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"content": "\u003cp>A film about faith and other leaps, Mona Fastvold’s remarkable \u003cem>The Testament of Ann Lee\u003c/em> does not ask us to endorse or embrace the tenets of the 18th-century English sect called United Society of Believers in Christ’s Second Coming, aka Shaking Quakers, aka the Shakers. Given that an important principle of co-founder Ann Lee (Amanda Seyfried) was celibacy, many viewers would find that a bridge too far.\u003c/p>\n\u003cp>[aside postid='arts_13985705']Several of the Shakers’ other core values, like cooperation, collaboration, ecstasy and equality among genders resonate clearly, especially for anyone who can recall the Northern California communes of the 1960s and 70s. The pleasure and power of \u003cem>The Testament of Ann Lee\u003c/em> (opening Jan. 23), though, is not to be found in the utopian speeches but in surrendering to the selfless exhibition of true believers believing. If you are willing to be entranced — to accede from time to time to a trance state — you will have a uniquely thrilling time at the movies.\u003c/p>\n\u003cp>The story opens in the 1740s in Manchester, England, where the child Ann labors in a textile factory. As she grows up, her spiritual journey takes her to Jane and James Wardley (Stacy Martin and Scott Handy), through whose fervid Quaker prayer group she meets her husband Abraham Standerin (Christopher Abbott) and develops her specific philosophy.\u003c/p>\n\u003cfigure id=\"attachment_13985686\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000.jpg\" alt=\"man and woman face each other in room of people\" width=\"2000\" height=\"827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-1536x635.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Abbott and Amanda Seyfried in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marriage brings physical and psychic pain, and Ann’s crucible is further forged in the fire of family tragedy. Even as she is accepted by many of the Wardley circle and her stalwart brother William (Lewis Pullman) as the true leader, Mother Ann (as she is now called) captures the unwelcome attention of the powers-that-be and is incarcerated for a couple weeks.\u003c/p>\n\u003cp>The Shakers’ saga comes into focus as a familiar dynamic of nonconformity and determination, fueled by the certainty of religious faith, running into both official and street opposition, with blood being spilled. We judge for ourselves how much of the animosity is an overreaction to noisy praying and how much is fear and hatred of a powerful woman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The departure of the Shakers by boat to America in 1774, trading the Old World for the New, is a hugely important development for the sect. The movie opens up as well, with Manchester’s drab, chilly confines replaced by America’s broad vistas and natural light.\u003c/p>\n\u003cp>Fastvold and Brady Corbet’s literate script, brought to pulsing life by a committed cast led by Seyfried, carries \u003cem>The Testament of Ann Lee\u003c/em> a long way. But a wholly unexpected element puts the film over the top.\u003c/p>\n\u003cfigure id=\"attachment_13985685\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000.jpg\" alt=\"woman and man on deck of sailing ship\" width=\"2000\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-1536x636.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried and Lewis Pullman journey to America in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Vincent Minnelli and Bob Fosse artfully demonstrated, music and movement — song and dance — are powerful vehicles for not only conveying deep emotions but enrolling audiences in leaps of joy and amazement and flights of mind. Daring to dare is the sentiment at the heart of a movie musical, and the quality that moviegoers respond to.\u003c/p>\n\u003cp>\u003cem>The Testament of Ann Lee\u003c/em> isn’t exactly a musical in the sense that the songs don’t tell the story. Fastvold and composer Daniel Blumberg (whose score for Fastvold and Corbet’s \u003cem>The Brutalist\u003c/em> won the Oscar last year) chose a dozen melodies from the Shaker hymnal archive, and Celia Rowlson-Hall choreographed a mix of individual and ensemble numbers.\u003c/p>\n\u003cp>[aside postid='arts_13985320']These dances don’t just prevent \u003cem>The Testament of Ann Lee\u003c/em> from succumbing to the stuck-in-wax fate of a lot of standard biopics and period pieces. They bring the magic, and the entrancement, without feeling anachronistic and pulling us out of the 18th century.\u003c/p>\n\u003cp>\u003cem>The Testament of Ann Lee\u003c/em> is set in a world very different from ours and also not so different, a world of mysteries and dangers where people fear new ideas and are made to fear newcomers. Where superstitions or religious dogma or conspiracy theories are cited to soothe our uncertainty.\u003c/p>\n\u003cp>Perhaps every utopian endeavor is fated to come to an end, whether from internal dynamics or external forces. Maybe our task is to take inspiration from the faith and the effort. \u003cem>The Testament of Ann Lee\u003c/em> asks us to consider whether we are on the side of the creators or the destroyers.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Testament of Ann Lee’ opens Jan. 23, 2026 in Bay Area theaters.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A film about faith and other leaps, Mona Fastvold’s remarkable \u003cem>The Testament of Ann Lee\u003c/em> does not ask us to endorse or embrace the tenets of the 18th-century English sect called United Society of Believers in Christ’s Second Coming, aka Shaking Quakers, aka the Shakers. Given that an important principle of co-founder Ann Lee (Amanda Seyfried) was celibacy, many viewers would find that a bridge too far.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Several of the Shakers’ other core values, like cooperation, collaboration, ecstasy and equality among genders resonate clearly, especially for anyone who can recall the Northern California communes of the 1960s and 70s. The pleasure and power of \u003cem>The Testament of Ann Lee\u003c/em> (opening Jan. 23), though, is not to be found in the utopian speeches but in surrendering to the selfless exhibition of true believers believing. If you are willing to be entranced — to accede from time to time to a trance state — you will have a uniquely thrilling time at the movies.\u003c/p>\n\u003cp>The story opens in the 1740s in Manchester, England, where the child Ann labors in a textile factory. As she grows up, her spiritual journey takes her to Jane and James Wardley (Stacy Martin and Scott Handy), through whose fervid Quaker prayer group she meets her husband Abraham Standerin (Christopher Abbott) and develops her specific philosophy.\u003c/p>\n\u003cfigure id=\"attachment_13985686\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000.jpg\" alt=\"man and woman face each other in room of people\" width=\"2000\" height=\"827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00144_v2_2000-1536x635.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Abbott and Amanda Seyfried in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marriage brings physical and psychic pain, and Ann’s crucible is further forged in the fire of family tragedy. Even as she is accepted by many of the Wardley circle and her stalwart brother William (Lewis Pullman) as the true leader, Mother Ann (as she is now called) captures the unwelcome attention of the powers-that-be and is incarcerated for a couple weeks.\u003c/p>\n\u003cp>The Shakers’ saga comes into focus as a familiar dynamic of nonconformity and determination, fueled by the certainty of religious faith, running into both official and street opposition, with blood being spilled. We judge for ourselves how much of the animosity is an overreaction to noisy praying and how much is fear and hatred of a powerful woman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The departure of the Shakers by boat to America in 1774, trading the Old World for the New, is a hugely important development for the sect. The movie opens up as well, with Manchester’s drab, chilly confines replaced by America’s broad vistas and natural light.\u003c/p>\n\u003cp>Fastvold and Brady Corbet’s literate script, brought to pulsing life by a committed cast led by Seyfried, carries \u003cem>The Testament of Ann Lee\u003c/em> a long way. But a wholly unexpected element puts the film over the top.\u003c/p>\n\u003cfigure id=\"attachment_13985685\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000.jpg\" alt=\"woman and man on deck of sailing ship\" width=\"2000\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/TTAL_SG_00063_v2_2000-1536x636.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried and Lewis Pullman journey to America in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Vincent Minnelli and Bob Fosse artfully demonstrated, music and movement — song and dance — are powerful vehicles for not only conveying deep emotions but enrolling audiences in leaps of joy and amazement and flights of mind. Daring to dare is the sentiment at the heart of a movie musical, and the quality that moviegoers respond to.\u003c/p>\n\u003cp>\u003cem>The Testament of Ann Lee\u003c/em> isn’t exactly a musical in the sense that the songs don’t tell the story. Fastvold and composer Daniel Blumberg (whose score for Fastvold and Corbet’s \u003cem>The Brutalist\u003c/em> won the Oscar last year) chose a dozen melodies from the Shaker hymnal archive, and Celia Rowlson-Hall choreographed a mix of individual and ensemble numbers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These dances don’t just prevent \u003cem>The Testament of Ann Lee\u003c/em> from succumbing to the stuck-in-wax fate of a lot of standard biopics and period pieces. They bring the magic, and the entrancement, without feeling anachronistic and pulling us out of the 18th century.\u003c/p>\n\u003cp>\u003cem>The Testament of Ann Lee\u003c/em> is set in a world very different from ours and also not so different, a world of mysteries and dangers where people fear new ideas and are made to fear newcomers. Where superstitions or religious dogma or conspiracy theories are cited to soothe our uncertainty.\u003c/p>\n\u003cp>Perhaps every utopian endeavor is fated to come to an end, whether from internal dynamics or external forces. Maybe our task is to take inspiration from the faith and the effort. \u003cem>The Testament of Ann Lee\u003c/em> asks us to consider whether we are on the side of the creators or the destroyers.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Testament of Ann Lee’ opens Jan. 23, 2026 in Bay Area theaters.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "noir-city-2026-music-jazz-murder-grand-lake-oakland",
"title": "Music and All That Jazz at This Year’s Noir City Film Festival",
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"headTitle": "Music and All That Jazz at This Year’s Noir City Film Festival | KQED",
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"content": "\u003cp>Treachery and deceit swirl all around us. Every awards season, it seems, there’s an \u003ca href=\"https://www.kqed.org/arts/tag/oscars\">Oscar\u003c/a> given to the right person, but for the wrong film. Sometimes it’s an actor (Al Pacino for \u003cem>Scent of a Woman\u003c/em>), sometimes it’s a director (Martin Scorcese for \u003cem>The Departed\u003c/em>).\u003c/p>\n\u003cp>And sometimes it’s a singer.\u003c/p>\n\u003cp>If you see any movie at this year’s \u003ca href=\"https://www.noircity.com/\">Noir City\u003c/a> festival, running Jan. 16–25 at Oakland’s \u003ca href=\"https://www.kqed.org/arts/tag/grand-lake-theatre\">Grand Lake Theatre\u003c/a>, make it \u003cem>The Man With the Golden Arm\u003c/em>, starring Frank Sinatra. At the time a skinny crooner who’d just won Best Supporting Actor for \u003cem>From Here to Eternity\u003c/em>, Ol’ Blue Eyes turns in his actual greatest-ever acting performance as a jazz drummer \u003ca href=\"https://www.youtube.com/watch?v=MmqTc07linY\">desperately trying\u003c/a> — with girlfriend Kim Novak — to kick his debilitating heroin addiction.\u003c/p>\n\u003cfigure id=\"attachment_13985493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm-768x512.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra and Kim Novak in ‘The Man With the Golden Arm,’ directed by Otto Preminger in 1955. \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Screening in a double feature at Noir City with \u003cem>The Sweet Smell of Success\u003c/em> (from the bygone age of 1957, when critics actually held power over performing artists’ fortunes), \u003cem>The Man With the Golden Arm\u003c/em>, with its pulsing, blaring jazz music by Elmer Bernstein, marked a sea change in film scores.\u003c/p>\n\u003cp>Eddie Muller knows the cliché all too well of a black-and-white noir movie from the 1940s, with its “a lonesome wailing saxophone.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Except that brass instruments were hardly used at all in 1940s scores, Muller explains in a recent interview. “In the 1940s, Hollywood had their studio orchestras, and were still beholden to that classic European orchestral score approach,” he says. “But in the ’50s, that really changed, and \u003cem>The Man With the Golden Arm\u003c/em> had a lot to do with that.”\u003c/p>\n\u003cfigure id=\"attachment_13985492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985492\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove-768x561.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ida Lupino as a lounge singer in ‘The Man I Love,’ directed by Raoul Walsh in 1947. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s the kind of deep knowledge I anticipated from a conversation with Muller, who since 2003 has hosted Noir City, a celebration of all things double-crossing and murderous on the silver screen. Each year, the hugely popular festival follows a theme; the first year I attended and realized I’d found my people, it was newspapers. This year’s is music.\u003c/p>\n\u003cp>That includes films like \u003cem>Gilda\u003c/em>, with Rita Hayworth’s famous glove-removing nightclub performance of “\u003ca href=\"https://www.youtube.com/watch?v=hllEi7bJ4os\">Put the Blame on Me\u003c/a>,” and \u003cem>A Man Called Adam\u003c/em>, starring Sammy Davis Jr. as an alcoholic, self-sabotaging singer and cornet player.\u003c/p>\n\u003cp>It also includes some films that, Muller admits, stretch the definition of film noir, including not one but two Doris Day movies.