of Batman, there’s also a showing of \u003ci>Mask of the Phantasm\u003c/i> on Dec. 28. Some people’s favorite Batman movie, period (not mine, though.)\u003c/li>\n\u003c/ul>\n\u003cp>The \u003ca href=\"https://rialtocinemas.com/cerrito/\">Rialto cinema\u003c/a> chain (locations in Berkeley, El Cerrito and Sebastopol) has free family matinee showings for movies like \u003ci>Prancer, Elf, \u003c/i>and \u003ci>An American Tail.\u003c/i>\u003c/p>\n\u003ch2>Head out to a Saturday party\u003c/h2>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.eventbrite.com/e/the-box-dance-party-tickets-754819133347?aff=ebdssbdestsearch\">The Box Dance Party\u003c/a> in Oakland on Saturday, Dec. 30.\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/lady-bunny-a-very-blue-xmas-tickets-755034146457?aff=ebdssbdestsearch\">Lady Bunny: A Very Blue Xmas\u003c/a> in San Francisco’s Oasis on Saturday, Dec.23. (On the same day? A\u003ca href=\"https://www.eventbrite.com/e/princess-cher-mas-a-holigay-spectacular-queer-market-tickets-751349926857?aff=ebdssbdestsearch\"> Cher-themed party\u003c/a>.)\u003c/li>\n\u003cli aria-level=\"1\">\u003ca href=\"https://www.eventbrite.com/e/princess-gaymer-nite-zelda-tickets-749643643317?aff=ebdssbdestsearch\">Princess GAYMER Nite: ZELDA Drag Tribute\u003c/a> in San Francisco on Saturday, Dec. 30.\u003c/li>\n\u003cli aria-level=\"1\">And it isn’t \u003ca href=\"https://www.kqed.org/arts/13937049/this-is-getting-good-now-bay-areas-fans-brace-themselves-for-taylor-swifts-1989-album-re-release\">a story by me, Nisa\u003c/a>, without including \u003ca href=\"https://www.eventbrite.com/e/swift-me-away-dance-party-tickets-773467661597?aff=ebdssbdestsearch\">a Taylor Swift-themed party\u003c/a>: this time at San Francisco’s Milk Bar on Saturday, Dec. 30.\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_11956143\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11956143\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/07/RS67126_GettyImages-1474304416-qut.jpg\" alt=\"Taylor Swift, a white woman with blond hair, stands on a stage in a pink flowing long-sleeved dress looking backward at the camera.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs onstage for the opening night of ‘Taylor Swift | The Eras Tour’ at State Farm Stadium on March 17, 2023, in Swift City, ERAzona (Glendale, Arizona)\u003c/figcaption>\u003c/figure>\n\u003cp>Looking for more music? KQED Arts has also rounded up\u003ca href=\"https://www.kqed.org/arts/13939198/fresh-sounds-for-the-holidays\"> the best spots to catch a non-traditional live musical performance this holiday season\u003c/a>.\u003c/p>\n\u003ch2>And if you’re looking for something a little more interactive …\u003c/h2>\n\u003cul>\n\u003cli style=\"list-style-type: none;\">\n\u003cul>\n\u003cli>\u003ca href=\"https://enchantchristmas.com/san-jose-ca-paypal-park/\">Santa’s Magic Timepiece\u003c/a> (a light maze, village, and more) in San Jose that runs through Sunday, Dec. 31.\u003c/li>\n\u003cli>For family and kids, interactive games and a circus at San Francisco’s \u003ca href=\"https://www.eventbrite.com/e/reindeer-games-tickets-741268693617?aff=ebdssbdestsearch\">Reindeer Games\u003c/a> on Saturday, Dec. 23.\u003c/li>\n\u003cli>\u003ca href=\"https://www.thegoldengirlslive.com/\">The \u003cem>Golden Girls Live!\u003c/em> drag show runs through Saturday, Dec. 23\u003c/a> at San Francisco’s Victoria Theater.\u003c/li>\n\u003cli>\u003ca href=\"https://www.eventbrite.com/e/goth-skate-winter-edition-tickets-769424207517?aff=ebdssbdestsearch\">Goth Skate at the Church Of 8 Wheels\u003c/a> in San Francisco on Wednesday, Dec. 27.\u003c/li>\n\u003cli>\u003ca href=\"https://www.eventbrite.com/e/kwanzaa-book-brunch-tickets-767176925837?aff=ebdssbdestsearch\">Kwanzaa Book & Brunch\u003c/a> in Richmond on Saturday, Dec. 30.\u003c/li>\n\u003cli>\u003ca href=\"https://www.eventbrite.com/e/bloom-a-filipino-plant-based-dinner-party-tickets-773428303877?aff=ebdssbdestsearch\">Bloom, Filipino plant-based dinner party\u003c/a> in San Francisco on Saturday, Dec. 30.\u003c/li>\n\u003c/ul>\n\u003c/li>\n\u003c/ul>\n\u003cfigure id=\"attachment_13939495\" class=\"wp-caption alignnone\" style=\"max-width: 1020px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939495\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Muir-Woods-1-1020x692-1.jpeg\" alt=\"A person in a wheelchair is on a boardwalk underneath redwood trees, looking up at the sky.\" width=\"1020\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Muir-Woods-1-1020x692-1.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Muir-Woods-1-1020x692-1-800x543.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Muir-Woods-1-1020x692-1-160x109.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Muir-Woods-1-1020x692-1-768x521.jpeg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003cfigcaption class=\"wp-caption-text\">Ashley Olson from wheelchairtraveling.com stares up at the mighty coastal redwoods on the boardwalk section of the accessible loop trail at Muir Woods National Monument. \u003ccite>(Courtesy Ashley Olson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Finally … take a hike\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>Rather be stretching your legs? KQED has a \u003ca href=\"https://www.kqed.org/news/11632557/photos-bay-areas-best-hikes-chosen-by-you\">2019 guide to the best holiday hikes\u003c/a> in the Bay Area, and \u003ca href=\"https://www.kqed.org/news/11953167/best-bay-area-accessible-hiking-trails-recommended-by-disability-advocates\">a 2023 guide to the best accessible hiking trails locally\u003c/a>, as recommended by disability advocates.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Surprisingly Sweet ‘Wonka’ Dodges Dahl’s Bitterness",
"headTitle": "A Surprisingly Sweet ‘Wonka’ Dodges Dahl’s Bitterness | KQED",
"content": "\u003cp>From a child’s perspective, there is no higher use for the application of magic than conjuring candy out of the air. In and of itself, this first law of speculative metaphysics, which I just coined, makes \u003cem>Wonka\u003c/em> an irresistible film for children.\u003c/p>\n\u003cp>[aside postID='arts_13939223']In addition to the expected superficial pleasures, writer-director Paul King’s original musical prequel to Roald Dahl’s \u003cem>\u003ca href=\"https://www.penguinrandomhouse.com/books/319173/charlie-and-the-chocolate-factory-by-roald-dahl-illustrated-by-quentin-blake/\">Charlie and the Chocolate Factory\u003c/a>\u003c/em> (1964) force-feeds a theme that is perennial catnip for youngsters: the unquenchable thirst for self-invention and reinvention. \u003c/p>\n\u003cp>The movie opens with the eager, idealistic, orphaned magician-waif Willy Wonka (Timothée Chalamet) arriving by boat in the big city — London? Probably, because the place is chockablock with English actors, but then why is Willy clearly American? — in a textbook example of the (fictional) intrepid young protagonist making their way through the mystifying, unfair and immoral adult world.\u003c/p>\n\u003cp>In other words, \u003cem>Wonka\u003c/em> (opening Friday, Dec. 15) is perfectly swell holiday fare for the little people in your vicinity. They may be restless in places where there’s too much plot and chitchat and not enough fantasy, but that’s why God and Santa put candy counters in theaters.\u003c/p>\n\u003cfigure id=\"attachment_13939467\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000.jpg\" alt=\"Woman leans on counter facing a man who frowns slightly, papers folded between them\" width=\"2000\" height=\"1324\" class=\"size-full wp-image-13939467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-1536x1017.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-1920x1271.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Colman and Timothée Chalamet in ‘Wonka.’ \u003ccite>(Jaap Buittendijk/Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although I am a fervent believer that a great fairy tale requires a dash of terror (the child grows from having gone through \u003cem>something\u003c/em> on the bumpy road to a happy ending), I appreciate that King (\u003cem>Paddington 2\u003c/em>) has whisked away the cruelty that colored Dahl’s books. Consider the lodging where a helpful stranger (Tom Davis doing a pleasing tongue-in-cheek riff on Oliver Reed-as-Bill Sikes) directs the sovereign-less Wonka on his wintry first night. It turns out to be a laundry of indentured servitude operated by Mrs. Scrubbit (Academy Award-winner Olivia Colman having a ball, in part because King didn’t give her terrible teeth and an impenetrable accent).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dickens would laugh at this establishment, as do we, which is more Days Inn than Dungeons ‘R’ Us. Jim Carter (\u003cem>Downton Abbey\u003c/em>) brings dancehall wit and gusto to his role as leader of the captive, singing washing crew, which includes young Noodle (Calah Lane), who becomes Willy’s guide, accomplice and friend.\u003c/p>\n\u003cp>I delayed putting “singing” and “Willy” in the same paragraph as long as I could, but the time has come to remind moviemakers of the second law of speculative metaphysics: Don’t begin your movie with a non-musical actor singing. Yes, Anne Hathaway won an Oscar for croaking her way through \u003cem>Les Misérables\u003c/em>. Yes, Leos Carax put Adam Driver front and center for the extended music video that opened \u003cem>Annette\u003c/em>. And yes, Timothée Chalamet succeeds in overcoming his uninspiring entrance with a typically generous, game and sporting performance.\u003c/p>\n\u003cfigure id=\"attachment_13939468\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000.jpg\" alt=\"Young girl and man walk across street in muted Victorian clothes \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Calah Lane and Timothée Chalamet in ‘Wonka.’ \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I am reluctant to critique Chalamet’s voice — if Putin has kompromat on me, it involves karaoke — which is thin but not amateur-hour bad. I do lament Hollywood’s decades-long insistence on casting (supposedly) bankable dramatic stars as musical leads. The upside is that countless high school seniors in drama clubs around the world will say, “If Chalamet is a household name with a voice like that, imagine how far I can go!”\u003c/p>\n\u003cp>Neil Hannon’s songs are serviceable and often clever, but they don’t lodge themselves in the memory. And King, regrettably, gives only a couple of them the glorious musical-fantasy treatment that is the third law of speculative metaphysics: Everyday people on the street and trolley turn into chorus singers, random strangers coalesce in a choreographed dance, and the real world dissolves into a candy-cane snow globe of harmony and happiness. (\u003cem>Barbie\u003c/em> boasts more flamboyant musical numbers, for the record.)\u003c/p>\n\u003cp>And yet, for all my carping, I enjoyed \u003cem>Wonka\u003c/em>. Willy’s relentless crusade to open his own chocolate shop — to validate his late mother’s support rather than out of an innate entrepreneurial drive, so venture capitalists need not apply — never succumbs to corn-syrup treacle. The heartstrings-pulling sequences, which don’t especially work, are blessedly brief. Hugh Grant (as the movie’s lone Oompa-Loompa, and who needs a battalion of those wee folks when you have Hugh Grant?) shows up at the exact perfect moment to inject a shot of acerbic pomposity, like Bénédectine poured in a milk chocolate truffle, into Willy’s earnest endeavors.\u003c/p>\n\u003cfigure id=\"attachment_13939469\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000.jpg\" alt=\"Man in top hat and Victorian clothes stands on angled trunk of tree with pink flowered branches and shiny red orbs hanging from it\" width=\"2000\" height=\"1053\" class=\"size-full wp-image-13939469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-1020x537.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-1536x809.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-1920x1011.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Wonka.’\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postID='arts_13931753']Unlike Pixar’s movies, which provide ample jokes that sail over the kids’ heads and keep the adults alert and entertained, \u003cem>Wonka\u003c/em> doesn’t set out to be either hip or politically au courant. The villains of the piece are a chocolate cartel comprised of three purportedly independent merchants, and the principles of capitalism (other than bribing the police chief) aren’t satirized but ignored altogether. (\u003cem>Barbie\u003c/em> aced that assignment, thank you.)\u003c/p>\n\u003cp>And it’s OK that \u003cem>Wonka\u003c/em> aspires to be a simple crowd-pleaser whose implicit message is to stay true to your dreams and your friends. The movie works just fine as a feel-good family film at a moment when the future is not just unwritten but uncertain. Is it an instant addition to the shelf of timeless holiday classics? It needed a bit more magic to tip the scales decisively, but I wouldn’t bet against Willy in the long run. Even without fast-forwarding through his songs.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Wonka’ opens in theaters on Friday, Dec. 15, 2023.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From a child’s perspective, there is no higher use for the application of magic than conjuring candy out of the air. In and of itself, this first law of speculative metaphysics, which I just coined, makes \u003cem>Wonka\u003c/em> an irresistible film for children.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In addition to the expected superficial pleasures, writer-director Paul King’s original musical prequel to Roald Dahl’s \u003cem>\u003ca href=\"https://www.penguinrandomhouse.com/books/319173/charlie-and-the-chocolate-factory-by-roald-dahl-illustrated-by-quentin-blake/\">Charlie and the Chocolate Factory\u003c/a>\u003c/em> (1964) force-feeds a theme that is perennial catnip for youngsters: the unquenchable thirst for self-invention and reinvention. \u003c/p>\n\u003cp>The movie opens with the eager, idealistic, orphaned magician-waif Willy Wonka (Timothée Chalamet) arriving by boat in the big city — London? Probably, because the place is chockablock with English actors, but then why is Willy clearly American? — in a textbook example of the (fictional) intrepid young protagonist making their way through the mystifying, unfair and immoral adult world.\u003c/p>\n\u003cp>In other words, \u003cem>Wonka\u003c/em> (opening Friday, Dec. 15) is perfectly swell holiday fare for the little people in your vicinity. They may be restless in places where there’s too much plot and chitchat and not enough fantasy, but that’s why God and Santa put candy counters in theaters.\u003c/p>\n\u003cfigure id=\"attachment_13939467\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000.jpg\" alt=\"Woman leans on counter facing a man who frowns slightly, papers folded between them\" width=\"2000\" height=\"1324\" class=\"size-full wp-image-13939467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-1536x1017.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka2_2000-1920x1271.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Colman and Timothée Chalamet in ‘Wonka.’ \u003ccite>(Jaap Buittendijk/Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although I am a fervent believer that a great fairy tale requires a dash of terror (the child grows from having gone through \u003cem>something\u003c/em> on the bumpy road to a happy ending), I appreciate that King (\u003cem>Paddington 2\u003c/em>) has whisked away the cruelty that colored Dahl’s books. Consider the lodging where a helpful stranger (Tom Davis doing a pleasing tongue-in-cheek riff on Oliver Reed-as-Bill Sikes) directs the sovereign-less Wonka on his wintry first night. It turns out to be a laundry of indentured servitude operated by Mrs. Scrubbit (Academy Award-winner Olivia Colman having a ball, in part because King didn’t give her terrible teeth and an impenetrable accent).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dickens would laugh at this establishment, as do we, which is more Days Inn than Dungeons ‘R’ Us. Jim Carter (\u003cem>Downton Abbey\u003c/em>) brings dancehall wit and gusto to his role as leader of the captive, singing washing crew, which includes young Noodle (Calah Lane), who becomes Willy’s guide, accomplice and friend.\u003c/p>\n\u003cp>I delayed putting “singing” and “Willy” in the same paragraph as long as I could, but the time has come to remind moviemakers of the second law of speculative metaphysics: Don’t begin your movie with a non-musical actor singing. Yes, Anne Hathaway won an Oscar for croaking her way through \u003cem>Les Misérables\u003c/em>. Yes, Leos Carax put Adam Driver front and center for the extended music video that opened \u003cem>Annette\u003c/em>. And yes, Timothée Chalamet succeeds in overcoming his uninspiring entrance with a typically generous, game and sporting performance.\u003c/p>\n\u003cfigure id=\"attachment_13939468\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000.jpg\" alt=\"Young girl and man walk across street in muted Victorian clothes \" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka3_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Calah Lane and Timothée Chalamet in ‘Wonka.’ \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I am reluctant to critique Chalamet’s voice — if Putin has kompromat on me, it involves karaoke — which is thin but not amateur-hour bad. I do lament Hollywood’s decades-long insistence on casting (supposedly) bankable dramatic stars as musical leads. The upside is that countless high school seniors in drama clubs around the world will say, “If Chalamet is a household name with a voice like that, imagine how far I can go!”\u003c/p>\n\u003cp>Neil Hannon’s songs are serviceable and often clever, but they don’t lodge themselves in the memory. And King, regrettably, gives only a couple of them the glorious musical-fantasy treatment that is the third law of speculative metaphysics: Everyday people on the street and trolley turn into chorus singers, random strangers coalesce in a choreographed dance, and the real world dissolves into a candy-cane snow globe of harmony and happiness. (\u003cem>Barbie\u003c/em> boasts more flamboyant musical numbers, for the record.)\u003c/p>\n\u003cp>And yet, for all my carping, I enjoyed \u003cem>Wonka\u003c/em>. Willy’s relentless crusade to open his own chocolate shop — to validate his late mother’s support rather than out of an innate entrepreneurial drive, so venture capitalists need not apply — never succumbs to corn-syrup treacle. The heartstrings-pulling sequences, which don’t especially work, are blessedly brief. Hugh Grant (as the movie’s lone Oompa-Loompa, and who needs a battalion of those wee folks when you have Hugh Grant?) shows up at the exact perfect moment to inject a shot of acerbic pomposity, like Bénédectine poured in a milk chocolate truffle, into Willy’s earnest endeavors.\u003c/p>\n\u003cfigure id=\"attachment_13939469\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000.jpg\" alt=\"Man in top hat and Victorian clothes stands on angled trunk of tree with pink flowered branches and shiny red orbs hanging from it\" width=\"2000\" height=\"1053\" class=\"size-full wp-image-13939469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-800x421.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-1020x537.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-768x404.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-1536x809.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Wonka4_2000-1920x1011.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Wonka.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Unlike Pixar’s movies, which provide ample jokes that sail over the kids’ heads and keep the adults alert and entertained, \u003cem>Wonka\u003c/em> doesn’t set out to be either hip or politically au courant. The villains of the piece are a chocolate cartel comprised of three purportedly independent merchants, and the principles of capitalism (other than bribing the police chief) aren’t satirized but ignored altogether. (\u003cem>Barbie\u003c/em> aced that assignment, thank you.)\u003c/p>\n\u003cp>And it’s OK that \u003cem>Wonka\u003c/em> aspires to be a simple crowd-pleaser whose implicit message is to stay true to your dreams and your friends. The movie works just fine as a feel-good family film at a moment when the future is not just unwritten but uncertain. Is it an instant addition to the shelf of timeless holiday classics? It needed a bit more magic to tip the scales decisively, but I wouldn’t bet against Willy in the long run. Even without fast-forwarding through his songs.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Wonka’ opens in theaters on Friday, Dec. 15, 2023.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Monk’ Returns for One ‘Last Case’ and It’s a Heaping Serving of TV Comfort Food",
"headTitle": "‘Monk’ Returns for One ‘Last Case’ and It’s a Heaping Serving of TV Comfort Food | KQED",
"content": "\u003cp>The USA Network detective series \u003cem>Monk\u003c/em>, like its title character, always stood out as being a little … unusual.\u003c/p>\n\u003cp>An hour-long police procedural, the show aired from 2002 until 2009 and presented a different murder to solve each episode. Yet — like the classic TV series \u003cem>Columbo\u003c/em> — it not only focused on the particulars of its central mystery, but also took time to have fun with the quirky brilliance of its lead investigator, Adrian Monk (played by \u003ca href=\"https://www.npr.org/2018/07/31/634299761/tony-shalhoub-on-mrs-maisel-and-questioning-his-worth-as-an-actor\">Tony Shalhoub\u003c/a>), who had obsessive-compulsive disorder. Now, after almost 15 years, Shalhoub and most of his original castmates are back, in a new movie on the Peacock streaming service, titled \u003cem>Mr. Monk’s Last Case.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13939092']Despite some dark and dramatic moments, the original \u003cem>Monk \u003c/em>played like a comedy. In fact, creator Andy Breckman submitted the show for Emmy consideration in the comedy categories, and Shalhoub competed against sitcom stars to win the award for lead actor three times. And until \u003ca href=\"https://www.npr.org/2017/10/23/559035940/the-walking-dead-returns-to-form-in-season-8-premiere\">\u003cem>The Walking Dead\u003c/em>\u003c/a> came along, the finale of \u003cem>Monk \u003c/em>held the record as the most-viewed scripted drama on cable television.\u003c/p>\n\u003cp>In that last episode of \u003cem>Monk\u003c/em>, back in 2009, Adrian finally cracked the case that had triggered his OCD compulsions — the unsolved murder of his wife, Trudy. Now, in this movie sequel, writer Breckman and director Randy Zisk revisit the character after all this time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Krfd3OWb4hs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Mr. Monk’s Last Case\u003c/em> begins by establishing how the title character has, and hasn’t, moved on since we last saw him. We learn that Adrian retired from the crime-solving business and got a hefty cash advance to write a book about all the murders he’d solved.\u003c/p>\n\u003cp>[aside postid='arts_13938662']Unfortunately, Adrian’s fears and compulsions didn’t leave him, and while working obsessively on his memoirs, he became a relative recluse. The outbreak of COVID didn’t help, but his stepdaughter Molly, a newly introduced character played by Caitlin McGee, moved in with Adrian during the pandemic. She quickly became the most important person in his life, and he was so grateful, he promised to use his book advance to pay for her impending wedding.\u003c/p>\n\u003cp>As this new \u003cem>Monk \u003c/em>movie begins, all seems fine — but not for long. Very quickly, there’s a murder that Adrian feels compelled to solve. And even before that, there’s bad news when Adrian visits the office of his publisher. She’s read the first several hundred pages of his manuscript — and hates them.\u003c/p>\n\u003cp>Adrian’s attention to detail, which helps him solve crimes, apparently doesn’t help so much when it comes to writing memoirs — especially when he goes on for pages about how one murder suspect and he coincidentally used the exact same model of vacuum cleaner. The publisher delivers the blow that she’s rejecting Adrian’s manuscript — and she demands he returns the advance.\u003c/p>\n\u003cfigure id=\"attachment_13939342\" class=\"wp-caption aligncenter\" style=\"max-width: 851px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939342\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de.jpg\" alt=\"A smiling woman wearing a white shirt places something in the jacket pocket of an older man.\" width=\"851\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de.jpg 851w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-768x576.jpg 768w\" sizes=\"(max-width: 851px) 100vw, 851px\">\u003cfigcaption class=\"wp-caption-text\">Molly (Caitlin McGee) helps look after Monk (Tony Shalhoub) in ‘Mr. Monk’s Last Case.’ \u003ccite>(Steve Wilkie/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The publisher’s concern that people may not care as much about Monk after all these years is a sly little nod to what this TV movie is facing. It’s waited so long to reintroduce the character that it’s a whole new world out here — reflected by the fact that \u003cem>Mr. Monk’s Last Case \u003c/em>is premiering not on cable, but streaming on Peacock.\u003c/p>\n\u003cp>[aside postid='arts_13939170']But Adrian Monk and his cohorts do just fine in their 2023 return. Shalhoub slips back into the character with assurance and precision, nailing the comedy in each scene while making room for some somber tones of loss and depression.\u003c/p>\n\u003cp>This movie sequel, however, is anything but depressing. It’s TV comfort food, and it’s enjoyable to catch up not only with Adrian Monk, but with his castmates from the original series. The title of this new Peacock movie is \u003cem>Mr. Monk’s Last Case —\u003c/em> but given how well its ingredients fold together, I wouldn’t necessarily take that title literally.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Monk%27+returns+for+one+%27Last+Case%27+and+it%27s+a+heaping+serving+of+TV+comfort+food&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>‘Mr. Monk’s Last Case’ is streaming now on Peacock.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The USA Network detective series \u003cem>Monk\u003c/em>, like its title character, always stood out as being a little … unusual.\u003c/p>\n\u003cp>An hour-long police procedural, the show aired from 2002 until 2009 and presented a different murder to solve each episode. Yet — like the classic TV series \u003cem>Columbo\u003c/em> — it not only focused on the particulars of its central mystery, but also took time to have fun with the quirky brilliance of its lead investigator, Adrian Monk (played by \u003ca href=\"https://www.npr.org/2018/07/31/634299761/tony-shalhoub-on-mrs-maisel-and-questioning-his-worth-as-an-actor\">Tony Shalhoub\u003c/a>), who had obsessive-compulsive disorder. Now, after almost 15 years, Shalhoub and most of his original castmates are back, in a new movie on the Peacock streaming service, titled \u003cem>Mr. Monk’s Last Case.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Unfortunately, Adrian’s fears and compulsions didn’t leave him, and while working obsessively on his memoirs, he became a relative recluse. The outbreak of COVID didn’t help, but his stepdaughter Molly, a newly introduced character played by Caitlin McGee, moved in with Adrian during the pandemic. She quickly became the most important person in his life, and he was so grateful, he promised to use his book advance to pay for her impending wedding.\u003c/p>\n\u003cp>As this new \u003cem>Monk \u003c/em>movie begins, all seems fine — but not for long. Very quickly, there’s a murder that Adrian feels compelled to solve. And even before that, there’s bad news when Adrian visits the office of his publisher. She’s read the first several hundred pages of his manuscript — and hates them.\u003c/p>\n\u003cp>Adrian’s attention to detail, which helps him solve crimes, apparently doesn’t help so much when it comes to writing memoirs — especially when he goes on for pages about how one murder suspect and he coincidentally used the exact same model of vacuum cleaner. The publisher delivers the blow that she’s rejecting Adrian’s manuscript — and she demands he returns the advance.\u003c/p>\n\u003cfigure id=\"attachment_13939342\" class=\"wp-caption aligncenter\" style=\"max-width: 851px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939342\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de.jpg\" alt=\"A smiling woman wearing a white shirt places something in the jacket pocket of an older man.\" width=\"851\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de.jpg 851w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-768x576.jpg 768w\" sizes=\"(max-width: 851px) 100vw, 851px\">\u003cfigcaption class=\"wp-caption-text\">Molly (Caitlin McGee) helps look after Monk (Tony Shalhoub) in ‘Mr. Monk’s Last Case.’ \u003ccite>(Steve Wilkie/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The publisher’s concern that people may not care as much about Monk after all these years is a sly little nod to what this TV movie is facing. It’s waited so long to reintroduce the character that it’s a whole new world out here — reflected by the fact that \u003cem>Mr. Monk’s Last Case \u003c/em>is premiering not on cable, but streaming on Peacock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Adrian Monk and his cohorts do just fine in their 2023 return. Shalhoub slips back into the character with assurance and precision, nailing the comedy in each scene while making room for some somber tones of loss and depression.\u003c/p>\n\u003cp>This movie sequel, however, is anything but depressing. It’s TV comfort food, and it’s enjoyable to catch up not only with Adrian Monk, but with his castmates from the original series. The title of this new Peacock movie is \u003cem>Mr. Monk’s Last Case —\u003c/em> but given how well its ingredients fold together, I wouldn’t necessarily take that title literally.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Monk%27+returns+for+one+%27Last+Case%27+and+it%27s+a+heaping+serving+of+TV+comfort+food&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>‘Mr. Monk’s Last Case’ is streaming now on Peacock.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Barbie’ Leads Golden Globe Nominations With 9, Followed by ‘Oppenheimer’",