\u003c/p>\n\u003cfigure id=\"attachment_13985491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn-768x561.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doris Day and Kirk Douglas in ‘Young Man With a Horn,’ based on the life of Bix Beiderbecke and directed by Michael Curtiz in 1950. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people see \u003cem>Love Me or Leave Me\u003c/em>, they assume ‘Oh, that’s a Doris Day musical,’” Muller says, adding that people have asked him: How can you possibly pass that off as noir?\u003c/p>\n\u003cp>“And you know, the answer is that Ruth Etting had a very, very noir life,” he explains.\u003c/p>\n\u003cp>Etting, a singer and actress who endured threats, a messy divorce and a murder attempt, is portrayed in \u003cem>Love Me Or Leave Me\u003c/em> not in gritty black and white, but full MGM Technicolor. Likewise, \u003cem>Pete Kelly’s Blues\u003c/em>, with Jack Webb and Janet Leigh, is also in color. But its story is grimy, and its stellar performances by Ella Fitzgerald and Peggy Lee fit the festival’s theme too well to be overlooked.\u003c/p>\n\u003cp>[aside postID='arts_13980003']Speaking of jazz performances, Muller’s lined up a schedule of them to precede each screening, with pianists, guitarists, tap dancers and singer Elizabeth Bougerol (she’s the one on the \u003ca href=\"https://www.noircity.com/\">festival poster\u003c/a> this year, spattered in blood). And he’s more than ready to get on stage and make converts of any noir-naysayers, like the woman behind me at the December festival preview at the Grand Lake, who saw the Elvis Presley film \u003cem>King Creole\u003c/em> flash on screen and remarked “Elvis?! Really?”\u003c/p>\n\u003cp>Muller’s response to that is straightforward: “Watch the movie! It’s gangsters, it’s everything. It’s a typical noir story except the guy is a rock singer.” While other Elvis movies were certified fluff for teenagers, he says, “this one has a serious crime element, it’s in black and white … Like, that’s \u003cem>the\u003c/em> Elvis noir movie.”\u003c/p>\n\u003cfigure id=\"attachment_13985490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight-768x510.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dexter Gordon in ‘Round Midnight,’ directed by Bertrand Tavernier in 1986. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year also marks the festival’s fourth year at the Grand Lake after leaving its longtime home at the Castro Theatre, which reopens next month to host more concerts than films in a renovated auditorium without its original theater-style seating.\u003c/p>\n\u003cp>Does Muller ever miss the Castro? “I don’t think about it, honestly,” he says. “What I regret is that San Francisco has no opulent single-screen movie palaces anymore. Like, how is that even possible?”\u003c/p>\n\u003cp>Meanwhile, Muller’s happy at the Grand Lake, a glorious 1926 movie palace with a curtain, a Wurlitzer and a community of film lovers who huddle together in the dark each year for a few hours of treachery and deceit on screen.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.noircity.com/\">Noir City 23: Face the Music!\u003c/a> runs Jan. 16–25, 2026 at the Grand Lake Theatre (3200 Grand Ave., Oakland). \u003ca href=\"https://www.noircity.com/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "This year's festival of betrayal and grit may stretch your conception of film noir at Oakland's Grand Lake Theatre.",
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"title": "Music and All That Jazz at This Year’s Noir City Film Festival | KQED",
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"headline": "Music and All That Jazz at This Year’s Noir City Film Festival",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Treachery and deceit swirl all around us. Every awards season, it seems, there’s an \u003ca href=\"https://www.kqed.org/arts/tag/oscars\">Oscar\u003c/a> given to the right person, but for the wrong film. Sometimes it’s an actor (Al Pacino for \u003cem>Scent of a Woman\u003c/em>), sometimes it’s a director (Martin Scorcese for \u003cem>The Departed\u003c/em>).\u003c/p>\n\u003cp>And sometimes it’s a singer.\u003c/p>\n\u003cp>If you see any movie at this year’s \u003ca href=\"https://www.noircity.com/\">Noir City\u003c/a> festival, running Jan. 16–25 at Oakland’s \u003ca href=\"https://www.kqed.org/arts/tag/grand-lake-theatre\">Grand Lake Theatre\u003c/a>, make it \u003cem>The Man With the Golden Arm\u003c/em>, starring Frank Sinatra. At the time a skinny crooner who’d just won Best Supporting Actor for \u003cem>From Here to Eternity\u003c/em>, Ol’ Blue Eyes turns in his actual greatest-ever acting performance as a jazz drummer \u003ca href=\"https://www.youtube.com/watch?v=MmqTc07linY\">desperately trying\u003c/a> — with girlfriend Kim Novak — to kick his debilitating heroin addiction.\u003c/p>\n\u003cfigure id=\"attachment_13985493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.ManWithGoldenArm-768x512.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra and Kim Novak in ‘The Man With the Golden Arm,’ directed by Otto Preminger in 1955. \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Screening in a double feature at Noir City with \u003cem>The Sweet Smell of Success\u003c/em> (from the bygone age of 1957, when critics actually held power over performing artists’ fortunes), \u003cem>The Man With the Golden Arm\u003c/em>, with its pulsing, blaring jazz music by Elmer Bernstein, marked a sea change in film scores.\u003c/p>\n\u003cp>Eddie Muller knows the cliché all too well of a black-and-white noir movie from the 1940s, with its “a lonesome wailing saxophone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Except that brass instruments were hardly used at all in 1940s scores, Muller explains in a recent interview. “In the 1940s, Hollywood had their studio orchestras, and were still beholden to that classic European orchestral score approach,” he says. “But in the ’50s, that really changed, and \u003cem>The Man With the Golden Arm\u003c/em> had a lot to do with that.”\u003c/p>\n\u003cfigure id=\"attachment_13985492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985492\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.TheManILove-768x561.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ida Lupino as a lounge singer in ‘The Man I Love,’ directed by Raoul Walsh in 1947. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s the kind of deep knowledge I anticipated from a conversation with Muller, who since 2003 has hosted Noir City, a celebration of all things double-crossing and murderous on the silver screen. Each year, the hugely popular festival follows a theme; the first year I attended and realized I’d found my people, it was newspapers. This year’s is music.\u003c/p>\n\u003cp>That includes films like \u003cem>Gilda\u003c/em>, with Rita Hayworth’s famous glove-removing nightclub performance of “\u003ca href=\"https://www.youtube.com/watch?v=hllEi7bJ4os\">Put the Blame on Me\u003c/a>,” and \u003cem>A Man Called Adam\u003c/em>, starring Sammy Davis Jr. as an alcoholic, self-sabotaging singer and cornet player.\u003c/p>\n\u003cp>It also includes some films that, Muller admits, stretch the definition of film noir, including not one but two Doris Day movies.\u003c/p>\n\u003cfigure id=\"attachment_13985491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn.jpg\" alt=\"\" width=\"800\" height=\"584\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.YoungManWithaHorn-768x561.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doris Day and Kirk Douglas in ‘Young Man With a Horn,’ based on the life of Bix Beiderbecke and directed by Michael Curtiz in 1950. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When people see \u003cem>Love Me or Leave Me\u003c/em>, they assume ‘Oh, that’s a Doris Day musical,’” Muller says, adding that people have asked him: How can you possibly pass that off as noir?\u003c/p>\n\u003cp>“And you know, the answer is that Ruth Etting had a very, very noir life,” he explains.\u003c/p>\n\u003cp>Etting, a singer and actress who endured threats, a messy divorce and a murder attempt, is portrayed in \u003cem>Love Me Or Leave Me\u003c/em> not in gritty black and white, but full MGM Technicolor. Likewise, \u003cem>Pete Kelly’s Blues\u003c/em>, with Jack Webb and Janet Leigh, is also in color. But its story is grimy, and its stellar performances by Ella Fitzgerald and Peggy Lee fit the festival’s theme too well to be overlooked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Speaking of jazz performances, Muller’s lined up a schedule of them to precede each screening, with pianists, guitarists, tap dancers and singer Elizabeth Bougerol (she’s the one on the \u003ca href=\"https://www.noircity.com/\">festival poster\u003c/a> this year, spattered in blood). And he’s more than ready to get on stage and make converts of any noir-naysayers, like the woman behind me at the December festival preview at the Grand Lake, who saw the Elvis Presley film \u003cem>King Creole\u003c/em> flash on screen and remarked “Elvis?! Really?”\u003c/p>\n\u003cp>Muller’s response to that is straightforward: “Watch the movie! It’s gangsters, it’s everything. It’s a typical noir story except the guy is a rock singer.” While other Elvis movies were certified fluff for teenagers, he says, “this one has a serious crime element, it’s in black and white … Like, that’s \u003cem>the\u003c/em> Elvis noir movie.”\u003c/p>\n\u003cfigure id=\"attachment_13985490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight.jpg\" alt=\"\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/Noir.RoundMidnight-768x510.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dexter Gordon in ‘Round Midnight,’ directed by Bertrand Tavernier in 1986. \u003ccite>(Warner Bros.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year also marks the festival’s fourth year at the Grand Lake after leaving its longtime home at the Castro Theatre, which reopens next month to host more concerts than films in a renovated auditorium without its original theater-style seating.\u003c/p>\n\u003cp>Does Muller ever miss the Castro? “I don’t think about it, honestly,” he says. “What I regret is that San Francisco has no opulent single-screen movie palaces anymore. Like, how is that even possible?”\u003c/p>\n\u003cp>Meanwhile, Muller’s happy at the Grand Lake, a glorious 1926 movie palace with a curtain, a Wurlitzer and a community of film lovers who huddle together in the dark each year for a few hours of treachery and deceit on screen.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.noircity.com/\">Noir City 23: Face the Music!\u003c/a> runs Jan. 16–25, 2026 at the Grand Lake Theatre (3200 Grand Ave., Oakland). \u003ca href=\"https://www.noircity.com/\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "28-years-later-bone-temple-movie-review-nia-dacosta-new-zombies",
"title": "‘28 Years Later: The Bone Temple’ Triumphantly Subverts the Classic Zombie Movie",
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"headTitle": "‘28 Years Later: The Bone Temple’ Triumphantly Subverts the Classic Zombie Movie | KQED",
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"content": "\u003cp>You know what zombie movies never seem to have enough of? Dancing. They’ve got gore and screaming and lots of guttural snarling, but no boogie. That all changes with \u003cem>28 Years Later: The Bone Temple\u003c/em> and the dancing here is to — naturally off-kilter — 1980s heroes Duran Duran.\u003c/p>\n\u003cp>The fourth entry in an ever-more engrossing franchise is absolutely bonkers — and a triumph. It mixes dark, queasy disembowelment and laugh-out-loud humor in a way that both subverts the genre and leads a way out of it, too.\u003c/p>\n\u003cp>[aside postid='arts_13977694']Nia DaCosta directs from a returning Alex Garland script and it starts right where 2025’s \u003ca href=\"https://www.kqed.org/arts/13977694/28-years-later-movie-review-danny-boyle-rage-zombies-uk-horror\">\u003cem>28 Years Later\u003c/em>\u003c/a> — directed by Danny Boyle — left off. If this is your first encounter with the series, you don’t necessarily need to go back to 2002’s \u003cem>28 Days Later\u003c/em> but at least to last year’s entry.\u003c/p>\n\u003cp>Garland’s script crackles with jokes about Britain’s National Health Service and \u003cem>Teletubbies\u003c/em> as it sets up an ultimate showdown between good and evil across a flower-and-meadow countryside. DaCosta is fabulous, leaning into the dark and the light with assurance, nailing the twisted tone and celebrating the weirdness.\u003c/p>\n\u003cp>We pick up immediately after Alfie Williams’ Spike is rescued from a gang of zombies — excuse me, a gang of infected — by another gang of predators led by Sir Jimmy Crystal, whom we first met as an 8-year-old orphan in the last movie. He’s all grown up and become a sadistic satanist, which happens sometimes without good adulting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jimmy — played by a diabolical Jack O’Connell in a tracksuit and gold chains, like a low-level Mafia lieutenant from \u003cem>The Sopranos\u003c/em> — leads a band of young psychopaths, as deadly to both virus survivors as the snarling, semi-human infected. They don blond wigs and each is named Jimmy. There’s a whiff of \u003cem>A Clockwork Orange\u003c/em> about them — menacing, prone to ultraviolence, gleeful in destruction. “Does that sound like normal screaming, Jimmy?” one asks. Spike, bless his heart, doesn’t belong here.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EOwTdTZA8D8\u003c/p>\n\u003cp>Sir Jimmy’s opposite number is also out there, the scientist-doctor Dr. Ian Kelson, who hopes to find a cure for the virus. He’s a humanist, with a huge heart and open arms, even if he does construct tall pillars out of the bleached bones of the dead. That sounds bad, but he does it to memorialize them, an in memoriam segment made out of calcium.\u003c/p>\n\u003cp>Kelson is played by a returning \u003ca href=\"https://www.kqed.org/arts/13967200/conclave-movie-review-ralph-fiennes-edward-berger-catholic-church-pope\">Ralph Fiennes\u003c/a>, who is magnificent, totally committed, even going full Monty. There’s no winking in anything he does, just pure soul. People are people, no matter how damaged, he believes. “There’s just us,” he says. Bright orange due to the iodine he paints on his skin to ward off the virus, Kelson is alone in his bone temple, which, with a few tea lights, really pulls the look together.\u003c/p>\n\u003cp>[aside postid='arts_13985196']In perhaps a twist no one was expecting, Kelson gingerly reaches out to an infected Alpha — played by former MMA fighter Chi Lewis-Parry — who seems to enjoy being drugged by the doctor’s blowgun. It turns out they both like a hit or two of morphine and looking up at the sky, all blissed out. Or dancing.\u003c/p>\n\u003cp>That’s when Duran Duran comes in, supplying “Ordinary World,” “Girls on Film” and “Rio” to a sight rare in zombie movies: Two whacked-out guys — one an eye-bulging monster who rips heads off with the spines still attached, the other a skinny Englishman who starred in \u003cem>The English Patient\u003c/em> — swaying hand-in-hand to pop synth. (My money was on “Save a Prayer,” but it’s OK.)\u003c/p>\n\u003cp>There’s plenty of good music in \u003cem>28 Years Later: The Bone Temple\u003c/em>, including Radiohead’s “Everything in Its Right Place” and one of the most gloriously unhinged uses of Iron Maiden’s “The Number of the Beast” ever conceived. If the previous film had a Fellini-esque vibe, this one has punky, anarchic feel.\u003c/p>\n\u003cfigure id=\"attachment_13985410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years.png\" alt=\"A blond man wearing a black tracksuit stands, eyes closed, hands gesturing, in a strange spotlit circle. Behind him are four young people, also wearing tracksuits, and looking the worse for wear.\" width=\"2000\" height=\"1227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years-768x471.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years-1536x942.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jack O’Connell (center) in a scene from ‘28 Years Later: The Bone Temple.’ \u003ccite>(Columbia Pictures/Sony Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Who will emerge victorious on this blighted island? Sir Jimmy or Dr. Kelson? And have you noticed that the hallmark of every zombie movie — the constant running away from the snarling undead — has been quietly replaced by examinations of cults and mortality, the long-term effects of trauma and what it means to be human? Call it almost post-zombie.\u003c/p>\n\u003cp>There’s a fifth movie in this franchise in the works, with some clues that this nightmarish world may yet produce a happy ending. But they’re getting better and better and, as insane as it sounds, it’s going to be sad to see it go. Long may the zombies dance. Perhaps we should take advice from the great poets of our time, Duran Duran: “I will learn to survive.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘28 Years Later: The Bone Temple’ is released nationwide on Jan. 16, 2026.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Turns out? Zombies plus Duran Duran equals supremely enjoyable horror.",
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"description": "Turns out? Zombies plus Duran Duran equals supremely enjoyable horror.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know what zombie movies never seem to have enough of? Dancing. They’ve got gore and screaming and lots of guttural snarling, but no boogie. That all changes with \u003cem>28 Years Later: The Bone Temple\u003c/em> and the dancing here is to — naturally off-kilter — 1980s heroes Duran Duran.\u003c/p>\n\u003cp>The fourth entry in an ever-more engrossing franchise is absolutely bonkers — and a triumph. It mixes dark, queasy disembowelment and laugh-out-loud humor in a way that both subverts the genre and leads a way out of it, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Nia DaCosta directs from a returning Alex Garland script and it starts right where 2025’s \u003ca href=\"https://www.kqed.org/arts/13977694/28-years-later-movie-review-danny-boyle-rage-zombies-uk-horror\">\u003cem>28 Years Later\u003c/em>\u003c/a> — directed by Danny Boyle — left off. If this is your first encounter with the series, you don’t necessarily need to go back to 2002’s \u003cem>28 Days Later\u003c/em> but at least to last year’s entry.\u003c/p>\n\u003cp>Garland’s script crackles with jokes about Britain’s National Health Service and \u003cem>Teletubbies\u003c/em> as it sets up an ultimate showdown between good and evil across a flower-and-meadow countryside. DaCosta is fabulous, leaning into the dark and the light with assurance, nailing the twisted tone and celebrating the weirdness.\u003c/p>\n\u003cp>We pick up immediately after Alfie Williams’ Spike is rescued from a gang of zombies — excuse me, a gang of infected — by another gang of predators led by Sir Jimmy Crystal, whom we first met as an 8-year-old orphan in the last movie. He’s all grown up and become a sadistic satanist, which happens sometimes without good adulting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jimmy — played by a diabolical Jack O’Connell in a tracksuit and gold chains, like a low-level Mafia lieutenant from \u003cem>The Sopranos\u003c/em> — leads a band of young psychopaths, as deadly to both virus survivors as the snarling, semi-human infected. They don blond wigs and each is named Jimmy. There’s a whiff of \u003cem>A Clockwork Orange\u003c/em> about them — menacing, prone to ultraviolence, gleeful in destruction. “Does that sound like normal screaming, Jimmy?” one asks. Spike, bless his heart, doesn’t belong here.\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/EOwTdTZA8D8'\n title='//www.youtube.com/embed/EOwTdTZA8D8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sir Jimmy’s opposite number is also out there, the scientist-doctor Dr. Ian Kelson, who hopes to find a cure for the virus. He’s a humanist, with a huge heart and open arms, even if he does construct tall pillars out of the bleached bones of the dead. That sounds bad, but he does it to memorialize them, an in memoriam segment made out of calcium.\u003c/p>\n\u003cp>Kelson is played by a returning \u003ca href=\"https://www.kqed.org/arts/13967200/conclave-movie-review-ralph-fiennes-edward-berger-catholic-church-pope\">Ralph Fiennes\u003c/a>, who is magnificent, totally committed, even going full Monty. There’s no winking in anything he does, just pure soul. People are people, no matter how damaged, he believes. “There’s just us,” he says. Bright orange due to the iodine he paints on his skin to ward off the virus, Kelson is alone in his bone temple, which, with a few tea lights, really pulls the look together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In perhaps a twist no one was expecting, Kelson gingerly reaches out to an infected Alpha — played by former MMA fighter Chi Lewis-Parry — who seems to enjoy being drugged by the doctor’s blowgun. It turns out they both like a hit or two of morphine and looking up at the sky, all blissed out. Or dancing.\u003c/p>\n\u003cp>That’s when Duran Duran comes in, supplying “Ordinary World,” “Girls on Film” and “Rio” to a sight rare in zombie movies: Two whacked-out guys — one an eye-bulging monster who rips heads off with the spines still attached, the other a skinny Englishman who starred in \u003cem>The English Patient\u003c/em> — swaying hand-in-hand to pop synth. (My money was on “Save a Prayer,” but it’s OK.)\u003c/p>\n\u003cp>There’s plenty of good music in \u003cem>28 Years Later: The Bone Temple\u003c/em>, including Radiohead’s “Everything in Its Right Place” and one of the most gloriously unhinged uses of Iron Maiden’s “The Number of the Beast” ever conceived. If the previous film had a Fellini-esque vibe, this one has punky, anarchic feel.\u003c/p>\n\u003cfigure id=\"attachment_13985410\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years.png\" alt=\"A blond man wearing a black tracksuit stands, eyes closed, hands gesturing, in a strange spotlit circle. Behind him are four young people, also wearing tracksuits, and looking the worse for wear.\" width=\"2000\" height=\"1227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years-768x471.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/jack-28-years-1536x942.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jack O’Connell (center) in a scene from ‘28 Years Later: The Bone Temple.’ \u003ccite>(Columbia Pictures/Sony Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Who will emerge victorious on this blighted island? Sir Jimmy or Dr. Kelson? And have you noticed that the hallmark of every zombie movie — the constant running away from the snarling undead — has been quietly replaced by examinations of cults and mortality, the long-term effects of trauma and what it means to be human? Call it almost post-zombie.\u003c/p>\n\u003cp>There’s a fifth movie in this franchise in the works, with some clues that this nightmarish world may yet produce a happy ending. But they’re getting better and better and, as insane as it sounds, it’s going to be sad to see it go. Long may the zombies dance. Perhaps we should take advice from the great poets of our time, Duran Duran: “I will learn to survive.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘28 Years Later: The Bone Temple’ is released nationwide on Jan. 16, 2026.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The revolutionary saga \u003ca href=\"https://www.kqed.org/arts/13981463/one-battle-after-another-movie-review-leonardo-dicaprio-paul-thomas-anderson-immigration-revolution-action\">\u003cem>One Battle After Another\u003c/em>\u003c/a> won best picture, musical or comedy at the 83rd \u003ca href=\"https://www.kqed.org/arts/tag/golden-globes\">Golden Globe Awards\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13984046/hamnet-movie-review-jessie-buckley-paul-mescal-ofarrell-novel\">\u003cem>Hamnet\u003c/em>\u003c/a> won best picture, drama at the ceremony Sunday night.\u003c/p>\n\u003cp>Entering the night, \u003cem>One Battle After Another\u003c/em> topped the list of nominations with nine, followed by \u003ca href=\"https://www.kqed.org/arts/13983315/sentimental-value-movie-review-joachim-trier-drama-stellan-skarsgard\">\u003cem>Sentimental Value\u003c/em>\u003c/a> with eight.\u003c/p>\n\u003cp>Comedian Nikki Glaser hosted the ceremony from the Beverly Hilton in Beverly Hills. The night marked Glaser’s second consecutive year as host.\u003c/p>\n\u003cp>The first award of the night went to Teyana Taylor, who won female supporting actor, motion picture for \u003cem>One Battle After Another\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Golden Globes bill themselves as Hollywood’s booziest bash. The awards show was broadcast on CBS and is available to stream through \u003ca href=\"https://www.kqed.org/arts/tag/paramount\">Paramount+\u003c/a>.\u003c/p>\n\u003cp>Here’s a list of winners at Sunday’s Golden Globes:\u003c/p>\n\u003ch2>Motion picture, drama\u003c/h2>\n\u003cp>\u003cem>Hamnet\u003c/em>\u003c/p>\n\u003ch2>Motion picture, musical or comedy\u003c/h2>\n\u003cp>\u003cem>One Battle After Another\u003c/em>\u003c/p>\n\u003ch2>Male actor, motion picture, drama\u003c/h2>\n\u003cp>Wagner Moura, \u003cem>The Secret Agent\u003c/em>\u003c/p>\n\u003ch2>Female actor, motion picture, drama\u003c/h2>\n\u003cp>Jessie Buckley, \u003cem>Hamnet\u003c/em>\u003c/p>\n\u003ch2>Female actor, motion picture, musical or comedy\u003c/h2>\n\u003cp>Rose Byrne, \u003ca href=\"https://www.kqed.org/arts/13982228/rose-byrne-astonishes-in-the-gripping-if-i-had-legs-id-kick-you\">\u003cem>If I Had Legs, I’d Kick You\u003c/em>\u003c/a>\u003c/p>\n\u003ch2>Male actor, motion picture, musical or comedy\u003c/h2>\n\u003cp>Timothée Chalamet, \u003ca href=\"https://www.kqed.org/arts/13984991/marty-supreme-review-timothee-chalamet-josh-safdie\">\u003cem>Marty Supreme\u003c/em>\u003c/a>\u003c/p>\n\u003ch2>Female supporting actor, motion picture\u003c/h2>\n\u003cp>Teyana Taylor, \u003cem>One Battle After Another\u003c/em>\u003c/p>\n\u003ch2>Male supporting actor, motion picture\u003c/h2>\n\u003cp>Stellan Skarsgard, \u003cem>Sentimental Value\u003c/em>\u003c/p>\n\u003ch2>Motion picture, non-English language\u003c/h2>\n\u003cp>\u003cem>The Secret Agent\u003c/em>, Brazil\u003c/p>\n\u003ch2>Motion picture, animated\u003c/h2>\n\u003cp>\u003cem>KPop Demon Hunters\u003c/em>\u003c/p>\n\u003ch2>Director, motion picture\u003c/h2>\n\u003cp>Paul Thomas Anderson, \u003cem>One Battle After Another\u003c/em>\u003c/p>\n\u003ch2>Screenplay, motion picture\u003c/h2>\n\u003cp>Paul Thomas Anderson, \u003cem>One Battle After Another\u003c/em>\u003c/p>\n\u003ch2>Cinematic and box office achievement\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13974689/ryan-coogler-sinners-michael-b-jordan-horror-film-review\">\u003cem>Sinners\u003c/em>\u003c/a>\u003c/p>\n\u003ch2>TV series, drama\u003c/h2>\n\u003cp>\u003cem>The Pitt\u003c/em>\u003c/p>\n\u003ch2>TV series, musical or comedy\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13973607/tv-review-the-studio-seth-rogen-appletv-catherine-ohara-cranston\">\u003cem>The Studio\u003c/em>\u003c/a>\u003c/p>\n\u003ch2>Male actor, TV series, drama\u003c/h2>\n\u003cp>Noah Wyle, \u003cem>The Pitt\u003c/em>\u003c/p>\n\u003ch2>Female actor, TV series, drama\u003c/h2>\n\u003cp>Rhea Seehorn, \u003cem>Pluribus\u003c/em>\u003c/p>\n\u003ch2>Female actor, TV series, musical or comedy\u003c/h2>\n\u003cp>Jean Smart, \u003ca href=\"https://www.kqed.org/arts/13897119/a-comedic-generational-divide-gets-bridged-in-hbos-hacks\">\u003cem>Hacks\u003c/em>\u003c/a>\u003c/p>\n\u003ch2>Male actor, TV series, musical or comedy\u003c/h2>\n\u003cp>Seth Rogen, \u003cem>The Studio\u003c/em>\u003c/p>\n\u003ch2>Limited series, anthology series or made for TV movie\u003c/h2>\n\u003cp>\u003cem>Adolescence\u003c/em>\u003c/p>\n\u003ch2>Male actor, limited series, anthology series or made for TV movie\u003c/h2>\n\u003cp>Stephen Graham, \u003cem>Adolescence\u003c/em>\u003c/p>\n\u003ch2>Female actor, limited series, anthology series or made for TV movie\u003c/h2>\n\u003cp>Michelle Williams, \u003cem>Dying for Sex\u003c/em>\u003c/p>\n\u003ch2>Male supporting actor, television\u003c/h2>\n\u003cp>Owen Cooper, \u003cem>Adolescence\u003c/em>\u003c/p>\n\u003ch2>Female supporting actor, television\u003c/h2>\n\u003cp>Erin Doherty, \u003cem>Adolescence\u003c/em>\u003c/p>\n\u003ch2>Original song, motion picture\u003c/h2>\n\u003cp>“Golden” from \u003cem>Kpop Demon Hunters\u003c/em>\u003c/p>\n\u003ch2>Original score, motion picture\u003c/h2>\n\u003cp>Ludwig Göransson, \u003cem>Sinners\u003c/em>\u003c/p>\n\u003ch2>Stand-up comedy performance\u003c/h2>\n\u003cp>Ricky Gervais, \u003cem>Mortality\u003c/em>\u003c/p>\n\u003ch2>Podcast\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Good Hang With Amy Poehler\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Golden Globes bill themselves as Hollywood’s booziest bash. The awards show was broadcast on CBS and is available to stream through \u003ca href=\"https://www.kqed.org/arts/tag/paramount\">Paramount+\u003c/a>.