"headTitle": "‘Barbie’ Leads Golden Globe Nominations With 9, Followed by ‘Oppenheimer’ | KQED",
"content": "\u003cp>Greta Gerwig’s \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a> dominated the Golden Globe Awards nominations with nine nods for the blockbuster film, including best picture musical or comedy as well as acting nominations for Margot Robbie and Ryan Gosling, and three of its original songs.\u003c/p>\n\u003cp>It was closely followed by its release date and \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">meme companion\u003c/a> Christopher Nolan’s \u003cem>Oppenheimer\u003c/em>, which scored eight nominations, including best picture drama and for actors Cillian Murphy, Robert Downey Jr. and Emily Blunt.\u003c/p>\n\u003cp>[aside postid='arts_13931753']The revamped group, now a for-profit endeavor with a larger and more diverse voting body, announced nominations Monday for its January awards show, after scandal and several troubled years, including one without a broadcast. Cedric the Entertainer and Wilmer Valderrama presided over the announcements from the Beverly Hilton Hotel, where the show will also take place on Jan. 7.\u003c/p>\n\u003cp>Films nominated for best motion picture drama included \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a>, Martin Scorsese’s \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>, Bradley Cooper’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13938332/maestro-bradley-cooper-review\">Maestro\u003c/a>\u003c/em>, Celine Song’s \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>, Justine Triet’s \u003cem>Anatomy of a Fall\u003c/em> and Jonathan Glazer’s \u003cem>The Zone of Interest\u003c/em>.\u003c/p>\n\u003cp>In the best motion picture musical or comedy category, \u003cem>Barbie\u003c/em> was joined by \u003cem>Air\u003c/em>, \u003cem>American Fiction\u003c/em>, \u003cem>The Holdovers\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yorgos Lanthimos’ \u003cem>Poor Things\u003c/em> and Scorsese’s \u003cem>Killers of the Flower Moon\u003c/em> both received seven nominations each.\u003cem> Poor Things\u003c/em> saw nominations for Lanthimos, its actors Emma Stone, Mark Ruffalo, Willem Dafoe, and Tony McNamara for screenplay. \u003cem>Killers of the Flower Moon\u003c/em> got nods for Scorsese, for direction and co-writing the screenplay with Eric Roth, and stars Leonardo DiCaprio, Lily Gladstone and Robert De Niro.\u003c/p>\n\u003cp>[aside postid='arts_13938158']Stone, who was also nominated for the Showtime series \u003cem>The Curse\u003c/em>, said in a statement that she was “Feeling extremely bewildered and thankful for it all.” She also said her \u003cem>Poor Things\u003c/em> character Bella Baxter is her favorite and that she was “so grateful for the opportunity to be a part of this magical film experience.”\u003c/p>\n\u003cp>DiCaprio also used his statement to praise Gladstone: “She is the soul of our film and helped to bring this sinister and painful part of our nation’s history to life,” he wrote. The film is about the murders of wealthy Osage individuals in Oklahoma in the early 20th century.\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em> tied for second-most nominations in Globes history with \u003cem>Cabaret\u003c/em>, from 1972. Robert Altman’s \u003cem>Nashville\u003c/em> remains the record-holder with 11 nominations. It went into the morning as a favorite top, and got a big boost from its three original song nominations, including “I’m Just Ken,” and one of the year’s new categories, recognizing cinematic and box office achievement. One person who was not nominated was America Ferrera, who delivered the movie’s most memorable monologue.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13926773/succession-returns-for-a-fourth-and-final-season-of-family-back-stabbing\">\u003cem>Succession\u003c/em>\u003c/a> was the top-nominated television program, with nine nods including for series stars Brian Cox, Jeremy Strong, Sarah Snook and Kieran Culkin, followed by Hulu’s \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13938143']As always there were some big surprises, like Jennifer Lawrence getting nominated for her bawdy R-rated comedy \u003ca href=\"https://www.kqed.org/arts/13930807/jennifer-lawrences-new-raunchy-teen-comedy-is-better-than-it-should-be\">\u003cem>No Hard Feelings\u003c/em>\u003c/a> for best performance by a female actor in a musical or comedy. She was nominated alongside Robbie, Stone and Fantasia Barrino (\u003cem>The Color Purple\u003c/em>), Natalie Portman (\u003cem>May December\u003c/em>) and Alma Pöysti (\u003cem>Fallen Leaves\u003c/em>).\u003c/p>\n\u003cp>Lawrence, in a statement, said she had so much fun making the movie that “it almost feels wrong to accept such an honor — but I will!!!… I cannot wait for some lukewarm Chardonnay. Let’s go!!!”\u003c/p>\n\u003cp>\u003cem>The Color Purple\u003c/em> was expected to do better. The adaption of the stage musical got only two nominations total, both for actors, for Barrino and Danielle Brooks for her supporting performance. Left out was \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a>, who was nominated for best drama actor for \u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Cord Jefferson’s comedy \u003cem>American Fiction\u003c/em> also came up with only two nods, best musical or comedy and for lead actor Jeffrey Wright.\u003c/p>\n\u003cp>Sofia Coppola’s widely acclaimed \u003ca href=\"https://www.kqed.org/arts/13936970/priscilla-movie-review-sofia-coppola-jacob-elordi-cailee-spaeny\">\u003cem>Priscilla\u003c/em>\u003c/a> got only one nomination, for actor Cailee Spaeny’s portrayal of Priscilla Presley. Her category mates in best female performance in a drama include Gladstone, Annette Bening for \u003ca href=\"https://www.kqed.org/arts/13936754/nyad-movie-review-true-story-jodie-foster-swimming-annette-bening\">\u003cem>Nyad\u003c/em>\u003c/a>, Sandra Hüller for \u003cem>Anatomy of a Fall\u003c/em>, Greta Lee for\u003cem> Past Lives\u003c/em> and Carey Mulligan for \u003cem>Maestro\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13936970']The Globes won’t have to worry about anyone criticizing its “all male” directors this year, however. Gerwig was nominated as was Celine Song, for her romantic debut \u003cem>Past Lives\u003c/em>, alongside Nolan, Scorsese, Cooper and Lanthimos.\u003c/p>\n\u003cp>Netflix got the most nominations overall, with 13 total for a slate which included \u003cem>Maestro\u003c/em>, \u003cem>May December\u003c/em> and \u003cem>Rustin\u003c/em>, followed by Warner Bros., which made \u003cem>Barbie\u003c/em> and \u003cem>The Color Purple\u003c/em> with 12.\u003c/p>\n\u003cp>Ridley Scott’s \u003ca href=\"https://www.kqed.org/arts/13938168/ridley-scott-napoleon-movie-review-joaquin-phoenix\">\u003cem>Napoleon\u003c/em>\u003c/a> was not nominated at all. Instead, its star Joaquin Phoenix was recognized for \u003cem>Beau Is Afraid\u003c/em> in the lead actor comedy/musical category, with Wright, Matt Damon (\u003cem>Air\u003c/em>), Nicolas Cage (\u003ca href=\"https://www.kqed.org/arts/13937870/dream-scenario-movie-review-nicolas-cage-julianne-nicholson-kristoffer-borgli\">\u003cem>Dream Scenario\u003c/em>\u003c/a>), Timothée Chalamet (\u003cem>Wonka\u003c/em>) and Paul Giamatti (\u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>). Michael Mann’s \u003cem>Ferrari\u003c/em>, with Adam Driver, and Wes Anderson’s starry \u003ca href=\"https://www.kqed.org/arts/13930502/asteroid-city-review-wes-anderson-scarlet-johansson-jason-schwartzman\">\u003cem>Asteroid City\u003c/em>\u003c/a> also got zero nominations.\u003c/p>\n\u003cp>The voting body has now grown to 300 members, following backlash to a 2021 report in the \u003cem>Los Angeles Times\u003c/em> that found that there were zero Black members in the group that was then composed of only 87 foreign journalists.\u003c/p>\n\u003cp>Perhaps as a result, there were more international films and actors nominated in prominent categories including the Finnish comedy \u003cem>Fallen Leaves\u003c/em>, the courtroom thriller \u003cem>Anatomy of a Fall\u003c/em> and the harrowing Auschwitz drama \u003cem>The Zone of Interest\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13923511']The 81st Golden Globes will be the first major broadcast of awards season, with a new home on CBS, but no word on a host. And while to audiences it might look similar on the surface, it’s been tumultuous few years behind the scenes in the aftermath of the \u003cem>L.A. Times\u003c/em> report, which also exposed ethical lapses like its members accepting lavish gifts and travel from awards publicists and studios.\u003c/p>\n\u003cp>The Globes had long been one of the highest-profile awards season broadcasts, second only to the Oscars. Before the pandemic, it was still pulling in around 19 million viewers. The show was touted as a boozy, A-list party, whose hosts often took a more irreverent tone than their academy counterparts. It also only honored the flashiest filmmaking categories — picture, director, actors among them — meaning no long speeches from visual effects supervisors or directors of shorts no one has heard of.\u003c/p>\n\u003cp>Some years, the HFPA were pilloried for nominating poorly reviewed films with big name talent with hopes of getting them to the show, the most infamous being \u003cem>The Tourist\u003c/em>, with Angelina Jolie and Johnny Depp. In the past decade, they’ve more often overlapped with the Oscars.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This year, NBC’s Tuesday night broadcast got its smallest audience ever for a traditional broadcast, with 6.3 million viewers.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Greta Gerwig’s \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a> dominated the Golden Globe Awards nominations with nine nods for the blockbuster film, including best picture musical or comedy as well as acting nominations for Margot Robbie and Ryan Gosling, and three of its original songs.\u003c/p>\n\u003cp>It was closely followed by its release date and \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">meme companion\u003c/a> Christopher Nolan’s \u003cem>Oppenheimer\u003c/em>, which scored eight nominations, including best picture drama and for actors Cillian Murphy, Robert Downey Jr. and Emily Blunt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The revamped group, now a for-profit endeavor with a larger and more diverse voting body, announced nominations Monday for its January awards show, after scandal and several troubled years, including one without a broadcast. Cedric the Entertainer and Wilmer Valderrama presided over the announcements from the Beverly Hilton Hotel, where the show will also take place on Jan. 7.\u003c/p>\n\u003cp>Films nominated for best motion picture drama included \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a>, Martin Scorsese’s \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>, Bradley Cooper’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13938332/maestro-bradley-cooper-review\">Maestro\u003c/a>\u003c/em>, Celine Song’s \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>, Justine Triet’s \u003cem>Anatomy of a Fall\u003c/em> and Jonathan Glazer’s \u003cem>The Zone of Interest\u003c/em>.\u003c/p>\n\u003cp>In the best motion picture musical or comedy category, \u003cem>Barbie\u003c/em> was joined by \u003cem>Air\u003c/em>, \u003cem>American Fiction\u003c/em>, \u003cem>The Holdovers\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yorgos Lanthimos’ \u003cem>Poor Things\u003c/em> and Scorsese’s \u003cem>Killers of the Flower Moon\u003c/em> both received seven nominations each.\u003cem> Poor Things\u003c/em> saw nominations for Lanthimos, its actors Emma Stone, Mark Ruffalo, Willem Dafoe, and Tony McNamara for screenplay. \u003cem>Killers of the Flower Moon\u003c/em> got nods for Scorsese, for direction and co-writing the screenplay with Eric Roth, and stars Leonardo DiCaprio, Lily Gladstone and Robert De Niro.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Stone, who was also nominated for the Showtime series \u003cem>The Curse\u003c/em>, said in a statement that she was “Feeling extremely bewildered and thankful for it all.” She also said her \u003cem>Poor Things\u003c/em> character Bella Baxter is her favorite and that she was “so grateful for the opportunity to be a part of this magical film experience.”\u003c/p>\n\u003cp>DiCaprio also used his statement to praise Gladstone: “She is the soul of our film and helped to bring this sinister and painful part of our nation’s history to life,” he wrote. The film is about the murders of wealthy Osage individuals in Oklahoma in the early 20th century.\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em> tied for second-most nominations in Globes history with \u003cem>Cabaret\u003c/em>, from 1972. Robert Altman’s \u003cem>Nashville\u003c/em> remains the record-holder with 11 nominations. It went into the morning as a favorite top, and got a big boost from its three original song nominations, including “I’m Just Ken,” and one of the year’s new categories, recognizing cinematic and box office achievement. One person who was not nominated was America Ferrera, who delivered the movie’s most memorable monologue.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13926773/succession-returns-for-a-fourth-and-final-season-of-family-back-stabbing\">\u003cem>Succession\u003c/em>\u003c/a> was the top-nominated television program, with nine nods including for series stars Brian Cox, Jeremy Strong, Sarah Snook and Kieran Culkin, followed by Hulu’s \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As always there were some big surprises, like Jennifer Lawrence getting nominated for her bawdy R-rated comedy \u003ca href=\"https://www.kqed.org/arts/13930807/jennifer-lawrences-new-raunchy-teen-comedy-is-better-than-it-should-be\">\u003cem>No Hard Feelings\u003c/em>\u003c/a> for best performance by a female actor in a musical or comedy. She was nominated alongside Robbie, Stone and Fantasia Barrino (\u003cem>The Color Purple\u003c/em>), Natalie Portman (\u003cem>May December\u003c/em>) and Alma Pöysti (\u003cem>Fallen Leaves\u003c/em>).\u003c/p>\n\u003cp>Lawrence, in a statement, said she had so much fun making the movie that “it almost feels wrong to accept such an honor — but I will!!!… I cannot wait for some lukewarm Chardonnay. Let’s go!!!”\u003c/p>\n\u003cp>\u003cem>The Color Purple\u003c/em> was expected to do better. The adaption of the stage musical got only two nominations total, both for actors, for Barrino and Danielle Brooks for her supporting performance. Left out was \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a>, who was nominated for best drama actor for \u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Cord Jefferson’s comedy \u003cem>American Fiction\u003c/em> also came up with only two nods, best musical or comedy and for lead actor Jeffrey Wright.