\u003c/p>\n\u003cp>Here’s a list of winners at Sunday’s Golden Globes:\u003c/p>\n\u003ch2>Motion picture, drama\u003c/h2>\n\u003cp>\u003cem>Hamnet\u003c/em>\u003c/p>\n\u003ch2>Motion picture, musical or comedy\u003c/h2>\n\u003cp>\u003cem>One Battle After Another\u003c/em>\u003c/p>\n\u003ch2>Male actor, motion picture, drama\u003c/h2>\n\u003cp>Wagner Moura, \u003cem>The Secret Agent\u003c/em>\u003c/p>\n\u003ch2>Female actor, motion picture, drama\u003c/h2>\n\u003cp>Jessie Buckley, \u003cem>Hamnet\u003c/em>\u003c/p>\n\u003ch2>Female actor, motion picture, musical or comedy\u003c/h2>\n\u003cp>Rose Byrne, \u003ca href=\"https://www.kqed.org/arts/13982228/rose-byrne-astonishes-in-the-gripping-if-i-had-legs-id-kick-you\">\u003cem>If I Had Legs, I’d Kick You\u003c/em>\u003c/a>\u003c/p>\n\u003ch2>Male actor, motion picture, musical or comedy\u003c/h2>\n\u003cp>Timothée Chalamet, \u003ca href=\"https://www.kqed.org/arts/13984991/marty-supreme-review-timothee-chalamet-josh-safdie\">\u003cem>Marty Supreme\u003c/em>\u003c/a>\u003c/p>\n\u003ch2>Female supporting actor, motion picture\u003c/h2>\n\u003cp>Teyana Taylor, \u003cem>One Battle After Another\u003c/em>\u003c/p>\n\u003ch2>Male supporting actor, motion picture\u003c/h2>\n\u003cp>Stellan Skarsgard, \u003cem>Sentimental Value\u003c/em>\u003c/p>\n\u003ch2>Motion picture, non-English language\u003c/h2>\n\u003cp>\u003cem>The Secret Agent\u003c/em>, Brazil\u003c/p>\n\u003ch2>Motion picture, animated\u003c/h2>\n\u003cp>\u003cem>KPop Demon Hunters\u003c/em>\u003c/p>\n\u003ch2>Director, motion picture\u003c/h2>\n\u003cp>Paul Thomas Anderson, \u003cem>One Battle After Another\u003c/em>\u003c/p>\n\u003ch2>Screenplay, motion picture\u003c/h2>\n\u003cp>Paul Thomas Anderson, \u003cem>One Battle After Another\u003c/em>\u003c/p>\n\u003ch2>Cinematic and box office achievement\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13974689/ryan-coogler-sinners-michael-b-jordan-horror-film-review\">\u003cem>Sinners\u003c/em>\u003c/a>\u003c/p>\n\u003ch2>TV series, drama\u003c/h2>\n\u003cp>\u003cem>The Pitt\u003c/em>\u003c/p>\n\u003ch2>TV series, musical or comedy\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13973607/tv-review-the-studio-seth-rogen-appletv-catherine-ohara-cranston\">\u003cem>The Studio\u003c/em>\u003c/a>\u003c/p>\n\u003ch2>Male actor, TV series, drama\u003c/h2>\n\u003cp>Noah Wyle, \u003cem>The Pitt\u003c/em>\u003c/p>\n\u003ch2>Female actor, TV series, drama\u003c/h2>\n\u003cp>Rhea Seehorn, \u003cem>Pluribus\u003c/em>\u003c/p>\n\u003ch2>Female actor, TV series, musical or comedy\u003c/h2>\n\u003cp>Jean Smart, \u003ca href=\"https://www.kqed.org/arts/13897119/a-comedic-generational-divide-gets-bridged-in-hbos-hacks\">\u003cem>Hacks\u003c/em>\u003c/a>\u003c/p>\n\u003ch2>Male actor, TV series, musical or comedy\u003c/h2>\n\u003cp>Seth Rogen, \u003cem>The Studio\u003c/em>\u003c/p>\n\u003ch2>Limited series, anthology series or made for TV movie\u003c/h2>\n\u003cp>\u003cem>Adolescence\u003c/em>\u003c/p>\n\u003ch2>Male actor, limited series, anthology series or made for TV movie\u003c/h2>\n\u003cp>Stephen Graham, \u003cem>Adolescence\u003c/em>\u003c/p>\n\u003ch2>Female actor, limited series, anthology series or made for TV movie\u003c/h2>\n\u003cp>Michelle Williams, \u003cem>Dying for Sex\u003c/em>\u003c/p>\n\u003ch2>Male supporting actor, television\u003c/h2>\n\u003cp>Owen Cooper, \u003cem>Adolescence\u003c/em>\u003c/p>\n\u003ch2>Female supporting actor, television\u003c/h2>\n\u003cp>Erin Doherty, \u003cem>Adolescence\u003c/em>\u003c/p>\n\u003ch2>Original song, motion picture\u003c/h2>\n\u003cp>“Golden” from \u003cem>Kpop Demon Hunters\u003c/em>\u003c/p>\n\u003ch2>Original score, motion picture\u003c/h2>\n\u003cp>Ludwig Göransson, \u003cem>Sinners\u003c/em>\u003c/p>\n\u003ch2>Stand-up comedy performance\u003c/h2>\n\u003cp>Ricky Gervais, \u003cem>Mortality\u003c/em>\u003c/p>\n\u003ch2>Podcast\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Good Hang With Amy Poehler\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Dead Man’s Wire’ Is a Retro Thriller That’s Pertinent to the Present",
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"content": "\u003cp>It plays a little loose with facts but the righteous rage of \u003cem>Dog Day Afternoon\u003c/em> is present enough in Gus Van Sant’s \u003cem>Dead Man’s Wire\u003c/em>, a based-on-a-true-tale hostage thriller that’s as deeply 1970s as it is contemporary.\u003c/p>\n\u003cp>In February 1977, Tony Kiritsis walked into the Meridian Mortgage Company in downtown Indianapolis and took one of its executives, Dick Hall, hostage. Kiritsis held a sawed-off shotgun to the back of Hall’s head and draped a wire around his neck that connected to the gun. If he moved too much, he would die.\u003c/p>\n\u003cp>[aside postid='arts_13985108']The subsequent standoff moved to Kiritsis’ apartment and eventually concluded in a live televised news conference. The whole ordeal received some renewed attention in a 2022 podcast dramatization starring Jon Hamm.\u003c/p>\n\u003cp>But in \u003cem>Dead Man’s Wire\u003c/em>, starring Bill Skarsgård as Kiritsis, these events are vividly brought to life by Van Sant. It’s been seven years since Van Sant directed, following 2018’s \u003cem>Don’t Worry, He Won’t Get Far on Foot\u003c/em>, and one of the prevailing takeaways of his new film is that that’s too long of a break for a filmmaker of Van Sant’s caliber.\u003c/p>\n\u003cp>Working from a script by Austin Kolodney, the filmmaker of \u003cem>My Own Private Idaho\u003c/em> and \u003cem>Good Will Hunting\u003c/em> turns \u003cem>Dead Man’s Wire\u003c/em> into not a period-piece time capsule but a bracingly relevant drama of outrage and inequality. Tony feels aggrieved by his mortgage company over a land deal the bank, he claims, blocked. We’re never given many specifics, but at the same time, there’s little doubt in \u003cem>Dead Man’s Wire\u003c/em> that Tony’s cause is just. His means might be desperate and abhorrent, but the movie is very definitely on his side.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s owed significantly to Skarsgård, who gives one of his finest and least adorned performances. While best known for films like \u003cem>It\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13963140/the-crow-reimagined-is-stylish-and-operatic-but-cannot-outfly-1994-original\">\u003cem>The Crow\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13969867/nosferatu-movie-review-lily-rose-depp-bill-skarsgard-robert-eggers-remake-2025\">\u003cem>Nosferatu\u003c/em>\u003c/a>, here Skarsgård has little more than some green polyester and a very ’70s mustache to alter his looks. The straightforward, jittery intensity of his performance propels \u003cem>Dead Man’s Wire\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xJH8iCcoSDw\u003c/p>\n\u003cp>Yet Van Sant’s film aspires to be a larger ensemble drama, which it only partially succeeds at. Tony’s plight is far from a solitary one, as numerous threads suggest in Kolodney’s fast-paced script. First and foremost is \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> as a local DJ named Fred Temple. (If ever there were an actor suited, with a smooth baritone, to play a ’70s radio DJ, it’s Domingo.) Tony, a fan, calls Fred to air his demands. But it’s not just a media outlet for him. Fred touts himself as “the voice of the people.”\u003c/p>\n\u003cp>Something similar could be said of Tony, who rapidly emerges as a kind of folk hero. As much as he tortures his hostage (a very good Dacre Montgomery), he’s kind to the police officers surrounding him. And as he and Dick spend more time together, Dick emerges as a kind of victim, himself. It’s his father’s bank, and when Tony gets M.L. Hall (Al Pacino) on the phone, he sounds painfully insensitive, sooner ready to sacrifice his son than acknowledge any wrongdoing.\u003c/p>\n\u003cp>[aside postid='arts_13985062']Pacino’s presence in \u003cem>Dead Man’s Wire\u003c/em> is a nod to \u003cem>Dog Day Afternoon\u003c/em>, a movie that may be far better — but, then again, that’s true of most films in comparison to Sidney Lumet’s unsurpassed 1975 classic. Still, Van Sant’s film bears some of the same rage and disillusionment with the meatgrinder of capitalism as \u003cem>Dog Day\u003c/em>.\u003c/p>\n\u003cp>There’s also a telling, if not entirely successful subplot of a local TV news reporter (Myha’la) struggling against stereotypes. Even when she gets the goods on the unspooling news story, the way her producer says to “chop it up” and put it on air makes it clear: Whatever Tony is rebelling against, it’s him, not his plight, that will be served up on a prime-time plate.\u003c/p>\n\u003cp>It doesn’t take recent similar cases of national fascination, such as Luigi Mangione, charged with killing a healthcare executive, to see contemporary echoes of Kiritsis’ tale. The real story is more complicated and less metaphor-ready, of course, than the movie, which detracts some from the film’s gritty sense of verisimilitude. Staying closer to the truth might have produced a more dynamic movie.\u003c/p>\n\u003cp>But \u003cem>Dead Man’s Wire\u003c/em> still works. In the film, Tony’s demands are $5 million and an apology. It’s clear the latter means more to him than the money. The tragedy in \u003cem>Dead Man’s Wire\u003c/em> is just how elusive “I’m sorry” can be.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dead Man’s Wire’ is released nationwide on Jan. 9, 2026.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It plays a little loose with facts but the righteous rage of \u003cem>Dog Day Afternoon\u003c/em> is present enough in Gus Van Sant’s \u003cem>Dead Man’s Wire\u003c/em>, a based-on-a-true-tale hostage thriller that’s as deeply 1970s as it is contemporary.\u003c/p>\n\u003cp>In February 1977, Tony Kiritsis walked into the Meridian Mortgage Company in downtown Indianapolis and took one of its executives, Dick Hall, hostage. Kiritsis held a sawed-off shotgun to the back of Hall’s head and draped a wire around his neck that connected to the gun. If he moved too much, he would die.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The subsequent standoff moved to Kiritsis’ apartment and eventually concluded in a live televised news conference. The whole ordeal received some renewed attention in a 2022 podcast dramatization starring Jon Hamm.\u003c/p>\n\u003cp>But in \u003cem>Dead Man’s Wire\u003c/em>, starring Bill Skarsgård as Kiritsis, these events are vividly brought to life by Van Sant. It’s been seven years since Van Sant directed, following 2018’s \u003cem>Don’t Worry, He Won’t Get Far on Foot\u003c/em>, and one of the prevailing takeaways of his new film is that that’s too long of a break for a filmmaker of Van Sant’s caliber.\u003c/p>\n\u003cp>Working from a script by Austin Kolodney, the filmmaker of \u003cem>My Own Private Idaho\u003c/em> and \u003cem>Good Will Hunting\u003c/em> turns \u003cem>Dead Man’s Wire\u003c/em> into not a period-piece time capsule but a bracingly relevant drama of outrage and inequality. Tony feels aggrieved by his mortgage company over a land deal the bank, he claims, blocked. We’re never given many specifics, but at the same time, there’s little doubt in \u003cem>Dead Man’s Wire\u003c/em> that Tony’s cause is just. His means might be desperate and abhorrent, but the movie is very definitely on his side.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s owed significantly to Skarsgård, who gives one of his finest and least adorned performances. While best known for films like \u003cem>It\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13963140/the-crow-reimagined-is-stylish-and-operatic-but-cannot-outfly-1994-original\">\u003cem>The Crow\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13969867/nosferatu-movie-review-lily-rose-depp-bill-skarsgard-robert-eggers-remake-2025\">\u003cem>Nosferatu\u003c/em>\u003c/a>, here Skarsgård has little more than some green polyester and a very ’70s mustache to alter his looks. The straightforward, jittery intensity of his performance propels \u003cem>Dead Man’s Wire\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xJH8iCcoSDw'\n title='//www.youtube.com/embed/xJH8iCcoSDw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yet Van Sant’s film aspires to be a larger ensemble drama, which it only partially succeeds at. Tony’s plight is far from a solitary one, as numerous threads suggest in Kolodney’s fast-paced script. First and foremost is \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> as a local DJ named Fred Temple. (If ever there were an actor suited, with a smooth baritone, to play a ’70s radio DJ, it’s Domingo.) Tony, a fan, calls Fred to air his demands. But it’s not just a media outlet for him. Fred touts himself as “the voice of the people.”\u003c/p>\n\u003cp>Something similar could be said of Tony, who rapidly emerges as a kind of folk hero. As much as he tortures his hostage (a very good Dacre Montgomery), he’s kind to the police officers surrounding him. And as he and Dick spend more time together, Dick emerges as a kind of victim, himself. It’s his father’s bank, and when Tony gets M.L. Hall (Al Pacino) on the phone, he sounds painfully insensitive, sooner ready to sacrifice his son than acknowledge any wrongdoing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Pacino’s presence in \u003cem>Dead Man’s Wire\u003c/em> is a nod to \u003cem>Dog Day Afternoon\u003c/em>, a movie that may be far better — but, then again, that’s true of most films in comparison to Sidney Lumet’s unsurpassed 1975 classic. Still, Van Sant’s film bears some of the same rage and disillusionment with the meatgrinder of capitalism as \u003cem>Dog Day\u003c/em>.\u003c/p>\n\u003cp>There’s also a telling, if not entirely successful subplot of a local TV news reporter (Myha’la) struggling against stereotypes. Even when she gets the goods on the unspooling news story, the way her producer says to “chop it up” and put it on air makes it clear: Whatever Tony is rebelling against, it’s him, not his plight, that will be served up on a prime-time plate.\u003c/p>\n\u003cp>It doesn’t take recent similar cases of national fascination, such as Luigi Mangione, charged with killing a healthcare executive, to see contemporary echoes of Kiritsis’ tale. The real story is more complicated and less metaphor-ready, of course, than the movie, which detracts some from the film’s gritty sense of verisimilitude. Staying closer to the truth might have produced a more dynamic movie.\u003c/p>\n\u003cp>But \u003cem>Dead Man’s Wire\u003c/em> still works. In the film, Tony’s demands are $5 million and an apology. It’s clear the latter means more to him than the money. The tragedy in \u003cem>Dead Man’s Wire\u003c/em> is just how elusive “I’m sorry” can be.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dead Man’s Wire’ is released nationwide on Jan. 9, 2026.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Golden Globes Are This Week — What To Know About the First Major Awards of the Season",
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"content": "\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/golden-globes\">Golden Globes\u003c/a> return Sunday, Jan. 11. The boozy, bubbly kickoff to Hollywood’s awards season will feature nominees including Timothée Chalamet, Leonardo DiCaprio, Michael B. Jordan, Ariana Grande, Cynthia Erivo and Emma Stone.\u003c/p>\n\u003cp>The 83rd Golden Globe Awards ceremony begins at 5 p.m. Pacific time at the Beverly Hilton in Beverly Hills, California and will be televised live on CBS and streamed live on Paramount+.\u003c/p>\n\u003cp>Here are more key things to know about the ceremony:\u003c/p>\n\u003ch2>Who’s hosting the Golden Globes?\u003c/h2>\n\u003cp>The comedian and actor Nikki Glaser will return as host for the second year after a well-reviewed 2025 debut when she became the first woman to host the show solo.\u003c/p>\n\u003cp>Glaser didn’t go easy on the Hollywood crowd, but wasn’t nearly as barbed as she was in her star-making performance in a roast of Tom Brady. In her first monologue she called the ceremony “Ozempic’s biggest night.”\u003c/p>\n\u003cfigure id=\"attachment_13985112\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985112\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-2192010389.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-2192010389.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-2192010389-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-2192010389-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-2192010389-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nikki Glaser during the 82nd Annual Golden Globes held at The Beverly Hilton on Jan. 5, 2025 in Beverly Hills, California. \u003ccite>(Rich Polk/GG2025/Penske Media via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When she was rehired, Glaser said in a statement that it was “the most fun I have ever had in my career” and “I can’t wait to do it again, and this time in front of the team from ‘The White Lotus’ who will finally recognize my talent and cast me in Season Four as a Scandinavian Pilates instructor with a shadowy past.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last year’s drew an average of about 10 million viewers, holding steady from the year before. There are far fewer viewers then there were a decade ago, but the Globes remain the most watched awards show after the Oscars and the Grammys.\u003c/p>\n\u003ch2>Who’s nominated for Golden Globes this year?\u003c/h2>\n\u003cp>Oscar front-runner \u003cem>One Battle After Another\u003c/em> leads all nominees with nine, including acting nods for DiCaprio and Chase Infiniti and a directing nomination for Paul Thomas Anderson.\u003c/p>\n\u003cp>The Globes divides films between drama and musical or comedy in the top categories, and \u003cem>One Battle\u003c/em> was categorized as a comedy. Competing against DiCaprio will be Chalamet for \u003cem>Marty Supreme\u003c/em> and George Clooney for \u003cem>Jay Kelly\u003c/em>.\u003c/p>\n\u003cp>Infiniti’s competition includes Erivo for \u003cem>Wicked: For Good\u003c/em>, Stone for \u003cem>Bugonia\u003c/em> and Rose Byrne for \u003cem>If I Had Legs I’d Kick You\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13974694\" class=\"wp-caption aligncenter\" style=\"max-width: 2344px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974694\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG.jpeg\" alt=\"Smoke clutches Sammie as they booth look on at something terrifying in the distance.\" width=\"2344\" height=\"1460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG.jpeg 2344w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-800x498.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-1020x635.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-160x100.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-768x478.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-1536x957.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-2048x1276.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-1920x1196.jpeg 1920w\" sizes=\"auto, (max-width: 2344px) 100vw, 2344px\">\u003cfigcaption class=\"wp-caption-text\">Evil forces threaten a 1930s juke joint in Ryan Coogler’s ‘Sinners,’ starring Michael B. Jordan (left) and Miles Caton. \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Danish film \u003cem>Sentimental Value\u003c/em> was second with eight nominations, including an acting nod for star Renate Reinsve. Her competition on the drama side includes Jessie Buckley from \u003cem>Hamnet\u003c/em>, Julia Roberts for \u003cem>After the Hunt\u003c/em> and Jennifer Lawrence for\u003cem> Die My Love\u003c/em>.\u003c/p>\n\u003cp>Male actors nominated for dramas include Jordan for \u003cem>Sinners\u003c/em>, directed by Oakland-raised Ryan Coogler, and Dwayne Johnson for \u003cem>The Smashing Machine\u003c/em>.\u003c/p>\n\u003cp>Grande, Teyana Taylor, Paul Mescal, Adam Sandler and Jacob Elordi are among those nominated in the supporting categories.\u003c/p>\n\u003cp>\u003cem>The White Lotus\u003c/em> led all TV nominees with six.\u003c/p>\n\u003cp>You can see a \u003ca href=\"https://goldenglobes.com/nominations/2026\">full list of nominees here\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13984991']\u003c/p>\n\u003ch2>Why are the Golden Globes important?\u003c/h2>\n\u003cp>The Globes, held annually in early January, are the first major ceremony of the awards season. They’re not always an Oscar bellwether — they have an entirely different voting base of journalists and critics — but they’re embraced as a champagne-soaked party with some of the biggest stars in film and television sitting together at tables like a nightclub.\u003c/p>\n\u003cp>And a Globes win can still help build momentum for a movie or actor’s Oscar campaign, and it’s the first time the public may hear an acceptance speech that may be repeated with some variations for months, leading up to the Academy Awards, held this year on March 15.\u003c/p>\n\u003ch2>Who’s getting a lifetime achievement award?\u003c/h2>\n\u003cp>Helen Mirren will be honored with the Golden Globes’ Cecil B. DeMille Award for a life of work on screen, and Sarah Jessica Parker will get the Carol Burnett Award for her career in television.\u003c/p>\n\u003cp>Mirren and Parker this week will get a separate Beverly Hilton gala, a recording of which will air Thursday at 8 p.m. Eastern and Pacific on CBS and also stream on Paramount+ on what’s being called \u003cem>Golden Eve.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13980749\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980749\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/thurs-murd-club.png\" alt=\"A senior woman with white hair wearing a beige raincoat stands looking down at the ground. Behind her stands a younger white man wearing casual shirt and denim jacket. He is also looking down at something.\" width=\"2000\" height=\"1221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/thurs-murd-club.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/thurs-murd-club-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/thurs-murd-club-768x469.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/thurs-murd-club-1536x938.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Helen Mirren with Henry Lloyd Hughes in a scene from the 2025 film ‘The Thursday Murder Club.’ \u003ccite>(Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mirren, 80, an Oscar winner for her 2006 portrayal of Elizabeth II in \u003cem>The Queen\u003c/em>, has also won three Golden Globes and is up for a fourth this year for her role in the series \u003cem>MobLand\u003c/em>. She was named a Dame of the British Empire in 2003 in acknowledgment of her artistic achievements.\u003c/p>\n\u003cp>The award dates to 1952, when it was given to the legendary filmmaker DeMille himself. Other recipients include Walt Disney, Bing Crosby, Judy Garland, Barbra Streisand, Sidney Poitier, Meryl Streep, Oprah Winfrey, Tom Hanks and Viola Davis.\u003c/p>\n\u003cp>Parker will get the much newer Carol Burnett Award, presented to an honoree who has “made outstanding contributions to television on or off screen.” The 60-year-old Parker, who won six Golden Globes and two Emmys as the star of \u003cem>Sex and the City\u003c/em>, is being honored for her work as actor and producer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The award was launched in 2019, when it went to Burnett. Other past winners include Norman Lear, Ryan Murphy and Ellen DeGeneres.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/golden-globes\">Golden Globes\u003c/a> return Sunday, Jan. 11. The boozy, bubbly kickoff to Hollywood’s awards season will feature nominees including Timothée Chalamet, Leonardo DiCaprio, Michael B. Jordan, Ariana Grande, Cynthia Erivo and Emma Stone.\u003c/p>\n\u003cp>The 83rd Golden Globe Awards ceremony begins at 5 p.m. Pacific time at the Beverly Hilton in Beverly Hills, California and will be televised live on CBS and streamed live on Paramount+.\u003c/p>\n\u003cp>Here are more key things to know about the ceremony:\u003c/p>\n\u003ch2>Who’s hosting the Golden Globes?\u003c/h2>\n\u003cp>The comedian and actor Nikki Glaser will return as host for the second year after a well-reviewed 2025 debut when she became the first woman to host the show solo.\u003c/p>\n\u003cp>Glaser didn’t go easy on the Hollywood crowd, but wasn’t nearly as barbed as she was in her star-making performance in a roast of Tom Brady. In her first monologue she called the ceremony “Ozempic’s biggest night.”\u003c/p>\n\u003cfigure id=\"attachment_13985112\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985112\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-2192010389.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-2192010389.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-2192010389-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-2192010389-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/01/GettyImages-2192010389-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Nikki Glaser during the 82nd Annual Golden Globes held at The Beverly Hilton on Jan. 5, 2025 in Beverly Hills, California. \u003ccite>(Rich Polk/GG2025/Penske Media via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When she was rehired, Glaser said in a statement that it was “the most fun I have ever had in my career” and “I can’t wait to do it again, and this time in front of the team from ‘The White Lotus’ who will finally recognize my talent and cast me in Season Four as a Scandinavian Pilates instructor with a shadowy past.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year’s drew an average of about 10 million viewers, holding steady from the year before. There are far fewer viewers then there were a decade ago, but the Globes remain the most watched awards show after the Oscars and the Grammys.\u003c/p>\n\u003ch2>Who’s nominated for Golden Globes this year?\u003c/h2>\n\u003cp>Oscar front-runner \u003cem>One Battle After Another\u003c/em> leads all nominees with nine, including acting nods for DiCaprio and Chase Infiniti and a directing nomination for Paul Thomas Anderson.\u003c/p>\n\u003cp>The Globes divides films between drama and musical or comedy in the top categories, and \u003cem>One Battle\u003c/em> was categorized as a comedy. Competing against DiCaprio will be Chalamet for \u003cem>Marty Supreme\u003c/em> and George Clooney for \u003cem>Jay Kelly\u003c/em>.\u003c/p>\n\u003cp>Infiniti’s competition includes Erivo for \u003cem>Wicked: For Good\u003c/em>, Stone for \u003cem>Bugonia\u003c/em> and Rose Byrne for \u003cem>If I Had Legs I’d Kick You\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13974694\" class=\"wp-caption aligncenter\" style=\"max-width: 2344px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13974694\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG.jpeg\" alt=\"Smoke clutches Sammie as they booth look on at something terrifying in the distance.\" width=\"2344\" height=\"1460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG.jpeg 2344w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-800x498.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-1020x635.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-160x100.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-768x478.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-1536x957.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-2048x1276.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/rev-1-GRC-TT-0016c_High_Res_JPEG-1920x1196.jpeg 1920w\" sizes=\"auto, (max-width: 2344px) 100vw, 2344px\">\u003cfigcaption class=\"wp-caption-text\">Evil forces threaten a 1930s juke joint in Ryan Coogler’s ‘Sinners,’ starring Michael B. Jordan (left) and Miles Caton. \u003ccite>(Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Danish film \u003cem>Sentimental Value\u003c/em> was second with eight nominations, including an acting nod for star Renate Reinsve. Her competition on the drama side includes Jessie Buckley from \u003cem>Hamnet\u003c/em>, Julia Roberts for \u003cem>After the Hunt\u003c/em> and Jennifer Lawrence for\u003cem> Die My Love\u003c/em>.\u003c/p>\n\u003cp>Male actors nominated for dramas include Jordan for \u003cem>Sinners\u003c/em>, directed by Oakland-raised Ryan Coogler, and Dwayne Johnson for \u003cem>The Smashing Machine\u003c/em>.\u003c/p>\n\u003cp>Grande, Teyana Taylor, Paul Mescal, Adam Sandler and Jacob Elordi are among those nominated in the supporting categories.\u003c/p>\n\u003cp>\u003cem>The White Lotus\u003c/em> led all TV nominees with six.\u003c/p>\n\u003cp>You can see a \u003ca href=\"https://goldenglobes.com/nominations/2026\">full list of nominees here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Why are the Golden Globes important?\u003c/h2>\n\u003cp>The Globes, held annually in early January, are the first major ceremony of the awards season. They’re not always an Oscar bellwether — they have an entirely different voting base of journalists and critics — but they’re embraced as a champagne-soaked party with some of the biggest stars in film and television sitting together at tables like a nightclub.\u003c/p>\n\u003cp>And a Globes win can still help build momentum for a movie or actor’s Oscar campaign, and it’s the first time the public may hear an acceptance speech that may be repeated with some variations for months, leading up to the Academy Awards, held this year on March 15.