\u003c/p>\n\u003cp>Sofia Coppola’s widely acclaimed \u003ca href=\"https://www.kqed.org/arts/13936970/priscilla-movie-review-sofia-coppola-jacob-elordi-cailee-spaeny\">\u003cem>Priscilla\u003c/em>\u003c/a> got only one nomination, for actor Cailee Spaeny’s portrayal of Priscilla Presley. Her category mates in best female performance in a drama include Gladstone, Annette Bening for \u003ca href=\"https://www.kqed.org/arts/13936754/nyad-movie-review-true-story-jodie-foster-swimming-annette-bening\">\u003cem>Nyad\u003c/em>\u003c/a>, Sandra Hüller for \u003cem>Anatomy of a Fall\u003c/em>, Greta Lee for\u003cem> Past Lives\u003c/em> and Carey Mulligan for \u003cem>Maestro\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Globes won’t have to worry about anyone criticizing its “all male” directors this year, however. Gerwig was nominated as was Celine Song, for her romantic debut \u003cem>Past Lives\u003c/em>, alongside Nolan, Scorsese, Cooper and Lanthimos.\u003c/p>\n\u003cp>Netflix got the most nominations overall, with 13 total for a slate which included \u003cem>Maestro\u003c/em>, \u003cem>May December\u003c/em> and \u003cem>Rustin\u003c/em>, followed by Warner Bros., which made \u003cem>Barbie\u003c/em> and \u003cem>The Color Purple\u003c/em> with 12.\u003c/p>\n\u003cp>Ridley Scott’s \u003ca href=\"https://www.kqed.org/arts/13938168/ridley-scott-napoleon-movie-review-joaquin-phoenix\">\u003cem>Napoleon\u003c/em>\u003c/a> was not nominated at all. Instead, its star Joaquin Phoenix was recognized for \u003cem>Beau Is Afraid\u003c/em> in the lead actor comedy/musical category, with Wright, Matt Damon (\u003cem>Air\u003c/em>), Nicolas Cage (\u003ca href=\"https://www.kqed.org/arts/13937870/dream-scenario-movie-review-nicolas-cage-julianne-nicholson-kristoffer-borgli\">\u003cem>Dream Scenario\u003c/em>\u003c/a>), Timothée Chalamet (\u003cem>Wonka\u003c/em>) and Paul Giamatti (\u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>). Michael Mann’s \u003cem>Ferrari\u003c/em>, with Adam Driver, and Wes Anderson’s starry \u003ca href=\"https://www.kqed.org/arts/13930502/asteroid-city-review-wes-anderson-scarlet-johansson-jason-schwartzman\">\u003cem>Asteroid City\u003c/em>\u003c/a> also got zero nominations.\u003c/p>\n\u003cp>The voting body has now grown to 300 members, following backlash to a 2021 report in the \u003cem>Los Angeles Times\u003c/em> that found that there were zero Black members in the group that was then composed of only 87 foreign journalists.\u003c/p>\n\u003cp>Perhaps as a result, there were more international films and actors nominated in prominent categories including the Finnish comedy \u003cem>Fallen Leaves\u003c/em>, the courtroom thriller \u003cem>Anatomy of a Fall\u003c/em> and the harrowing Auschwitz drama \u003cem>The Zone of Interest\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The 81st Golden Globes will be the first major broadcast of awards season, with a new home on CBS, but no word on a host. And while to audiences it might look similar on the surface, it’s been tumultuous few years behind the scenes in the aftermath of the \u003cem>L.A. Times\u003c/em> report, which also exposed ethical lapses like its members accepting lavish gifts and travel from awards publicists and studios.\u003c/p>\n\u003cp>The Globes had long been one of the highest-profile awards season broadcasts, second only to the Oscars. Before the pandemic, it was still pulling in around 19 million viewers. The show was touted as a boozy, A-list party, whose hosts often took a more irreverent tone than their academy counterparts. It also only honored the flashiest filmmaking categories — picture, director, actors among them — meaning no long speeches from visual effects supervisors or directors of shorts no one has heard of.\u003c/p>\n\u003cp>Some years, the HFPA were pilloried for nominating poorly reviewed films with big name talent with hopes of getting them to the show, the most infamous being \u003cem>The Tourist\u003c/em>, with Angelina Jolie and Johnny Depp. In the past decade, they’ve more often overlapped with the Oscars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year, NBC’s Tuesday night broadcast got its smallest audience ever for a traditional broadcast, with 6.3 million viewers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-trends-of-2023",
"title": "The Bay Area's Hottest, Weirdest, Worst and Funniest Trends of 2023",
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"headTitle": "The Bay Area’s Hottest, Weirdest, Worst and Funniest Trends of 2023 | KQED",
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"content": "\u003cp>Welcome to our list of Bay Area arts and culture trends in 2023. Notably, it was a year that few are describing as “the worst year ever,” as many year-end listmakers were understandably wont to do for a while. We also suppose this list could have included things like AI, driverless cars, robot deliveries and the metaverse. It was just Tom Waits’ birthday; \u003ca href=\"https://www.goodreads.com/quotes/195963-we-are-buried-beneath-the-weight-of-information-which-is\">let’s let him weigh in\u003c/a>. \u003c/p>\n\u003cp>Here’s to you all, individually and collectively, \u003ca href=\"https://www.youtube.com/watch?v=q8AMZmWqgRM\">love and happiness\u003c/a> in 2024. \u003c/p>\n\u003cfigure id=\"attachment_13937426\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-scaled.jpg\" alt=\"A blonde woman with a microphone is on stage performing.\" width=\"2560\" height=\"1815\" class=\"size-full wp-image-13937426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-2048x1452.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1920x1361.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs onstage during The Eras Tour at Levi’s Stadium on July 28, 2023 in Santa Clara. \u003ccite>(Jeff Kravitz/TAS23/Getty Images for TAS Rights Management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Return of the Monoculture\u003c/h2>\n\u003cp>Twelve years after Touré’s defining treatise “\u003ca href=\"https://www.salon.com/2011/09/29/how_niches_killed_culture/\">Why I Miss the Monoculture\u003c/a>,” the monoculture is back, for better or for worse. Taylor Swift alone absolutely dominated the \u003ca href=\"https://www.billboard.com/music/chart-beat/taylor-swift-1989-taylors-version-top-album-sales-chart-1235464968/\">recording\u003c/a>, \u003ca href=\"https://www.normantranscript.com/community/taylor-swift-is-spotify-s-most-streamed-artist-of-2023-ending-bad-bunnys-3-year/article_daecf7f8-8fa4-11ee-8337-5f9be5f11a35.html\">streaming\u003c/a> and \u003ca href=\"https://www.billboard.com/pro/taylor-swift-eras-tour-top-grossing-global-tour/\">touring\u003c/a> industry, while captivating the \u003ca href=\"https://ew.com/movies/taylor-swift-eras-tour-concert-film-tops-box-office-breaks-global-record/\">box office\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13937413/uc-berkeleys-taylor-swift-business-class-set-for-2024\">UC system\u003c/a>, \u003ca href=\"https://time.com/6342806/person-of-the-year-2023-taylor-swift/\">\u003cem>TIME\u003c/em> magazine\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">our nation’s elected officials\u003c/a> — and Beyoncé was \u003ca href=\"https://variety.com/2023/music/news/beyonce-record-most-grammy-wins-all-time-1235513412/\">not far behind\u003c/a>. \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> took the nation’s multiplexes \u003ca href=\"https://variety.com/2023/film/box-office/summer-box-office-hits-4-billion-barbie-oppenheimer-1235712314/\">by storm\u003c/a>, and superhero franchises like \u003cem>Guardians of the Galaxy\u003c/em>, \u003cem>Spider-Man\u003c/em> and \u003cem>Ant-Man\u003c/em> filled out the \u003ca href=\"https://www.boxofficemojo.com/year/2023/\">Top 10 box office list\u003c/a>. In other words, if you needed common ground to talk about with coworkers, you had plenty to pick from this year.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13894605\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13894605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Immersive van Gogh at SVN West, San Francisco. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The End of Immersive ‘Art Experiences’\u003c/h2>\n\u003cp>Let me tell you one thing I didn’t miss this year: being immersed in a so-called art experience. 2022 was full of \u003ca href=\"https://www.kqed.org/arts/13894558/immersive-van-gogh-review-san-francisco\">Immersive van Gogh\u003c/a> spawn (a frankly offensive Frida Kahlo, a fine-by-comparison \u003ca href=\"https://www.kqed.org/arts/13909273/review-imagine-picasso-immersive-san-francisco\">Picasso thing\u003c/a> at the Armory). Those events, in turn, were the immaterial outcome of the \u003ca href=\"https://www.kqed.org/arts/13804930/no-filter-necessary-in-sfs-instagram-ready-color-factory\">Color Factory\u003c/a>, the Museum of Ice Cream and (my personal least favorite) the \u003ca href=\"https://www.kqed.org/arts/13861247/the-90s-experience-instagram\">90’s Experience\u003c/a>. Strangely, we’ve now come full circle: the immersive photo-op has phase-shifted back into physical artwork and taken up residence at our largest museum, courtesy of SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13935810/yayoi-kusama-sfmoma-infinite-love-review\">Yayoi Kusama exhibition\u003c/a>, which literally costs $10 a minute. If museums learned one thing from all the immersive offshoots over the years, it’s that people will pay top dollar for a limited amount of time in an audio-visual experience utterly stripped of context.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939100\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401.jpg\" alt=\"\" width=\"848\" height=\"566\" class=\"size-full wp-image-13939100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401.jpg 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-768x513.jpg 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">If San Francisco’s new marketing campaign slogan sounds familiar, well… (seen here: a sign in Las Vegas.) \u003ccite>(Darren Asay/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Spending Millions Trying to Rebrand Itself\u003c/h2>\n\u003cp>Imagine you live elsewhere, and your understanding of San Francisco is essentially Fox News footage of people pillaging Walgreens. But wait! You encounter a bus ad: “\u003ca href=\"https://www.nytimes.com/2023/10/19/us/san-francisco-ad-campaign.html\">It All Starts Here\u003c/a>.” Are you overcome with desire to travel to SF? How about “\u003ca href=\"https://www.youtube.com/watch?v=3RkuigBlSLg\">Always San Francisco\u003c/a>,” does that do anything for you? This is, as far as I can tell, the scenario on which city leaders and a handful of tech billionaires wagered a combined $10 million in 2023, attempting to reverse reputational damage caused by a dearth of affordable housing, an absurd cost of living and a devastating fentanyl crisis \u003cem>with marketing\u003c/em>. Does this feel a little like the captain of the Titanic launching a social media rebrand mid-collision? Sure! Do nuanced discussions of public health, inequality and long-term investments in the arts make for snappy copy in politicians’ campaign materials? Not really! But hey, maybe we just haven’t come up with the right slogan yet. In the meantime, we have this new “\u003ca href=\"https://sfstandard.com/2023/10/04/san-francisco-anthem-premiere-johns-grill/\">San Francisco theme song\u003c/a>,” about which I will say: \u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">We miss you, Tony Bennett\u003c/a>.\u003cem>—Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop.jpg\" alt=\"A hand reaches to pick up an icy pink beverage. There's also a iced chocolate drink and a plate of corn roti on the table.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13925324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dek Doi Cafe’s Thai-style “pink milk” and street food style sweet roti.\u003c/figcaption>\u003c/figure>\n\u003ch2>The Bay Area’s (Mom-and-Pop) Restaurant Scene Isn’t Dead Yet\u003c/h2>\n\u003cp>These days, keeping a restaurant afloat in the Bay Area seems like an impossible task — an unwinnable battle against \u003ca href=\"https://www.sfgate.com/food/article/oakland-restaurants-crime-closure-18373900.php\">thieves\u003c/a>, \u003ca href=\"https://www.instagram.com/p/Cz2mhcvLNwW/\">vandals\u003c/a> and an overall “\u003ca href=\"https://www.sfchronicle.com/bayarea/article/cafe-international-lower-haight-18339072.php\">sea of lawlessness\u003c/a>.” Or so goes the prevailing narrative, anyway. A few Oakland restaurateurs even declared a (\u003ca href=\"https://oaklandside.org/2023/09/27/strike-oakland-business-closure-protest/\">largely overblown, hour-long\u003c/a>) “strike” in protest. And it’s true that crime (and, nearly as bad, \u003ca href=\"https://www.kqed.org/arts/13933006/hina-yakitori-closing-grilled-chicken-omakase-san-francisco\">the \u003cem>perception\u003c/em> of crime\u003c/a>) is a real concern. This isn’t an economy that leaves much margin for error, and the sheer economics of the Bay have snuffed out a lot of \u003ca href=\"https://www.bonappetit.com/story/sf-bay-area-dining-problem-opinion\">innovation at the highest end\u003c/a>. Still, anyone lamenting the death of Bay Area food hasn’t been eating out at the same places we have — not when 2023 has gifted us with S-tier \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">Haitian comfort food\u003c/a>, idiosyncratic little Thai cafes serving dessert rotis and “\u003ca href=\"https://www.kqed.org/arts/13925310/dek-doi-cafe-pink-milk-thai-bl-oakland\">gay pink milk\u003c/a>,” and joyously off-kilter \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/egglicious-india-san-jose-18193681.php\">Indian egg restaurants\u003c/a>. Now as always, when it comes to niche, street-level mom-and-pops, the Bay remains undefeated.\u003cem>—Luke Tsai\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939096\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans of the Oakland A’s gather during a reverse boycott at the Oakland Coliseum to protest the ownership of the baseball team on June 13, 2023. \u003ccite>(Aryk Copley/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The A’s Resent You\u003c/h2>\n\u003cp>Well, the A’s \u003cem>owners\u003c/em> do, at least. That much was confirmed in 2023, during which, instead of my usual seven or eight games at \u003ca href=\"https://twitter.com/gmeline/status/1179463946631184384\">the greatest ballpark in America\u003c/a>, I could only bring myself to go to one. Finally, after years of neglect, the A’s owner — I’d say his name, but it’d have to be accompanied by the foulest string of obscenities imaginable — acquired approval from Major League Baseball to move the whole sad, desiccated team southward to sad, desiccated Las Vegas. Sure, there’s \u003ca href=\"https://www.kqed.org/news/11968536/new-oakland-ballers-baseball-team-aims-to-keep-the-sport-in-the-city\">another baseball team coming to town\u003c/a>. But 2023 was the year of the “SELL” T-shirt, and the broken hearts of longtime fans.