\u003c/p>\n\u003ch2>Who’s getting a lifetime achievement award?\u003c/h2>\n\u003cp>Helen Mirren will be honored with the Golden Globes’ Cecil B. DeMille Award for a life of work on screen, and Sarah Jessica Parker will get the Carol Burnett Award for her career in television.\u003c/p>\n\u003cp>Mirren and Parker this week will get a separate Beverly Hilton gala, a recording of which will air Thursday at 8 p.m. Eastern and Pacific on CBS and also stream on Paramount+ on what’s being called \u003cem>Golden Eve.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13980749\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980749\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/thurs-murd-club.png\" alt=\"A senior woman with white hair wearing a beige raincoat stands looking down at the ground. Behind her stands a younger white man wearing casual shirt and denim jacket. He is also looking down at something.\" width=\"2000\" height=\"1221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/thurs-murd-club.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/thurs-murd-club-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/thurs-murd-club-768x469.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/thurs-murd-club-1536x938.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Helen Mirren with Henry Lloyd Hughes in a scene from the 2025 film ‘The Thursday Murder Club.’ \u003ccite>(Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mirren, 80, an Oscar winner for her 2006 portrayal of Elizabeth II in \u003cem>The Queen\u003c/em>, has also won three Golden Globes and is up for a fourth this year for her role in the series \u003cem>MobLand\u003c/em>. She was named a Dame of the British Empire in 2003 in acknowledgment of her artistic achievements.\u003c/p>\n\u003cp>The award dates to 1952, when it was given to the legendary filmmaker DeMille himself. Other recipients include Walt Disney, Bing Crosby, Judy Garland, Barbra Streisand, Sidney Poitier, Meryl Streep, Oprah Winfrey, Tom Hanks and Viola Davis.\u003c/p>\n\u003cp>Parker will get the much newer Carol Burnett Award, presented to an honoree who has “made outstanding contributions to television on or off screen.” The 60-year-old Parker, who won six Golden Globes and two Emmys as the star of \u003cem>Sex and the City\u003c/em>, is being honored for her work as actor and producer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The award was launched in 2019, when it went to Burnett. Other past winners include Norman Lear, Ryan Murphy and Ellen DeGeneres.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "no-separate-survival-documentary-east-bay-sanctuary-covenant-event-freight",
"title": "Asylum-Seekers’ Stories Come to The Freight in Berkeley",
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"headTitle": "Asylum-Seekers’ Stories Come to The Freight in Berkeley | KQED",
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"content": "\u003cp>When \u003ca href=\"https://eastbaysanctuary.org/\">East Bay Sanctuary Covenant\u003c/a> was founded in 1982, the majority of the \u003ca href=\"https://www.kqed.org/news/tag/asylum-seekers\">asylum seekers\u003c/a> they served were fleeing U.S.-backed violence in Central America.\u003c/p>\n\u003cp>“The Reagan administration at the time was calling them economic refugees,” says Lisa Hoffman, co-executive director of the nonprofit. “[It] was not acknowledging the role that the U.S. government was playing in funding and supporting these death squads that were causing terror.”\u003c/p>\n\u003cp>EBSC knew otherwise, because from its earliest days, the organization was committed to listening to the stories of those fleeing that violence — not only to best meet their needs, but to broaden awareness and spur action in the larger public. It’s a tradition they’ve kept up for the past 43 years and across 4,100 successful asylum cases.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Jan. 4, that deep listening and storytelling takes another form at Berkeley’s The Freight, with a screening of Shabnam Piryaei’s 27-minute documentary \u003ci>\u003ca href=\"https://secure.thefreight.org/15581/15582-no-separate-survival-film-screening-260104\">No Separate Survival\u003c/a>\u003c/i>, and a mini concert from \u003ca href=\"https://www.larryandjoe.com/\">Larry & Joe\u003c/a>, a llanera-bluegrass fusion band based in North Carolina.\u003c/p>\n\u003cp>The event is a fundraiser, as well as an opportunity to learn more about EBSC’s work in a joyous, celebratory atmosphere. Previous screenings, Piryaei said, were more targeted towards asylum seekers and people working within refugee communities.\u003c/p>\n\u003cp>“This one feels the most like it’s speaking to people outside of the experience, people who want to know more about it,” she said of the event.\u003c/p>\n\u003cfigure id=\"attachment_13985085\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985085\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000.jpg\" alt=\"border wall extends down beach into ocean\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the U.S.-Mexico border in a scene from ‘No Separate Survival.’ \u003ccite>(Shabnam Piryaei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piryaei’s film is the result of years of leading arts-based workshops in the Bay Area and at the U.S.-Mexico border. Participants told their stories through short videos, drawings and writing, to which Piryaei added poetic interludes, snippets of animation and the voices of advocates. The result is a dreamy, moving document of the desperate circumstances that drive people to flee their homes — and the lives they can freely lead once their safety is secured.\u003c/p>\n\u003cp>“Run for your life because you want to keep living,” said Irma, one of the film’s four narrators. It’s what she told herself after she was ostracized and physically attacked for her gender identity. In another scene, she flips the pages of a sketchbook to show her delicate drawings of various solitary figures: a girl among sunflowers, a woman in a chair.\u003c/p>\n\u003cp>When a narrator’s story in the film lacks narration, Piryaei dips into black-and-white archival film. The effect is illustrative, but never heavy-handed. If anything, these elements touch on just how long people have sought out better futures in this country, and risked their lives to do so.\u003c/p>\n\u003cfigure id=\"attachment_13985087\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000.jpg\" alt=\"person holds notebook page with handwriting on it\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irma flips through a sketchbook in a scene from ‘No Separate Survival.’ \u003ccite>(Shabnam Piryaei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While EBSC continues to provide free legal and social services to low-income immigrants, the Trump administration has increased its efforts to \u003ca href=\"https://www.kqed.org/forum/2010101912438/trump-expanding-third-country-removals-of-asylum-seekers-in-california\">halt and dismantle the asylum process\u003c/a>.\u003c/p>\n\u003cp>On Nov. 28, U.S. Citizenship and Immigration Services, a branch of Homeland Security, paused all pending asylum cases. Being from one of 40 countries can now be a “significant negative factor” in an asylum case. And the administration has suggested it may also try to reverse previous grants of asylum — no matter where a person is from.\u003c/p>\n\u003cp>“We have a lot of people in the broader community who are becoming more aware of immigration issues and have a desire to learn more and to help out,” Hoffman said. Storytelling, and the Jan. 4 event in particular, she says, can be a meeting place and a starting point for those who want to lend a hand.\u003c/p>\n\u003cp>“I think it brings a lens of positivity in a moment where we’re just inundated by fear and terror,” she added. “We can come together in this joyful, uplifting space with music and stories. I feel like it is nourishment for our souls and we need that desperately now.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>‘\u003ca href=\"https://secure.thefreight.org/15581/15582-no-separate-survival-film-screening-260104\">No Separate Survival\u003c/a>’ screens at The Freight (2020 Addison St., Berkeley) on Sunday, Jan. 4, 2026, with a performance by Larry & Joe. A pre-screening reception begins at 4:30 p.m. Director Shabnam Piryaei and the narrators will be present for a short Q&A on the making of the film.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://eastbaysanctuary.org/\">East Bay Sanctuary Covenant\u003c/a> was founded in 1982, the majority of the \u003ca href=\"https://www.kqed.org/news/tag/asylum-seekers\">asylum seekers\u003c/a> they served were fleeing U.S.-backed violence in Central America.\u003c/p>\n\u003cp>“The Reagan administration at the time was calling them economic refugees,” says Lisa Hoffman, co-executive director of the nonprofit. “[It] was not acknowledging the role that the U.S. government was playing in funding and supporting these death squads that were causing terror.”\u003c/p>\n\u003cp>EBSC knew otherwise, because from its earliest days, the organization was committed to listening to the stories of those fleeing that violence — not only to best meet their needs, but to broaden awareness and spur action in the larger public. It’s a tradition they’ve kept up for the past 43 years and across 4,100 successful asylum cases.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Jan. 4, that deep listening and storytelling takes another form at Berkeley’s The Freight, with a screening of Shabnam Piryaei’s 27-minute documentary \u003ci>\u003ca href=\"https://secure.thefreight.org/15581/15582-no-separate-survival-film-screening-260104\">No Separate Survival\u003c/a>\u003c/i>, and a mini concert from \u003ca href=\"https://www.larryandjoe.com/\">Larry & Joe\u003c/a>, a llanera-bluegrass fusion band based in North Carolina.\u003c/p>\n\u003cp>The event is a fundraiser, as well as an opportunity to learn more about EBSC’s work in a joyous, celebratory atmosphere. Previous screenings, Piryaei said, were more targeted towards asylum seekers and people working within refugee communities.\u003c/p>\n\u003cp>“This one feels the most like it’s speaking to people outside of the experience, people who want to know more about it,” she said of the event.\u003c/p>\n\u003cfigure id=\"attachment_13985085\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985085\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000.jpg\" alt=\"border wall extends down beach into ocean\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the U.S.-Mexico border in a scene from ‘No Separate Survival.’ \u003ccite>(Shabnam Piryaei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piryaei’s film is the result of years of leading arts-based workshops in the Bay Area and at the U.S.-Mexico border. Participants told their stories through short videos, drawings and writing, to which Piryaei added poetic interludes, snippets of animation and the voices of advocates. The result is a dreamy, moving document of the desperate circumstances that drive people to flee their homes — and the lives they can freely lead once their safety is secured.\u003c/p>\n\u003cp>“Run for your life because you want to keep living,” said Irma, one of the film’s four narrators. It’s what she told herself after she was ostracized and physically attacked for her gender identity. In another scene, she flips the pages of a sketchbook to show her delicate drawings of various solitary figures: a girl among sunflowers, a woman in a chair.\u003c/p>\n\u003cp>When a narrator’s story in the film lacks narration, Piryaei dips into black-and-white archival film. The effect is illustrative, but never heavy-handed. If anything, these elements touch on just how long people have sought out better futures in this country, and risked their lives to do so.\u003c/p>\n\u003cfigure id=\"attachment_13985087\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000.jpg\" alt=\"person holds notebook page with handwriting on it\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irma flips through a sketchbook in a scene from ‘No Separate Survival.’ \u003ccite>(Shabnam Piryaei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While EBSC continues to provide free legal and social services to low-income immigrants, the Trump administration has increased its efforts to \u003ca href=\"https://www.kqed.org/forum/2010101912438/trump-expanding-third-country-removals-of-asylum-seekers-in-california\">halt and dismantle the asylum process\u003c/a>.\u003c/p>\n\u003cp>On Nov. 28, U.S. Citizenship and Immigration Services, a branch of Homeland Security, paused all pending asylum cases. Being from one of 40 countries can now be a “significant negative factor” in an asylum case. And the administration has suggested it may also try to reverse previous grants of asylum — no matter where a person is from.\u003c/p>\n\u003cp>“We have a lot of people in the broader community who are becoming more aware of immigration issues and have a desire to learn more and to help out,” Hoffman said. Storytelling, and the Jan. 4 event in particular, she says, can be a meeting place and a starting point for those who want to lend a hand.\u003c/p>\n\u003cp>“I think it brings a lens of positivity in a moment where we’re just inundated by fear and terror,” she added. “We can come together in this joyful, uplifting space with music and stories. I feel like it is nourishment for our souls and we need that desperately now.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>‘\u003ca href=\"https://secure.thefreight.org/15581/15582-no-separate-survival-film-screening-260104\">No Separate Survival\u003c/a>’ screens at The Freight (2020 Addison St., Berkeley) on Sunday, Jan. 4, 2026, with a performance by Larry & Joe. A pre-screening reception begins at 4:30 p.m. Director Shabnam Piryaei and the narrators will be present for a short Q&A on the making of the film.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "The Korean Satire ‘No Other Choice’ Is a Masterful Thriller From Park Chan-wook",
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"content": "\u003cp>Leaves and bodies fall in \u003cem>No Other Choice\u003c/em>, Park Chan-wook’s masterfully devilish satire with a chilling autumnal wind blowing through it.\u003c/p>\n\u003cp>[aside postID='arts_13984386']“Come on, fall,” urges You Man-su (Lee Byung-hun) as he grills an eel for dinner for his family in the opening moments of Park’s film. He’s eager for the season to start but unprepared for the amount of cyclical collapse — familial, economic, even existential — that Park has in store.\u003c/p>\n\u003cp>Man-su pronounces the very thing no movie protagonist ever should: “I’ve got it all.” He lives with his wife, Miri (Son Ye-jin), and two children (Kim Woo Seung, Choi So Yul) in a handsome modernist house in the woods, with two golden retrievers. But almost as soon as he says that, Man-su’s fortunes turn. After 25 years at a paper mill, Man-su is laid off, as are many others, with little fanfare or apology. Desperation begins to set in. He’s forced to sell the home he loves so dearly, including the attached greenhouse where he tends to plants and bonsai trees. They even have to, horror of horrors, cancel Netflix.\u003c/p>\n\u003cfigure id=\"attachment_13985067\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13985067\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lee Byung-hun in ‘No Other Choice.’ \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another movie might have sunk with Man-su into bankruptcy and midlife struggle, following his quest to find a new line of work and restart his life. This is not that movie. Man-su, considering his prospects, decides he needs to better his odds of new employment. After posting a fake job listing and comparing all the incoming resumes, he decides he’s about the fifth best option for any new paper mill managerial jobs. He decides to kill the ones with better credentials.\u003c/p>\n\u003cp>The concept, a Grade-A barnburner of a movie idea, is not new. \u003cem>No Other Choice\u003c/em>, South Korea’s Oscar submission, is based on Donald Westlake’s 1997 crime novel \u003cem>The Ax\u003c/em>, which Costa-Gavras also made into a film in 2005. But Park, the filmmaker of such diabolical movies as \u003cem>Oldboy\u003c/em>, \u003cem>The Handmaiden\u003c/em> and \u003cem>Decision to Leave\u003c/em>, is exquisitely suited to the material. This is a director capable of conjuring menacing brutality with nothing but a hallway and hammer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And in \u003cem>No Other Choice\u003c/em>, he remains at the peak of his powers, archly and elegantly spinning a yarn about a murderous rampage that accumulates wider and wider reverberations. “Hitchcockian” is a term that often, understandably, finds Park. He is, like Hitch, a seemingly polite and erudite man with a latently dark imagination. But for more than two decades, Park has cut his own bloody, unyieldingly meticulous path in movies that are rarely predictable, very funny and sneakily revelatory.\u003c/p>\n\u003cfigure id=\"attachment_13985068\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13985068\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">So Yul Choi, left, and Son Ye-jin in ‘No Other Choice.’ \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of the delight of \u003cem>No Other Choice\u003c/em>, which Park co-wrote with Lee Kyoung-mi, Don McKellar and Jahye Lee, isn’t just seeing how Man-su’s scheme goes but how Park frames it. He is probably the preeminent filmmaker of putting wild, outrageous happenings into cleverly formal, eminently stylish imagery. As Man-su bumbles from target to target, each potential murder is a window into another family reckoning with unemployment. The way Man-su spies on them (or worse) adds delicious layers of satire. Relish, especially, the way Park uses reflections and trees.\u003c/p>\n\u003cp>How \u003cem>No Other Choice\u003c/em> puts capitalism in the crosshairs, with a handsome house in the center, will no doubt bring to mind another Korean satire: Bong Joon Ho’s \u003cem>Parasite\u003c/em>. Park had been wanting to make his film for almost two decades. Either way, the two movies would make one hell of a destabilizing double feature.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HKZpuG_ezvY\u003c/p>\n\u003cp>If \u003cem>Parasite\u003c/em> was the feat of an ensemble, \u003cem>No Other Choice\u003c/em> belongs to Lee. His Man-su is no killer at heart, and his attempts to become one are as comical as they are Dostoyevskian. The tone is so farcical that the gruesomeness of some of Man-su’s acts come slyly. How many movies have we seen about a parent driven, heroically, to extremes to defend their family? Man-su’s circumstance is frightfully understandable. “Our family is in a war,” he says. To keep them happy — in particular Miri — Man-su thinks whatever it takes is necessary.\u003c/p>\n\u003cp>But what makes \u003cem>No Other Choice\u003c/em> brilliant is how it shows that perceived predicament as a ubiquitous mistake of modern life. I won’t spoil the incredible final minutes of Park’s film, but they expand the notion of necessary termination — of a job, of a life — to automation, AI and beyond. The leaves falling in “No Other Choice” aren’t coming back in the spring.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘No Other Choice’ is in theaters now.\u003c/em>\u003c/p>\n\n",
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"headline": "The Korean Satire ‘No Other Choice’ Is a Masterful Thriller From Park Chan-wook",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leaves and bodies fall in \u003cem>No Other Choice\u003c/em>, Park Chan-wook’s masterfully devilish satire with a chilling autumnal wind blowing through it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Come on, fall,” urges You Man-su (Lee Byung-hun) as he grills an eel for dinner for his family in the opening moments of Park’s film. He’s eager for the season to start but unprepared for the amount of cyclical collapse — familial, economic, even existential — that Park has in store.\u003c/p>\n\u003cp>Man-su pronounces the very thing no movie protagonist ever should: “I’ve got it all.” He lives with his wife, Miri (Son Ye-jin), and two children (Kim Woo Seung, Choi So Yul) in a handsome modernist house in the woods, with two golden retrievers. But almost as soon as he says that, Man-su’s fortunes turn. After 25 years at a paper mill, Man-su is laid off, as are many others, with little fanfare or apology. Desperation begins to set in. He’s forced to sell the home he loves so dearly, including the attached greenhouse where he tends to plants and bonsai trees. They even have to, horror of horrors, cancel Netflix.\u003c/p>\n\u003cfigure id=\"attachment_13985067\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13985067\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lee Byung-hun in ‘No Other Choice.’ \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another movie might have sunk with Man-su into bankruptcy and midlife struggle, following his quest to find a new line of work and restart his life. This is not that movie. Man-su, considering his prospects, decides he needs to better his odds of new employment. After posting a fake job listing and comparing all the incoming resumes, he decides he’s about the fifth best option for any new paper mill managerial jobs. He decides to kill the ones with better credentials.\u003c/p>\n\u003cp>The concept, a Grade-A barnburner of a movie idea, is not new. \u003cem>No Other Choice\u003c/em>, South Korea’s Oscar submission, is based on Donald Westlake’s 1997 crime novel \u003cem>The Ax\u003c/em>, which Costa-Gavras also made into a film in 2005. But Park, the filmmaker of such diabolical movies as \u003cem>Oldboy\u003c/em>, \u003cem>The Handmaiden\u003c/em> and \u003cem>Decision to Leave\u003c/em>, is exquisitely suited to the material. This is a director capable of conjuring menacing brutality with nothing but a hallway and hammer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And in \u003cem>No Other Choice\u003c/em>, he remains at the peak of his powers, archly and elegantly spinning a yarn about a murderous rampage that accumulates wider and wider reverberations. “Hitchcockian” is a term that often, understandably, finds Park. He is, like Hitch, a seemingly polite and erudite man with a latently dark imagination. But for more than two decades, Park has cut his own bloody, unyieldingly meticulous path in movies that are rarely predictable, very funny and sneakily revelatory.\u003c/p>\n\u003cfigure id=\"attachment_13985068\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13985068\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">So Yul Choi, left, and Son Ye-jin in ‘No Other Choice.’ \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of the delight of \u003cem>No Other Choice\u003c/em>, which Park co-wrote with Lee Kyoung-mi, Don McKellar and Jahye Lee, isn’t just seeing how Man-su’s scheme goes but how Park frames it. He is probably the preeminent filmmaker of putting wild, outrageous happenings into cleverly formal, eminently stylish imagery. As Man-su bumbles from target to target, each potential murder is a window into another family reckoning with unemployment. The way Man-su spies on them (or worse) adds delicious layers of satire. Relish, especially, the way Park uses reflections and trees.\u003c/p>\n\u003cp>How \u003cem>No Other Choice\u003c/em> puts capitalism in the crosshairs, with a handsome house in the center, will no doubt bring to mind another Korean satire: Bong Joon Ho’s \u003cem>Parasite\u003c/em>. Park had been wanting to make his film for almost two decades. Either way, the two movies would make one hell of a destabilizing double feature.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HKZpuG_ezvY'\n title='//www.youtube.com/embed/HKZpuG_ezvY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If \u003cem>Parasite\u003c/em> was the feat of an ensemble, \u003cem>No Other Choice\u003c/em> belongs to Lee. His Man-su is no killer at heart, and his attempts to become one are as comical as they are Dostoyevskian. The tone is so farcical that the gruesomeness of some of Man-su’s acts come slyly. How many movies have we seen about a parent driven, heroically, to extremes to defend their family? Man-su’s circumstance is frightfully understandable. “Our family is in a war,” he says. To keep them happy — in particular Miri — Man-su thinks whatever it takes is necessary.\u003c/p>\n\u003cp>But what makes \u003cem>No Other Choice\u003c/em> brilliant is how it shows that perceived predicament as a ubiquitous mistake of modern life. I won’t spoil the incredible final minutes of Park’s film, but they expand the notion of necessary termination — of a job, of a life — to automation, AI and beyond. The leaves falling in “No Other Choice” aren’t coming back in the spring.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘No Other Choice’ is in theaters now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Housemaid’ Is a Twisty Horror-Thriller With Nudity and Empowerment",
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"content": "\u003cp>Santa left us a present this holiday season and it is exactly what we didn’t know we needed: A twisty, psychological horror-thriller with nudity that’s all wrapped up in an empowerment message.\u003c/p>\n\u003cp>\u003cem>The Housemaid\u003c/em> is Paul Feig’s delicious, satirical look at the secret depravity of the ultra-rich, but it’s so well constructed that’s it’s not clear who’s naughty or nice. Halfway through, the movie zigs and everything you expected zags.\u003c/p>\n\u003cp>It’s almost impossible to thread the line between self-winking campy — “That’s a lot of bacon. Are you trying to kill us?” — and carving someone’s stomach with a broken piece of fine china, yet Feig and screenwriter Rebecca Sonnenshine do.\u003c/p>\n\u003cp>Sydney Sweeney stars as a down-on-her luck Millie Calloway, a gal with a troubled past living out of her car who answers an ad for a live-in housekeeper in a tony suburb of New York City. Her resume is fraudulent, as are her references.\u003c/p>\n\u003cfigure id=\"attachment_13985022\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280.jpg\" alt=\"A woman stands in front of bookshelves.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sydney Sweeney in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow, the madam of the mansion, Nina Winchester played with frosty excellence by Amanda Seyfried in pearls and creamy knits, takes a shine to this young soul. “I have a really good feeling about this, Millie,” she says in that perky, slightly crazed clipped way that Seyfried always slays with. “This is going to be fun, Millie.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maybe not for Millie, but definitely for us. The young housekeeper gets her own room in the attic — weird that it closes with a deadbolt from the outside, but no matter — and we’re off. Mille gets a smartphone with the family’s credit card preloaded and a key for that deadbolt. “What kind of monsters are we?” asks Nina. Indeed.\u003c/p>\n\u003cp>The next day, the house is a mess when the housekeeper comes down and Seyfried is in a wide-eyed, crashing-plates, full-on psychotic rage. The sweet, supportive woman we met the day before is gone. But her hunky husband (Brandon Sklenar) is helpful and apologetic. And smoldering. Uh-oh. Did we mention he’s hunky?\u003c/p>\n\u003cfigure id=\"attachment_13985023\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg\" alt=\"A woman stands in the doorway to a house.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If at first we understand that the housekeeper is being a little manipulative — lying to get the job, for instance, or wearing glasses to seem more serious — we soon realize that all kinds of gaslighting games are being played behind these gates, and they’re much more impactful.\u003c/p>\n\u003cp>Based on Freida McFadden’s novel, \u003cem>The Housemaid\u003c/em> rides waves of manipulation and then turns the tables on what we think we’ve just seen, looking at male-female power structures and how privilege can trap people without it.\u003c/p>\n\u003cp>The film is as good looking as the actors, with nifty touches like having the main house spare, well-lit and bright, while the husband’s private screening room in the basement is done in a hellish red. There are little jokes throughout, like the husband and the housemaid bonding over old episodes of \u003cem>Family Feud\u003c/em>, with the name saying it all.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=48CtX6OgU3s\u003c/p>\n\u003cp>Feig and his team also have fun with horror movie conventions, like having a silent, foreboding groundskeeper, adding a creepy dollhouse and placing lightning and thunder during a pivotal scene. They surround the mansion with fussy, aristocratic PTA moms who have tea parties and say things like “You know what yoga means to me.”