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13937172\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-scaled.jpg\" alt=\"A person stands holding a sign with a building in the background.\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13937172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Soha Leach, 42, poses in front of a marching crowd at the ‘Stop the Genocide in Gaza’ rally at the Embarcadero in San Francisco on Saturday, Oct. 28. \u003ccite>(Olivia Cruz Mayeda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Pro-Palestinian Uprising Larger Than Ever\u003c/h2>\n\u003cp>This year saw the largest, most cohesive wave of \u003ca href=\"https://www.kqed.org/arts/13937170/the-art-of-protest-in-san-francisco-5-messages-from-the-gaza-rally\">pro-Palestinian protests\u003c/a> ever. In the Bay Area, Richmond became the \u003ca href=\"https://www.kron4.com/news/bay-area/richmond-city-council-passes-resolution-showing-solidarity-with-gaza/\">first American city\u003c/a> to pass a ceasefire resolution, \u003ca href=\"https://www.kqed.org/news/11968400/oakland-city-council-set-to-vote-on-gaza-cease-fire-resolution\">followed by Oakland\u003c/a>. Bay Area artists, in particular, \u003ca href=\"https://www.kqed.org/arts/13938450/400-bay-area-artists-palestine-bds-pacbi-letter\">rallied in protest\u003c/a> of Israel’s most recent siege of Gaza, which has so far killed \u003ca href=\"https://www.middleeasteye.net/live-blog/live-blog-update/gaza-death-toll-passes-15000-palestinian-official-says?nid=322376&topic=Israel-Palestine%2520war&fid=491046\">more than 15,000\u003c/a> Palestinians. Artists \u003ca href=\"https://www.kqed.org/arts/13937219/bay-area-artists-palestinian-childrens-relief-fund-continental-club\">raised upwards of $13,000\u003c/a> for Palestinian children at a November fundraiser in Oakland, matched in the restaurant scene with support for and by Palestinian \u003ca href=\"https://abc7news.com/israel-hamas-war-giving-back-to-gaza-fundraiser-san-jose-business-el-halal-amigos/13968097/\">businesses and eateries\u003c/a> here in the Bay Area. Even local surfers got involved, \u003ca href=\"https://www.kqed.org/arts/13937866/local-surfers-screening-gaza-surf-club\">screening\u003c/a> the documentary \u003cem>Gaza Surf Club\u003c/em> to call upon their community to advocate for a ceasefire. With their dollars, poetry, policy, \u003ca href=\"https://www.kqed.org/arts/13938619/porch-party-oakland-pop-up-art-activism-community\">food\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13938450/400-bay-area-artists-palestine-bds-pacbi-letter\">organized boycotts\u003c/a>, Bay Area folks are showing up for Palestinians now more than ever.\u003cem>—Olivia Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13848951\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg\" alt=\"Signage at Bandcamp's new Oakland offices goes up on Jan. 17, 2019.\" width=\"1100\" height=\"751\" class=\"size-full wp-image-13848951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-1020x696.jpg 1020w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Signage at Bandcamp’s Oakland offices goes up on Jan. 17, 2019. The downtown Oakland performance space and record showroom closed in 2023 shortly after Bandcamp’s sale to Songtradr. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Music Industry Making it Harder to Be an Artist — and Fan\u003c/h2>\n\u003cp>In 2023, we convinced ourselves that paying Ticketmaster hundreds of dollars in fees would be a fair exchange for experiencing a once-in-a-lifetime \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">Beyoncé tour\u003c/a>. But throughout the year, the ubiquitous ticketing company drove up prices for large and small concerts alike with those exorbitant add-on fees, all while its parent company, Live Nation, pocketed record profits. Meanwhile, \u003ca href=\"https://www.kqed.org/arts/13935406/fillmore-live-nation-on-road-again-touring-artists\">independent touring musicians\u003c/a> continued to lose money amidst post-pandemic gas prices and inflation. Songtradr bought Bandcamp and \u003ca href=\"https://www.kqed.org/arts/13936509/idiotic-and-cruel-musicians-slam-layoffs-at-bandcamp\">laid off staff\u003c/a> including the entire union bargaining committee, prompting a labor complaint, and Spotify announced that it will stop paying royalties on songs with under 1,000 streams. The music industry is \u003ca href=\"https://www.kqed.org/forum/2010101893314/how-musicians-are-navigating-streaming-algorithms-ai-and-automation\">increasingly stacked against up-and-coming musicians\u003c/a>, which is why it’s all the more important to be intentional about supporting our local artists.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938220\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut.jpg\" alt=\"Rubber gloved hand sprinkles chopped cilantro onto an oversized pupusa topped the meat.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13938220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Irma Morales sprinkles cilantro on a Birria Pupusa Pizza in the kitchen at Pupuseria Las Cabańas in Hayward, Calif. on Wednesday, Sept. 27, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Watch Me Eat This Pupusa The Size of Your Head and sMasH tHaT LiKe bUtToN!!\u003c/h2>\n\u003cp>Anyone chronically on TikTok and Instagram has probably already noticed this year’s biggest food trend: the proliferation of local, raucous, personality-driven food influencers. From the humorous caricatures of \u003ca href=\"https://www.instagram.com/thesnacksensei/?hl=en\">The Snack Sensei\u003c/a> and \u003ca href=\"https://www.instagram.com/bayareafoodz/\">BayAreaFoodz\u003c/a> to the health-focused feed of \u003ca href=\"https://www.kqed.org/arts/13915889/berkeley-vegan-food-festival-bizerkeley-vegan\">Bizerkeley Vegan\u003c/a> and lavish outings of \u003ca href=\"https://www.instagram.com/allie.eats/?hl=en\">Allie Eats\u003c/a> (nearly half a million followers combined between the four accounts), there’s more bombastic food-related content than ever from the Bay Area. Viral videos of an oversized pupusa or a pan dulce big enough to use as a literal pillow has fueled a \u003ca href=\"https://www.kqed.org/arts/13936325/social-media-biggest-pupusas-burritos-instagram-tiktok-latinextravagant-bay-area\">new wave of extravagant restaurateurs\u003c/a> catering to the frenzy by super-sizing, quadruple-dipping and gold-flaking everything under the sun — often collabing with foodie accounts to build hype. And all of our internet-marinated brains seem to be eating it up.\u003cem>—Alan Chazaro\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13931700\" class=\"wp-caption aligncenter\" style=\"max-width: 1630px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM.png\" alt='A blue sky background with a large Barbie logo in the center and a United airplane. Text around it reads: \"This Barbie is a dream. Now flying.\"' width=\"1630\" height=\"1196\" class=\"size-full wp-image-13931700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM.png 1630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-800x587.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-1020x748.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-768x564.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-1536x1127.png 1536w\" sizes=\"(max-width: 1630px) 100vw, 1630px\">\u003cfigcaption class=\"wp-caption-text\">This Barbie isn’t a Barbie. Now, knock it off, United. \u003ccite>(Instagram/ @united)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbie Burnout\u003c/h2>\n\u003cp>At first it was like, yay, \u003ca href=\"https://www.kqed.org/arts/13933011/its-billiongirlsummer-taylor-beyonce-and-barbie-made-for-one-epic-trifecta\">girly pop culture moment\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">female director from Sacramento making hella bank\u003c/a>, but then it was like, why is every commercial this very specific shade of pink and why are all the makeup stores pink, and the clothing stores, and the shoe stores, and why is that Burger King burger pink, and why is my Google search pink, and is it okay that everyone’s making \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">memes that combine Barbie and the actual atomic bomb\u003c/a>, and what the hell is an Ice Spice Munchkin, and isn’t it a bit weird that \u003ca href=\"https://www.kqed.org/arts/13931533/taylor-swift-irs-fbi-woke-gen-z-how-do-you-do-fellow-kidshttps://www.kqed.org/arts/13931533/taylor-swift-irs-fbi-woke-gen-z-how-do-you-do-fellow-kids\">the TSA used Barbie in a knives warning\u003c/a>, and isn’t the end of the movie where Barbie goes to the gynecologist actually lazy and reductive, and wouldn’t it have been better if she was in the Mattel CEO chair instead because women aren’t allowed that very often, and actually, just forget it, because even though \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">Allan is the literal greatest\u003c/a>, I want nothing to do with any of this now.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939095\" class=\"wp-caption aligncenter\" style=\"max-width: 928px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM.png\" alt=\"\" width=\"928\" height=\"274\" class=\"size-full wp-image-13939095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM.png 928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-800x236.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-160x47.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-768x227.png 768w\" sizes=\"(max-width: 928px) 100vw, 928px\">\u003cfigcaption class=\"wp-caption-text\">Thanks, Elon. \u003ccite>(X)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Billionaires Ruining the Internet’s Usefulness\u003c/h2>\n\u003cp>While TikTok continues to drive culture and dominate discourse among young people, adults like Elon Musk (“adults,” ha) couldn’t figure out what to do with their social media platforms if it walked up and hit them with a Cybertruck. Meta did what it always does and \u003ca href=\"https://www.kqed.org/arts/13931259/threads-meta-thanks-i-hate-it\">copied an existing platform\u003c/a> with Threads. BlueSky didn’t fully catch on, Mastodon is a distant memory, and BeReal kinda withered and died. And, in the midst of it all, Google Search became \u003ca href=\"https://www.reddit.com/r/SEO/comments/16yxzg0/google_is_no_longer_a_search_engine/\">more useless than ever\u003c/a>, prompting users seeking information to be fed pages of ads, or worse, \u003ca href=\"https://twitter.com/jakezward/status/1728032639402037610\">AI-generated garbage\u003c/a>. (This is where I repeat my catchphrase: \u003ca href=\"https://twitter.com/search?q=subscribe%20to%20a%20newspaper%20from%3Agmeline&src=typed_query&f=top\">subscribe to a newspaper\u003c/a>.)\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13923614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1455560954-scaled-e1673477731985.jpg\" alt=\"A stack of books featuring Prince Harry's face in close up, sit in a neat pile.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13923614\">\u003cfigcaption class=\"wp-caption-text\">Prince Harry’s memoir ‘Spare’ is offered for sale at a Barnes & Noble store on Jan. 10, 2023. \u003ccite>(Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Flood of Celebrity Memoirs\u003c/h2>\n\u003cp>The secret to publishing a NYT-bestselling blockbuster this year seemed to lie in aristocracy. Celebrity memoirs have never gone out of style, but the monumental success of Prince Harry’s \u003ca href=\"https://www.kqed.org/arts/13923613/dish-from-prince-harry-one-of-their-own-could-fuel-royal-change\">\u003cem>Spare\u003c/em>\u003c/a> and pop music royalty Britney Spears’ \u003ca href=\"https://www.kqed.org/arts/13936729/britney-spears-book-autobiography-the-woman-in-me-gallery-books\">\u003cem>The Woman in Me\u003c/em>\u003c/a>, which sold over 1.6 million and 1.1 million copies in the U.S. alone in their first weeks, shifted the spotlight back on the genre in 2023. For those of us seeking even more juicy, reflective stories from our aspirational tax bracket, memoirs from \u003ca href=\"https://www.kqed.org/arts/13937730/barbra-streisands-memoir-review-my-name-is-barbra\">Barbra Streisand\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13936614/dolly-parton-book-review-behind-the-seams-my-life-in-rhinestones\">Dolly Parton\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13930083/elliot-page-shares-struggles-and-former-selves-in-engaging-new-memoir\">Elliot Page\u003c/a>, \u003ca href=\"https://www.npr.org/2023/01/26/1151356491/pamela-anderson-book-memoir\">Pamela Anderson\u003c/a> and \u003ca href=\"https://www.npr.org/2023/10/17/1206140650/jada-pinkett-will-smith-tupac-worthy\">Jada Pinkett Smith\u003c/a> did not disappoint. Pro tip: These memoirs make great stocking stuffers for the pop culture fanatics in your life.\u003cem>—Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939097\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968.jpg\" alt=\"\" width=\"848\" height=\"566\" class=\"size-full wp-image-13939097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968.jpg 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-768x513.jpg 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">Pants! \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Great Pants Awakening\u003c/h2>\n\u003cp>I went to high school in the late aughts, when we all traded low-rise flares for skinny jeans, so I’ve been studying the latest Great Pants Awakening like an anthropologist, gathering data on BART and TikTok, and surveying friends and family members of all ages. Some millennials dared to break up with our beloved tapered legs and waist-cinching highrise trousers, while others clung on to their favorite cuts for dear life. Meanwhile, new pants styles challenged all generations to reconsider their notions of beauty, gender and even propriety. Unisex cargo pants paired with a baggy hoodie to hide the body; thong-revealing ultra-low-rise with nipple-baring mesh on top. It’s all fair game, and both looks can be seen on the same person in a given week. 2023 was all about poly-pantism: the way of the future.\u003cem>—Nastia Voynovskaya\u003c/em> \u003c/p>\n\u003cfigure id=\"attachment_13939094\" class=\"wp-caption aligncenter\" style=\"max-width: 1852px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin.jpg\" alt=\"\" width=\"1852\" height=\"1384\" class=\"size-full wp-image-13939094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin.jpg 1852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-1536x1148.jpg 1536w\" sizes=\"(max-width: 1852px) 100vw, 1852px\">\u003cfigcaption class=\"wp-caption-text\">The Albany Twin theater pictured on June 16, 2023, the day after its final movie screening. The theater had served Albany’s moviegoing public for 88 years. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Too Many Movie Theaters Biting the Dust\u003c/h2>\n\u003cp>Despite some hopeful reopenings such as San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13924146/4-star-theater-talk-movies-richmond-history-woody-labounty\">4-Star Theater\u003c/a>, the Bay Area’s movie theaters continue to roll credits and close down for good. The Albany Twin, the Century Theater in San Francisco’s Westfield Mall, the CGV (formerly the AMC) on Van Ness, the Rohnert Park Reading cinema and others all shuttered. “But we can watch movies at home now,” you might say! Joke’s on you, bub: fees for streaming subscriptions \u003ca href=\"https://variety.com/2023/digital/news/streaming-service-price-increase-1235784311/\">got significantly more expensive\u003c/a>. After three years of other \u003ca href=\"https://www.kqed.org/arts/13892596/historic-west-portal-theater-closes-permanently-due-to-pandemic\">tough-to-swallow theater closures\u003c/a>, and tumult for fans of \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">movies at the Castro\u003c/a>, we’re happy for even the \u003ca href=\"https://www.sfchronicle.com/realestate/article/s-f-real-estate-office-movie-theater-18431003.php\">smallest bit of good news\u003c/a> for local theaters.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"size-full wp-image-13939098\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The studio of San Francisco sign painter and pinstriper Lauren D’Amato at Headlands Center for the Arts, Oct. 22, 2023. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lots of Love for Sign Painting (and Signs in General) \u003c/h2>\n\u003cp>With a healthy local sign painting scene, it’s no surprise we saw a lot of this work in gallery spaces this year — and a greater appreciation for the artistry of signs, period. Lauren D’Amato’s \u003ca href=\"https://houseofseiko.info/complete_machine\">solo at House of Seiko\u003c/a> borrowed from real-life Bayview signs, and she later received the Headlands’ Tournesol Award for an emerging Bay Area painter. The \u003ca href=\"https://web-production-7d4c4.up.railway.app/pieces/pieces/pieces/shows/2/\">inaugural show at Berkeley’s 127010\u003c/a>, curated by Oliver Hawk Holden, focused on artists merging commercial craft and fine art (a gold leaf and enamel piece by sign painter Michelle “Meng” Nguyen was a standout). And Pacific Saw Works, a new artist-run space in Oakland, christened their walls with a show of sign painters called, simply, \u003ca href=\"https://www.pacificsawworks.com/exhibitions\">\u003ci>Signs\u003c/i>\u003c/a>. I also need to mention the \u003ca href=\"https://www.sfexaminer.com/news/tenderloin-neon-sign-district-wins-approval/article_cf388ae8-3939-11ed-94c7-3376ecdea09c.html\">legislation\u003c/a> that passed late last year to make it easier to repair old neon signs (which often include painted elements) and install new ones in the Tenderloin. This year, we saw \u003ca href=\"https://www.instagram.com/p/Cz7G72syuX0/?img_index=1\">the electric results\u003c/a>.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938611\" class=\"wp-caption aligncenter\" style=\"max-width: 1017px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg\" alt=\"\" width=\"1017\" height=\"652\" class=\"size-full wp-image-13938611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-768x492.jpg 768w\" sizes=\"(max-width: 1017px) 100vw, 1017px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>TV Going Peak ’80s and ’90s\u003c/h2>\n\u003cp>My childhood was \u003ca href=\"https://www.kqed.org/pop/97337/the-other-f-word-how-homophobic-language-has-ruined-80s-teen-movies\">the 1980s\u003c/a>, my teen years coincided with \u003ca href=\"https://www.kqed.org/arts/13915084/chloe-sherman-renegade-san-francisco-1990s-schlomer-haus\">the ’90s\u003c/a>, and goddamnit, the streaming platforms \u003cem>really\u003c/em> played into my rapidly aging hands this year. In 2023, I finally got to rewatch \u003ca href=\"https://www.kqed.org/arts/13936463/moonlighting-hulu-cybill-shepherd-bruce-willis-1980s-comedy\">\u003cem>Moonlighting\u003c/em>\u003c/a> (the endearingly preposterous detective show that launched Bruce Willis’ career) and unabashedly immerse myself in \u003cem>L.A. Law\u003c/em> at an age where I could actually understand it. But nowhere has ’80s and \u003ca href=\"https://www.kqed.org/pop/14084/90s-nostalgia-a-look-at-how-our-lives-do-and-dont-matter\">’90s nostalgia\u003c/a> shown up harder than in celebrity documentaries. Watching retrospectives about \u003ca href=\"https://www.kqed.org/arts/13938155\">\u003cem>Thriller\u003c/em>-era Michael Jackson\u003c/a>, Michael J. Fox, Wham!, \u003ca href=\"https://www.kqed.org/arts/13924520/pamela-anderson-captivatingly-tells-her-own-story-in-new-netflix-documentary\">Pamela Anderson\u003c/a>, Anna Nicole Smith, the Gladiators, Robbie Williams, David Beckham and, yes, even Apple TV+’s far too rose-tinted profile of \u003cem>The Super Models\u003c/em> was like seeing my first 20 years of life flash before my eyes. My middle-aged ass is clearly being pandered to — and I absolutely love it.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Movies! Pants! Barbie! The Internet! Whatever everyone thinks is happening to San Francisco! The KQED Arts & Culture team weighs in on the year. ",
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"title": "The Bay Area's Hottest, Weirdest, Worst and Funniest Trends of 2023 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to our list of Bay Area arts and culture trends in 2023. Notably, it was a year that few are describing as “the worst year ever,” as many year-end listmakers were understandably wont to do for a while. We also suppose this list could have included things like AI, driverless cars, robot deliveries and the metaverse. It was just Tom Waits’ birthday; \u003ca href=\"https://www.goodreads.com/quotes/195963-we-are-buried-beneath-the-weight-of-information-which-is\">let’s let him weigh in\u003c/a>. \u003c/p>\n\u003cp>Here’s to you all, individually and collectively, \u003ca href=\"https://www.youtube.com/watch?v=q8AMZmWqgRM\">love and happiness\u003c/a> in 2024. \u003c/p>\n\u003cfigure id=\"attachment_13937426\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-scaled.jpg\" alt=\"A blonde woman with a microphone is on stage performing.\" width=\"2560\" height=\"1815\" class=\"size-full wp-image-13937426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-2048x1452.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1920x1361.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs onstage during The Eras Tour at Levi’s Stadium on July 28, 2023 in Santa Clara. \u003ccite>(Jeff Kravitz/TAS23/Getty Images for TAS Rights Management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Return of the Monoculture\u003c/h2>\n\u003cp>Twelve years after Touré’s defining treatise “\u003ca href=\"https://www.salon.com/2011/09/29/how_niches_killed_culture/\">Why I Miss the Monoculture\u003c/a>,” the monoculture is back, for better or for worse. Taylor Swift alone absolutely dominated the \u003ca href=\"https://www.billboard.com/music/chart-beat/taylor-swift-1989-taylors-version-top-album-sales-chart-1235464968/\">recording\u003c/a>, \u003ca href=\"https://www.normantranscript.com/community/taylor-swift-is-spotify-s-most-streamed-artist-of-2023-ending-bad-bunnys-3-year/article_daecf7f8-8fa4-11ee-8337-5f9be5f11a35.html\">streaming\u003c/a> and \u003ca href=\"https://www.billboard.com/pro/taylor-swift-eras-tour-top-grossing-global-tour/\">touring\u003c/a> industry, while captivating the \u003ca href=\"https://ew.com/movies/taylor-swift-eras-tour-concert-film-tops-box-office-breaks-global-record/\">box office\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13937413/uc-berkeleys-taylor-swift-business-class-set-for-2024\">UC system\u003c/a>, \u003ca href=\"https://time.com/6342806/person-of-the-year-2023-taylor-swift/\">\u003cem>TIME\u003c/em> magazine\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">our nation’s elected officials\u003c/a> — and Beyoncé was \u003ca href=\"https://variety.com/2023/music/news/beyonce-record-most-grammy-wins-all-time-1235513412/\">not far behind\u003c/a>. \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> took the nation’s multiplexes \u003ca href=\"https://variety.com/2023/film/box-office/summer-box-office-hits-4-billion-barbie-oppenheimer-1235712314/\">by storm\u003c/a>, and superhero franchises like \u003cem>Guardians of the Galaxy\u003c/em>, \u003cem>Spider-Man\u003c/em> and \u003cem>Ant-Man\u003c/em> filled out the \u003ca href=\"https://www.boxofficemojo.com/year/2023/\">Top 10 box office list\u003c/a>. In other words, if you needed common ground to talk about with coworkers, you had plenty to pick from this year.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13894605\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13894605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Immersive van Gogh at SVN West, San Francisco. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The End of Immersive ‘Art Experiences’\u003c/h2>\n\u003cp>Let me tell you one thing I didn’t miss this year: being immersed in a so-called art experience. 2022 was full of \u003ca href=\"https://www.kqed.org/arts/13894558/immersive-van-gogh-review-san-francisco\">Immersive van Gogh\u003c/a> spawn (a frankly offensive Frida Kahlo, a fine-by-comparison \u003ca href=\"https://www.kqed.org/arts/13909273/review-imagine-picasso-immersive-san-francisco\">Picasso thing\u003c/a> at the Armory). Those events, in turn, were the immaterial outcome of the \u003ca href=\"https://www.kqed.org/arts/13804930/no-filter-necessary-in-sfs-instagram-ready-color-factory\">Color Factory\u003c/a>, the Museum of Ice Cream and (my personal least favorite) the \u003ca href=\"https://www.kqed.org/arts/13861247/the-90s-experience-instagram\">90’s Experience\u003c/a>. Strangely, we’ve now come full circle: the immersive photo-op has phase-shifted back into physical artwork and taken up residence at our largest museum, courtesy of SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13935810/yayoi-kusama-sfmoma-infinite-love-review\">Yayoi Kusama exhibition\u003c/a>, which literally costs $10 a minute. If museums learned one thing from all the immersive offshoots over the years, it’s that people will pay top dollar for a limited amount of time in an audio-visual experience utterly stripped of context.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939100\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401.jpg\" alt=\"\" width=\"848\" height=\"566\" class=\"size-full wp-image-13939100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401.jpg 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-768x513.jpg 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">If San Francisco’s new marketing campaign slogan sounds familiar, well… (seen here: a sign in Las Vegas.) \u003ccite>(Darren Asay/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Spending Millions Trying to Rebrand Itself\u003c/h2>\n\u003cp>Imagine you live elsewhere, and your understanding of San Francisco is essentially Fox News footage of people pillaging Walgreens. But wait! You encounter a bus ad: “\u003ca href=\"https://www.nytimes.com/2023/10/19/us/san-francisco-ad-campaign.html\">It All Starts Here\u003c/a>.” Are you overcome with desire to travel to SF? How about “\u003ca href=\"https://www.youtube.com/watch?v=3RkuigBlSLg\">Always San Francisco\u003c/a>,” does that do anything for you? This is, as far as I can tell, the scenario on which city leaders and a handful of tech billionaires wagered a combined $10 million in 2023, attempting to reverse reputational damage caused by a dearth of affordable housing, an absurd cost of living and a devastating fentanyl crisis \u003cem>with marketing\u003c/em>. Does this feel a little like the captain of the Titanic launching a social media rebrand mid-collision? Sure! Do nuanced discussions of public health, inequality and long-term investments in the arts make for snappy copy in politicians’ campaign materials? Not really! But hey, maybe we just haven’t come up with the right slogan yet. In the meantime, we have this new “\u003ca href=\"https://sfstandard.com/2023/10/04/san-francisco-anthem-premiere-johns-grill/\">San Francisco theme song\u003c/a>,” about which I will say: \u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">We miss you, Tony Bennett\u003c/a>.\u003cem>—Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop.jpg\" alt=\"A hand reaches to pick up an icy pink beverage. There's also a iced chocolate drink and a plate of corn roti on the table.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13925324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dek Doi Cafe’s Thai-style “pink milk” and street food style sweet roti.\u003c/figcaption>\u003c/figure>\n\u003ch2>The Bay Area’s (Mom-and-Pop) Restaurant Scene Isn’t Dead Yet\u003c/h2>\n\u003cp>These days, keeping a restaurant afloat in the Bay Area seems like an impossible task — an unwinnable battle against \u003ca href=\"https://www.sfgate.com/food/article/oakland-restaurants-crime-closure-18373900.php\">thieves\u003c/a>, \u003ca href=\"https://www.instagram.com/p/Cz2mhcvLNwW/\">vandals\u003c/a> and an overall “\u003ca href=\"https://www.sfchronicle.com/bayarea/article/cafe-international-lower-haight-18339072.php\">sea of lawlessness\u003c/a>.” Or so goes the prevailing narrative, anyway. A few Oakland restaurateurs even declared a (\u003ca href=\"https://oaklandside.org/2023/09/27/strike-oakland-business-closure-protest/\">largely overblown, hour-long\u003c/a>) “strike” in protest. And it’s true that crime (and, nearly as bad, \u003ca href=\"https://www.kqed.org/arts/13933006/hina-yakitori-closing-grilled-chicken-omakase-san-francisco\">the \u003cem>perception\u003c/em> of crime\u003c/a>) is a real concern. This isn’t an economy that leaves much margin for error, and the sheer economics of the Bay have snuffed out a lot of \u003ca href=\"https://www.bonappetit.com/story/sf-bay-area-dining-problem-opinion\">innovation at the highest end\u003c/a>. Still, anyone lamenting the death of Bay Area food hasn’t been eating out at the same places we have — not when 2023 has gifted us with S-tier \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">Haitian comfort food\u003c/a>, idiosyncratic little Thai cafes serving dessert rotis and “\u003ca href=\"https://www.kqed.org/arts/13925310/dek-doi-cafe-pink-milk-thai-bl-oakland\">gay pink milk\u003c/a>,” and joyously off-kilter \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/egglicious-india-san-jose-18193681.php\">Indian egg restaurants\u003c/a>. Now as always, when it comes to niche, street-level mom-and-pops, the Bay remains undefeated.\u003cem>—Luke Tsai\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939096\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans of the Oakland A’s gather during a reverse boycott at the Oakland Coliseum to protest the ownership of the baseball team on June 13, 2023. \u003ccite>(Aryk Copley/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The A’s Resent You\u003c/h2>\n\u003cp>Well, the A’s \u003cem>owners\u003c/em> do, at least. That much was confirmed in 2023, during which, instead of my usual seven or eight games at \u003ca href=\"https://twitter.com/gmeline/status/1179463946631184384\">the greatest ballpark in America\u003c/a>, I could only bring myself to go to one. Finally, after years of neglect, the A’s owner — I’d say his name, but it’d have to be accompanied by the foulest string of obscenities imaginable — acquired approval from Major League Baseball to move the whole sad, desiccated team southward to sad, desiccated Las Vegas. Sure, there’s \u003ca href=\"https://www.kqed.org/news/11968536/new-oakland-ballers-baseball-team-aims-to-keep-the-sport-in-the-city\">another baseball team coming to town\u003c/a>. But 2023 was the year of the “SELL” T-shirt, and the broken hearts of longtime fans.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13937172\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-scaled.jpg\" alt=\"A person stands holding a sign with a building in the background.\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13937172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Soha Leach, 42, poses in front of a marching crowd at the ‘Stop the Genocide in Gaza’ rally at the Embarcadero in San Francisco on Saturday, Oct. 28. \u003ccite>(Olivia Cruz Mayeda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Pro-Palestinian Uprising Larger Than Ever\u003c/h2>\n\u003cp>This year saw the largest, most cohesive wave of \u003ca href=\"https://www.kqed.org/arts/13937170/the-art-of-protest-in-san-francisco-5-messages-from-the-gaza-rally\">pro-Palestinian protests\u003c/a> ever. In the Bay Area, Richmond became the \u003ca href=\"https://www.kron4.com/news/bay-area/richmond-city-council-passes-resolution-showing-solidarity-with-gaza/\">first American city\u003c/a> to pass a ceasefire resolution, \u003ca href=\"https://www.kqed.org/news/11968400/oakland-city-council-set-to-vote-on-gaza-cease-fire-resolution\">followed by Oakland\u003c/a>. Bay Area artists, in particular, \u003ca href=\"https://www.kqed.org/arts/13938450/400-bay-area-artists-palestine-bds-pacbi-letter\">rallied in protest\u003c/a> of Israel’s most recent siege of Gaza, which has so far killed \u003ca href=\"https://www.middleeasteye.net/live-blog/live-blog-update/gaza-death-toll-passes-15000-palestinian-official-says?nid=322376&topic=Israel-Palestine%2520war&fid=491046\">more than 15,000\u003c/a> Palestinians. Artists \u003ca href=\"https://www.kqed.org/arts/13937219/bay-area-artists-palestinian-childrens-relief-fund-continental-club\">raised upwards of $13,000\u003c/a> for Palestinian children at a November fundraiser in Oakland, matched in the restaurant scene with support for and by Palestinian \u003ca href=\"https://abc7news.com/israel-hamas-war-giving-back-to-gaza-fundraiser-san-jose-business-el-halal-amigos/13968097/\">businesses and eateries\u003c/a> here in the Bay Area. Even local surfers got involved, \u003ca href=\"https://www.kqed.org/arts/13937866/local-surfers-screening-gaza-surf-club\">screening\u003c/a> the documentary \u003cem>Gaza Surf Club\u003c/em> to call upon their community to advocate for a ceasefire. With their dollars, poetry, policy, \u003ca href=\"https://www.kqed.org/arts/13938619/porch-party-oakland-pop-up-art-activism-community\">food\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13938450/400-bay-area-artists-palestine-bds-pacbi-letter\">organized boycotts\u003c/a>, Bay Area folks are showing up for Palestinians now more than ever.\u003cem>—Olivia Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13848951\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg\" alt=\"Signage at Bandcamp's new Oakland offices goes up on Jan. 17, 2019.\" width=\"1100\" height=\"751\" class=\"size-full wp-image-13848951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-1020x696.jpg 1020w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Signage at Bandcamp’s Oakland offices goes up on Jan. 17, 2019. The downtown Oakland performance space and record showroom closed in 2023 shortly after Bandcamp’s sale to Songtradr. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Music Industry Making it Harder to Be an Artist — and Fan\u003c/h2>\n\u003cp>In 2023, we convinced ourselves that paying Ticketmaster hundreds of dollars in fees would be a fair exchange for experiencing a once-in-a-lifetime \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">Beyoncé tour\u003c/a>. But throughout the year, the ubiquitous ticketing company drove up prices for large and small concerts alike with those exorbitant add-on fees, all while its parent company, Live Nation, pocketed record profits. Meanwhile, \u003ca href=\"https://www.kqed.org/arts/13935406/fillmore-live-nation-on-road-again-touring-artists\">independent touring musicians\u003c/a> continued to lose money amidst post-pandemic gas prices and inflation. Songtradr bought Bandcamp and \u003ca href=\"https://www.kqed.org/arts/13936509/idiotic-and-cruel-musicians-slam-layoffs-at-bandcamp\">laid off staff\u003c/a> including the entire union bargaining committee, prompting a labor complaint, and Spotify announced that it will stop paying royalties on songs with under 1,000 streams. The music industry is \u003ca href=\"https://www.kqed.org/forum/2010101893314/how-musicians-are-navigating-streaming-algorithms-ai-and-automation\">increasingly stacked against up-and-coming musicians\u003c/a>, which is why it’s all the more important to be intentional about supporting our local artists.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938220\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut.jpg\" alt=\"Rubber gloved hand sprinkles chopped cilantro onto an oversized pupusa topped the meat.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13938220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Irma Morales sprinkles cilantro on a Birria Pupusa Pizza in the kitchen at Pupuseria Las Cabańas in Hayward, Calif. on Wednesday, Sept. 27, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Watch Me Eat This Pupusa The Size of Your Head and sMasH tHaT LiKe bUtToN!!\u003c/h2>\n\u003cp>Anyone chronically on TikTok and Instagram has probably already noticed this year’s biggest food trend: the proliferation of local, raucous, personality-driven food influencers. From the humorous caricatures of \u003ca href=\"https://www.instagram.com/thesnacksensei/?hl=en\">The Snack Sensei\u003c/a> and \u003ca href=\"https://www.instagram.com/bayareafoodz/\">BayAreaFoodz\u003c/a> to the health-focused feed of \u003ca href=\"https://www.kqed.org/arts/13915889/berkeley-vegan-food-festival-bizerkeley-vegan\">Bizerkeley Vegan\u003c/a> and lavish outings of \u003ca href=\"https://www.instagram.com/allie.eats/?hl=en\">Allie Eats\u003c/a> (nearly half a million followers combined between the four accounts), there’s more bombastic food-related content than ever from the Bay Area. Viral videos of an oversized pupusa or a pan dulce big enough to use as a literal pillow has fueled a \u003ca href=\"https://www.kqed.org/arts/13936325/social-media-biggest-pupusas-burritos-instagram-tiktok-latinextravagant-bay-area\">new wave of extravagant restaurateurs\u003c/a> catering to the frenzy by super-sizing, quadruple-dipping and gold-flaking everything under the sun — often collabing with foodie accounts to build hype. And all of our internet-marinated brains seem to be eating it up.\u003cem>—Alan Chazaro\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13931700\" class=\"wp-caption aligncenter\" style=\"max-width: 1630px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM.png\" alt='A blue sky background with a large Barbie logo in the center and a United airplane. Text around it reads: \"This Barbie is a dream. Now flying.\"' width=\"1630\" height=\"1196\" class=\"size-full wp-image-13931700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM.png 1630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-800x587.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-1020x748.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-768x564.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-1536x1127.png 1536w\" sizes=\"(max-width: 1630px) 100vw, 1630px\">\u003cfigcaption class=\"wp-caption-text\">This Barbie isn’t a Barbie. Now, knock it off, United. \u003ccite>(Instagram/ @united)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbie Burnout\u003c/h2>\n\u003cp>At first it was like, yay, \u003ca href=\"https://www.kqed.org/arts/13933011/its-billiongirlsummer-taylor-beyonce-and-barbie-made-for-one-epic-trifecta\">girly pop culture moment\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">female director from Sacramento making hella bank\u003c/a>, but then it was like, why is every commercial this very specific shade of pink and why are all the makeup stores pink, and the clothing stores, and the shoe stores, and why is that Burger King burger pink, and why is my Google search pink, and is it okay that everyone’s making \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">memes that combine Barbie and the actual atomic bomb\u003c/a>, and what the hell is an Ice Spice Munchkin, and isn’t it a bit weird that \u003ca href=\"https://www.kqed.org/arts/13931533/taylor-swift-irs-fbi-woke-gen-z-how-do-you-do-fellow-kidshttps://www.kqed.org/arts/13931533/taylor-swift-irs-fbi-woke-gen-z-how-do-you-do-fellow-kids\">the TSA used Barbie in a knives warning\u003c/a>, and isn’t the end of the movie where Barbie goes to the gynecologist actually lazy and reductive, and wouldn’t it have been better if she was in the Mattel CEO chair instead because women aren’t allowed that very often, and actually, just forget it, because even though \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">Allan is the literal greatest\u003c/a>, I want nothing to do with any of this now.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939095\" class=\"wp-caption aligncenter\" style=\"max-width: 928px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM.png\" alt=\"\" width=\"928\" height=\"274\" class=\"size-full wp-image-13939095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM.png 928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-800x236.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-160x47.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-768x227.png 768w\" sizes=\"(max-width: 928px) 100vw, 928px\">\u003cfigcaption class=\"wp-caption-text\">Thanks, Elon. \u003ccite>(X)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Billionaires Ruining the Internet’s Usefulness\u003c/h2>\n\u003cp>While TikTok continues to drive culture and dominate discourse among young people, adults like Elon Musk (“adults,” ha) couldn’t figure out what to do with their social media platforms if it walked up and hit them with a Cybertruck. Meta did what it always does and \u003ca href=\"https://www.kqed.org/arts/13931259/threads-meta-thanks-i-hate-it\">copied an existing platform\u003c/a> with Threads. BlueSky didn’t fully catch on, Mastodon is a distant memory, and BeReal kinda withered and died. And, in the midst of it all, Google Search became \u003ca href=\"https://www.reddit.com/r/SEO/comments/16yxzg0/google_is_no_longer_a_search_engine/\">more useless than ever\u003c/a>, prompting users seeking information to be fed pages of ads, or worse, \u003ca href=\"https://twitter.com/jakezward/status/1728032639402037610\">AI-generated garbage\u003c/a>. (This is where I repeat my catchphrase: \u003ca href=\"https://twitter.com/search?q=subscribe%20to%20a%20newspaper%20from%3Agmeline&src=typed_query&f=top\">subscribe to a newspaper\u003c/a>.)\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13923614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1455560954-scaled-e1673477731985.jpg\" alt=\"A stack of books featuring Prince Harry's face in close up, sit in a neat pile.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13923614\">\u003cfigcaption class=\"wp-caption-text\">Prince Harry’s memoir ‘Spare’ is offered for sale at a Barnes & Noble store on Jan. 10, 2023. \u003ccite>(Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Flood of Celebrity Memoirs\u003c/h2>\n\u003cp>The secret to publishing a NYT-bestselling blockbuster this year seemed to lie in aristocracy. Celebrity memoirs have never gone out of style, but the monumental success of Prince Harry’s \u003ca href=\"https://www.kqed.org/arts/13923613/dish-from-prince-harry-one-of-their-own-could-fuel-royal-change\">\u003cem>Spare\u003c/em>\u003c/a> and pop music royalty Britney Spears’ \u003ca href=\"https://www.kqed.org/arts/13936729/britney-spears-book-autobiography-the-woman-in-me-gallery-books\">\u003cem>The Woman in Me\u003c/em>\u003c/a>, which sold over 1.6 million and 1.1 million copies in the U.S. alone in their first weeks, shifted the spotlight back on the genre in 2023. For those of us seeking even more juicy, reflective stories from our aspirational tax bracket, memoirs from \u003ca href=\"https://www.kqed.org/arts/13937730/barbra-streisands-memoir-review-my-name-is-barbra\">Barbra Streisand\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13936614/dolly-parton-book-review-behind-the-seams-my-life-in-rhinestones\">Dolly Parton\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13930083/elliot-page-shares-struggles-and-former-selves-in-engaging-new-memoir\">Elliot Page\u003c/a>, \u003ca href=\"https://www.npr.org/2023/01/26/1151356491/pamela-anderson-book-memoir\">Pamela Anderson\u003c/a> and \u003ca href=\"https://www.npr.org/2023/10/17/1206140650/jada-pinkett-will-smith-tupac-worthy\">Jada Pinkett Smith\u003c/a> did not disappoint. Pro tip: These memoirs make great stocking stuffers for the pop culture fanatics in your life.\u003cem>—Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939097\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968.jpg\" alt=\"\" width=\"848\" height=\"566\" class=\"size-full wp-image-13939097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968.jpg 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-768x513.jpg 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">Pants! \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Great Pants Awakening\u003c/h2>\n\u003cp>I went to high school in the late aughts, when we all traded low-rise flares for skinny jeans, so I’ve been studying the latest Great Pants Awakening like an anthropologist, gathering data on BART and TikTok, and surveying friends and family members of all ages. Some millennials dared to break up with our beloved tapered legs and waist-cinching highrise trousers, while others clung on to their favorite cuts for dear life. Meanwhile, new pants styles challenged all generations to reconsider their notions of beauty, gender and even propriety. Unisex cargo pants paired with a baggy hoodie to hide the body; thong-revealing ultra-low-rise with nipple-baring mesh on top. It’s all fair game, and both looks can be seen on the same person in a given week. 2023 was all about poly-pantism: the way of the future.\u003cem>—Nastia Voynovskaya\u003c/em> \u003c/p>\n\u003cfigure id=\"attachment_13939094\" class=\"wp-caption aligncenter\" style=\"max-width: 1852px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin.jpg\" alt=\"\" width=\"1852\" height=\"1384\" class=\"size-full wp-image-13939094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin.jpg 1852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-1536x1148.jpg 1536w\" sizes=\"(max-width: 1852px) 100vw, 1852px\">\u003cfigcaption class=\"wp-caption-text\">The Albany Twin theater pictured on June 16, 2023, the day after its final movie screening. The theater had served Albany’s moviegoing public for 88 years. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Too Many Movie Theaters Biting the Dust\u003c/h2>\n\u003cp>Despite some hopeful reopenings such as San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13924146/4-star-theater-talk-movies-richmond-history-woody-labounty\">4-Star Theater\u003c/a>, the Bay Area’s movie theaters continue to roll credits and close down for good. The Albany Twin, the Century Theater in San Francisco’s Westfield Mall, the CGV (formerly the AMC) on Van Ness, the Rohnert Park Reading cinema and others all shuttered. “But we can watch movies at home now,” you might say! Joke’s on you, bub: fees for streaming subscriptions \u003ca href=\"https://variety.com/2023/digital/news/streaming-service-price-increase-1235784311/\">got significantly more expensive\u003c/a>. After three years of other \u003ca href=\"https://www.kqed.org/arts/13892596/historic-west-portal-theater-closes-permanently-due-to-pandemic\">tough-to-swallow theater closures\u003c/a>, and tumult for fans of \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">movies at the Castro\u003c/a>, we’re happy for even the \u003ca href=\"https://www.sfchronicle.com/realestate/article/s-f-real-estate-office-movie-theater-18431003.php\">smallest bit of good news\u003c/a> for local theaters.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"size-full wp-image-13939098\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The studio of San Francisco sign painter and pinstriper Lauren D’Amato at Headlands Center for the Arts, Oct. 22, 2023. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lots of Love for Sign Painting (and Signs in General) \u003c/h2>\n\u003cp>With a healthy local sign painting scene, it’s no surprise we saw a lot of this work in gallery spaces this year — and a greater appreciation for the artistry of signs, period. Lauren D’Amato’s \u003ca href=\"https://houseofseiko.info/complete_machine\">solo at House of Seiko\u003c/a> borrowed from real-life Bayview signs, and she later received the Headlands’ Tournesol Award for an emerging Bay Area painter. The \u003ca href=\"https://web-production-7d4c4.up.railway.app/pieces/pieces/pieces/shows/2/\">inaugural show at Berkeley’s 127010\u003c/a>, curated by Oliver Hawk Holden, focused on artists merging commercial craft and fine art (a gold leaf and enamel piece by sign painter Michelle “Meng” Nguyen was a standout). And Pacific Saw Works, a new artist-run space in Oakland, christened their walls with a show of sign painters called, simply, \u003ca href=\"https://www.pacificsawworks.com/exhibitions\">\u003ci>Signs\u003c/i>\u003c/a>. I also need to mention the \u003ca href=\"https://www.sfexaminer.com/news/tenderloin-neon-sign-district-wins-approval/article_cf388ae8-3939-11ed-94c7-3376ecdea09c.html\">legislation\u003c/a> that passed late last year to make it easier to repair old neon signs (which often include painted elements) and install new ones in the Tenderloin. This year, we saw \u003ca href=\"https://www.instagram.com/p/Cz7G72syuX0/?img_index=1\">the electric results\u003c/a>.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938611\" class=\"wp-caption aligncenter\" style=\"max-width: 1017px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg\" alt=\"\" width=\"1017\" height=\"652\" class=\"size-full wp-image-13938611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-768x492.jpg 768w\" sizes=\"(max-width: 1017px) 100vw, 1017px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>TV Going Peak ’80s and ’90s\u003c/h2>\n\u003cp>My childhood was \u003ca href=\"https://www.kqed.org/pop/97337/the-other-f-word-how-homophobic-language-has-ruined-80s-teen-movies\">the 1980s\u003c/a>, my teen years coincided with \u003ca href=\"https://www.kqed.org/arts/13915084/chloe-sherman-renegade-san-francisco-1990s-schlomer-haus\">the ’90s\u003c/a>, and goddamnit, the streaming platforms \u003cem>really\u003c/em> played into my rapidly aging hands this year. In 2023, I finally got to rewatch \u003ca href=\"https://www.kqed.org/arts/13936463/moonlighting-hulu-cybill-shepherd-bruce-willis-1980s-comedy\">\u003cem>Moonlighting\u003c/em>\u003c/a> (the endearingly preposterous detective show that launched Bruce Willis’ career) and unabashedly immerse myself in \u003cem>L.A. Law\u003c/em> at an age where I could actually understand it. But nowhere has ’80s and \u003ca href=\"https://www.kqed.org/pop/14084/90s-nostalgia-a-look-at-how-our-lives-do-and-dont-matter\">’90s nostalgia\u003c/a> shown up harder than in celebrity documentaries. Watching retrospectives about \u003ca href=\"https://www.kqed.org/arts/13938155\">\u003cem>Thriller\u003c/em>-era Michael Jackson\u003c/a>, Michael J. Fox, Wham!, \u003ca href=\"https://www.kqed.org/arts/13924520/pamela-anderson-captivatingly-tells-her-own-story-in-new-netflix-documentary\">Pamela Anderson\u003c/a>, Anna Nicole Smith, the Gladiators, Robbie Williams, David Beckham and, yes, even Apple TV+’s far too rose-tinted profile of \u003cem>The Super Models\u003c/em> was like seeing my first 20 years of life flash before my eyes. My middle-aged ass is clearly being pandered to — and I absolutely love it.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A New Documentary Examines the ‘Star Wars Holiday Special’ and Asks: Why?",
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"content": "\u003cp>There might be even more lore about the \u003ca href=\"https://www.kqed.org/arts/13889379/a-tale-of-2-star-wars-holiday-specials-2020-lego-vs-1978-oh-no\">\u003cem>Star Wars Holiday Special\u003c/em>\u003c/a> than about the \u003ca href=\"https://www.kqed.org/arts/13921929/andor-soared-it-was-about-the-force-not-the-force-of-the-star-wars-universe\">\u003cem>Star Wars\u003c/em> universe\u003c/a> itself. Aired once in November 1978 on CBS and then locked away beyond the reach of legitimate viewing, it sends Chewbacca back to his home planet to visit his family: his wife, Malla; his father, Itchy; and his son, Lumpy. (Yes. Lumpy.)\u003c/p>\n\u003cp>The special had guest stars like Bea Arthur and Harvey Korman and original cast members from the movie, including Mark Hamill, Carrie Fisher and Harrison Ford. It was a true variety show, complete with singing and dancing. And skits!\u003c/p>\n\u003cp>[aside postid='arts_13889379']Because it’s never been officially released on home video or re-aired, the holiday special became a treasure to superfans, copied and shared on VHS tapes. A new documentary called \u003cem>A Disturbance in the Force\u003c/em> looks back on how the special happened, especially under the watchful eye of the notoriously particular George Lucas.\u003c/p>\n\u003cp>It finds one answer in a delightful examination of the ubiquitous ’70s variety show format. If you think the holiday special is bizarre, wait until you see the \u003cem>Star Wars \u003c/em>segment on \u003cem>Donny & Marie\u003c/em>. Or clips from Wayne Newton’s special at SeaWorld, with guest star Shamu.\u003c/p>\n\u003cp>But the closest thing to a reason for the special has to do with the period between \u003cem>Star Wars \u003c/em>and \u003cem>The Empire Strikes Back\u003c/em>. Lucas and his associates wanted to make sure the fans didn’t lose interest between movies, and a holiday special could get kids excited about \u003cem>Star Wars \u003c/em>toys for Christmas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lucas, who has made his contempt for the special clear, chose to go ahead with it and then tapped out of most of the process, according to some of the people who worked on it. And so, the special was … very, very strange. And yes, there are many clips.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BtkpVWeWN-Q\u003c/p>\n\u003cp>In the documentary, comedian Paul Scheer looks back in puzzlement on the moment Bea Arthur snuggled up to a giant rat. Writer Bruce Vilanch, who explains the rat by saying “we got a lot of remainder aliens,” also says that a cantina scene took forever to film with the cast in hot and unventilated costumes, “but that was only because the aliens kept fainting.”\u003c/p>\n\u003cp>[aside postid='arts_13920462']Members of the creative team remember the experience and wrestle with the punchline the special has become. Talking heads — “Weird Al” Yankovic, Gilbert Gottfried, Patton Oswalt, Kevin Smith, Seth Green, Taran Killam — try to explain its legend.\u003c/p>\n\u003cp>Admittedly, some of this is nerd content for nerds. But even if you just want to see a lot of clips of Harrison Ford looking like he wants to dissolve into goo and seep into the floor, never to be seen again, it’s well worth tracking the documentary down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Disturbance In The Force’ is available to rent on the usual streaming services like Apple, Google Play, and YouTube.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+new+documentary+examines+the+%27Star+Wars+Holiday+Special%27+and+asks%3A+Why%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because it’s never been officially released on home video or re-aired, the holiday special became a treasure to superfans, copied and shared on VHS tapes. A new documentary called \u003cem>A Disturbance in the Force\u003c/em> looks back on how the special happened, especially under the watchful eye of the notoriously particular George Lucas.\u003c/p>\n\u003cp>It finds one answer in a delightful examination of the ubiquitous ’70s variety show format. If you think the holiday special is bizarre, wait until you see the \u003cem>Star Wars \u003c/em>segment on \u003cem>Donny & Marie\u003c/em>. Or clips from Wayne Newton’s special at SeaWorld, with guest star Shamu.\u003c/p>\n\u003cp>But the closest thing to a reason for the special has to do with the period between \u003cem>Star Wars \u003c/em>and \u003cem>The Empire Strikes Back\u003c/em>. Lucas and his associates wanted to make sure the fans didn’t lose interest between movies, and a holiday special could get kids excited about \u003cem>Star Wars \u003c/em>toys for Christmas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Imagine that it’s close to midnight and there’s a knock at the door of your luxurious weekend rental home. A man is standing there, calmly apologizing. He says it’s his home and that he and his daughter need your help. He’s also dressed immaculately in a tux.\u003c/p>\n\u003cp>What would you do?\u003c/p>\n\u003cp>[aside postid='arts_13938143']Did the tux make a difference? Would the man’s race?\u003c/p>\n\u003cp>That early scene is when Netflix’s \u003cem>Leave the World Behind\u003c/em> really kicks into gear and never slackens as this terrific, apocalyptic, psychological thriller races to its conclusion, exploring race, affluence and responsibility along the way.\u003c/p>\n\u003cp>The luxurious home becomes a castle of sorts as the outside world crumbles. The man who says he’s the owner tries to explain why he’s turned up. “Under the circumstances, we thought you’d understand,” he says. But understanding is in short supply here.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Adapted from Rumaan Alam’s acclaimed novel, the movie is set against an end-of-days disaster in which technology — Wi-Fi, TV, phones, internet — has gone silent due to a cyberattack and there’s been a massive blackout.\u003c/p>\n\u003cp>Well-to-do Amanda (a tart Julia Roberts) and her \u003cem>Atlantic\u003c/em> magazine-quoting husband Clay (a hangdog Ethan Hawke) must work with the even-more-well-off G.H. (a calmly sophisticated Mahershala Ali) and his savvy daughter Ruth, (a superb Myha’la). The racial divide easily swamps their joint class affiliation.\u003c/p>\n\u003cp>Also along for the disaster are Amanda and Clay’s children, a \u003cem>Friends\u003c/em>-obsessed daughter (a soulful Farrah Mackenzie, who even wears her hair in a “Rachel” ‘do) and her older, slightly bratty 16-year-old brother (a brooding Charlie Evans).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cMVBi_e8o-Y\u003c/p>\n\u003cp>It’s a story brilliantly adapted and directed by Sam Esmail, showrunner of \u003cem>Mr. Robot\u003c/em>, who has made \u003cem>Leave the World Behind\u003c/em> into a homage of Alfred Hitchcock, complete with the image of a man trying to outrun a crashing plane and using the master’s discordant loud music. Esmail, who manages to make a group of deer appear sinister, even makes a Hitchcockian cameo as a corpse on a beach.\u003c/p>\n\u003cp>The director paces the deepening dread flawlessly and there are visual delights throughout, like when the family starts off on their adventure with their car exiting at “Point Comfort.” The camera often swirls and soars through glass cracks or holes in roofs like an uneasy bird, or parks itself at strange angles.\u003c/p>\n\u003cp>[aside postid='arts_13938158']The mysterious catastrophe — ships beach themselves, driverless cars crash like lemmings — sloughs away any pretense at civility, leaving the adults and children to turn on each other. Amanda, in particular, reveals a dark side and her husband — before the disaster, a can’t-we-all-get-along bro — abandons a hysterical survivor by the side of the road. Community is shattered, guns come out and protect-at-all-costs is the motto of the day.\u003c/p>\n\u003cp>The acting is first rate and it needs to be — this is a drama of manners and secrets, and each sigh or glance reveals so much. We haven’t seen a nasty Roberts character in a while and Ali balances sophistication and slyness artfully. Together, they have some of the film’s best scenes.\u003c/p>\n\u003cp>But a warning of sorts: It’s best to click play on your remote knowing that the movie is more a satire than a true action-survival movie — the open-ended ending may divide viewers. Click anyway because the journey never drags. And don’t be surprised if there’s a jump in sales of survival tools this holiday season.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Leave the World Behind’ begins streaming on Netflix on Dec. 8, 2023.\u003c/em>\u003c/p>\n\n",
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"closealltabs": {
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
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"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"order": 9
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"link": "/radio/program/latino-usa",
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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/",
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"source": "American Public Media"
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"masters-of-scale": {
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"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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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "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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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
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},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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},
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
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"tagline": "KQED's series of daily listener commentaries since 1991",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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