\u003c/p>\n\u003cp>Feig’s fascinating combination of gore, torture and hot sex ends happily, capped off with Taylor Swift’s perfectly conjured “I Did Something Bad” playing over the end credits. Not at all: This naughty movie is definitely on the nice list.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Housemaid’ opens in theaters Dec. 19, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maybe not for Millie, but definitely for us. The young housekeeper gets her own room in the attic — weird that it closes with a deadbolt from the outside, but no matter — and we’re off. Mille gets a smartphone with the family’s credit card preloaded and a key for that deadbolt. “What kind of monsters are we?” asks Nina. Indeed.\u003c/p>\n\u003cp>The next day, the house is a mess when the housekeeper comes down and Seyfried is in a wide-eyed, crashing-plates, full-on psychotic rage. The sweet, supportive woman we met the day before is gone. But her hunky husband (Brandon Sklenar) is helpful and apologetic. And smoldering. Uh-oh. Did we mention he’s hunky?\u003c/p>\n\u003cfigure id=\"attachment_13985023\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg\" alt=\"A woman stands in the doorway to a house.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If at first we understand that the housekeeper is being a little manipulative — lying to get the job, for instance, or wearing glasses to seem more serious — we soon realize that all kinds of gaslighting games are being played behind these gates, and they’re much more impactful.\u003c/p>\n\u003cp>Based on Freida McFadden’s novel, \u003cem>The Housemaid\u003c/em> rides waves of manipulation and then turns the tables on what we think we’ve just seen, looking at male-female power structures and how privilege can trap people without it.\u003c/p>\n\u003cp>The film is as good looking as the actors, with nifty touches like having the main house spare, well-lit and bright, while the husband’s private screening room in the basement is done in a hellish red. There are little jokes throughout, like the husband and the housemaid bonding over old episodes of \u003cem>Family Feud\u003c/em>, with the name saying it all.\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/48CtX6OgU3s'\n title='//www.youtube.com/embed/48CtX6OgU3s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Feig and his team also have fun with horror movie conventions, like having a silent, foreboding groundskeeper, adding a creepy dollhouse and placing lightning and thunder during a pivotal scene. They surround the mansion with fussy, aristocratic PTA moms who have tea parties and say things like “You know what yoga means to me.”\u003c/p>\n\u003cp>Feig’s fascinating combination of gore, torture and hot sex ends happily, capped off with Taylor Swift’s perfectly conjured “I Did Something Bad” playing over the end credits. Not at all: This naughty movie is definitely on the nice list.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Housemaid’ opens in theaters Dec. 19, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Avatar: Fire and Ash’ Rewards Fans With 195 Minutes of Wonder and War",
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"content": "\u003cp>When I came down with a cold the day after I saw the third and latest \u003ci>Avatar\u003c/i> film, \u003ci>Fire and Ash\u003c/i>, I half-wondered if I had picked it up on Pandora.\u003c/p>\n\u003cp>The promise of Cameron’s 3D trilogy has always been immersion: immersion in a science-fiction world, in technological wonder, in a maybe future of movies. \u003cem>Avatar\u003c/em> is almost more a place to go than a movie to see.\u003c/p>\n\u003cp>[aside postID='arts_13984991']Still, it’s now been two decades since Cameron set off on this blue-tinted quest. The sheen of newness is off, or at least less pronounced, with new technological advances to contend with. \u003cem>Fire and Ash\u003c/em> is running with a behind-the-scenes video about how performance capture was used during the film’s making. The implicit message is: No, this isn’t AI.\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films, with their visual-effects wizardry and clunky revisionist Western storytelling, have always felt, most of all, like an immersion in a dream of James Cameron’s. The idea of these movies, after all, first came to Cameron, he has said, in a bioluminescent vision decades ago. At their best, the \u003cem>Avatar\u003c/em> movies have felt like an otherworldly stage for Cameron to juggle so many of the things — hulking weaponry, ecological wonder, foolhardy human arrogance — that have marked his movies.\u003c/p>\n\u003cfigure id=\"attachment_13985012\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg\" alt=\"flying alien ships in purple pink sky\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, at well more than three hours, is our longest stay yet on Pandora and the one most likely to make you ponder why you came here in the first place. These remain epics of craft and conviction. You can feel Cameron’s deep devotion to the dynamics of his central characters, even when his interest outstrips our own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s especially true in \u003cem>Fire and Ash\u003c/em>, which, following the deep-sea, family-focused part two, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13922812/take-the-plunge-avatars-underwater-scenes-are-immersive-and-extraordinary\">The Way of Water\u003c/a>\u003c/em>, pivots to a new chapter of culture clash. It introduces a violent rival Na’vi clan whose rageful leader, Varang (Oona Chaplin), partners with Stephen Lang’s booming Col. Miles Quaritch and the human colonizers.\u003c/p>\n\u003cp>For those who have closely followed the \u003cem>Avatar\u003c/em> saga, I suspect \u003cem>Fire and Ash\u003c/em> will be a rewarding experience. Quaritch, Pandora’s answer to Robert Duvall’s Bill Kilgore in \u003cem>Apocalypse Now\u003c/em>, remains a ferociously captivating character. And the introduction of Chaplin’s Varang gives this installment an electricity that the previous two were missing.\u003c/p>\n\u003cp>But for those whose trips to Pandora have made less of an impact, \u003cem>Fire and Ash\u003c/em> is a bit like returning to a half-remembered vacation spot, only one where the local ponytail style is a little strange and everyone seems to have the waist of a supermodel.\u003c/p>\n\u003cfigure id=\"attachment_13985013\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg\" alt=\"two aliens sharing a moment on shore under moonlight\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Lo’ak, performed by Britain Dalton, left, and Tsireya, performed by Bailey Bass, in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Time has only reinforced the sense that these films are hermetically sealed movie terrariums. They’re like a $1 billion beta test that, for all their box-office success, have ultimately proven that all the design capabilities in the world can’t conjure a story of meaningful impact. The often-remarked light cultural footprint left by the first two blockbusters only hints at why these movie seem to evaporate by the ending credits. It’s the lack of inner life to any of the characters and the bland, screen-saver aesthetics. At this point in a trilogy, nine hours in, that hollowness makes \u003cem>Fire and Ash\u003c/em> feel like almost theoretical drama: more avatar than genuine article.\u003c/p>\n\u003cp>These movies have had to work extremely hard, moment to moment, just to pass as believable. But almost every gesture, every movement and every bit of dialogue has had something unnatural about it. (The high frame rate is partially to blame.) That’s made these uncanny movies a combination, in equal measure, of things you’ve never seen before, and things you can’t unsee.\u003c/p>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, scripted by Cameron, Rick Jaffa and Amanda Silver, picks up with the aftermath of the climatic battle of \u003cem>The Way of Water\u003c/em>. The Na’vi and their seafaring allies, the Metkayina clan, are nursing their wounds and recovering the human weapons that sunk to the sea floor.\u003c/p>\n\u003cp>When a rival clan called the Mangkwan or Ash People come to challenge the Na’vi, those weapons represent an ethical quandary. Should they use such firepower in their own local battles? This is a more difficult question partially because the fire-mad Mangkwan are especially bloodthirsty, led by their slinky sorceress, Vanang (played with seductive sadism by Chaplin, granddaughter of Charlie).\u003c/p>\n\u003cp>But their fight is only a piece of the larger war of \u003cem>Fire and Ash\u003c/em>. The focus of this third chapter (films four and five are said to be written but not greenlit) is interspecies coexistence. As human and Na’vi lines continue to blur, the question becomes whether the human invaders will transform Pandora or if Pandora will transform them.\u003c/p>\n\u003cfigure id=\"attachment_13985014\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg\" alt=\"aliens in military attire glower\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Lang’s character Quaritch in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That puts the focus on the three characters in various in-between states. First, there’s Spider (Jack Champion), the human son of Quaritch who lives happily with the Na’vi while breathing through a machine to survive the Pandora atmosphere. (Champion has the double misfortune of wearing a mask and looking downright puny next to the tall and slender natives.) But in \u003cem>Fire and Ash\u003c/em>, he discovers he can breathe unfiltered, a development that prompts intense military interest in a potentially hugely profitable breakthrough in Pandora assimilation.\u003c/p>\n\u003cp>There’s also Jake Sully (Sam Worthington), the former human who has made a Na’vi family with Neytiri (Zoe Saldaña). For Neytiri, the growing menace of human warfare causes her to doubt her bond with Jake. The prejudices of \u003cem>Fire and Ash\u003c/em> seep even into the home.\u003c/p>\n\u003cp>Most interesting of the three, though, remains Quaritch. He may be violently trying to subjugate Pandora but he also obviously delights in his Na’vi body and in his life on this distant moon. You can see him flinch when his commander, General Ardmore (Edie Falco), refers to their Mangkwan allies as “savages.” Meanwhile, Quaritch and Vanang hit it off like gangbusters.\u003c/p>\n\u003cp>“You’ve got new eyes, colonel,” one character tells Quaritch. “All you’ve got to do is open them.”\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films have done plenty to open eyes over the past 16 years. To new cinematic horizons, to the boundlessness of Cameron’s visions, to the Papyrus font. But the most endearing quality of \u003cem>Avatar\u003c/em> is that Cameron believes so ardently in it. I might be caught up less in the goings on Pandora, but I’m kind of glad that he is. There are worse things than dreaming up a better world, with still a fighting chance.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Avatar: Fire and Ash,’ opens in theaters Dec. 19, 2025.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I came down with a cold the day after I saw the third and latest \u003ci>Avatar\u003c/i> film, \u003ci>Fire and Ash\u003c/i>, I half-wondered if I had picked it up on Pandora.\u003c/p>\n\u003cp>The promise of Cameron’s 3D trilogy has always been immersion: immersion in a science-fiction world, in technological wonder, in a maybe future of movies. \u003cem>Avatar\u003c/em> is almost more a place to go than a movie to see.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, it’s now been two decades since Cameron set off on this blue-tinted quest. The sheen of newness is off, or at least less pronounced, with new technological advances to contend with. \u003cem>Fire and Ash\u003c/em> is running with a behind-the-scenes video about how performance capture was used during the film’s making. The implicit message is: No, this isn’t AI.\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films, with their visual-effects wizardry and clunky revisionist Western storytelling, have always felt, most of all, like an immersion in a dream of James Cameron’s. The idea of these movies, after all, first came to Cameron, he has said, in a bioluminescent vision decades ago. At their best, the \u003cem>Avatar\u003c/em> movies have felt like an otherworldly stage for Cameron to juggle so many of the things — hulking weaponry, ecological wonder, foolhardy human arrogance — that have marked his movies.\u003c/p>\n\u003cfigure id=\"attachment_13985012\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg\" alt=\"flying alien ships in purple pink sky\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, at well more than three hours, is our longest stay yet on Pandora and the one most likely to make you ponder why you came here in the first place. These remain epics of craft and conviction. You can feel Cameron’s deep devotion to the dynamics of his central characters, even when his interest outstrips our own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s especially true in \u003cem>Fire and Ash\u003c/em>, which, following the deep-sea, family-focused part two, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13922812/take-the-plunge-avatars-underwater-scenes-are-immersive-and-extraordinary\">The Way of Water\u003c/a>\u003c/em>, pivots to a new chapter of culture clash. It introduces a violent rival Na’vi clan whose rageful leader, Varang (Oona Chaplin), partners with Stephen Lang’s booming Col. Miles Quaritch and the human colonizers.\u003c/p>\n\u003cp>For those who have closely followed the \u003cem>Avatar\u003c/em> saga, I suspect \u003cem>Fire and Ash\u003c/em> will be a rewarding experience. Quaritch, Pandora’s answer to Robert Duvall’s Bill Kilgore in \u003cem>Apocalypse Now\u003c/em>, remains a ferociously captivating character. And the introduction of Chaplin’s Varang gives this installment an electricity that the previous two were missing.\u003c/p>\n\u003cp>But for those whose trips to Pandora have made less of an impact, \u003cem>Fire and Ash\u003c/em> is a bit like returning to a half-remembered vacation spot, only one where the local ponytail style is a little strange and everyone seems to have the waist of a supermodel.\u003c/p>\n\u003cfigure id=\"attachment_13985013\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg\" alt=\"two aliens sharing a moment on shore under moonlight\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Lo’ak, performed by Britain Dalton, left, and Tsireya, performed by Bailey Bass, in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Time has only reinforced the sense that these films are hermetically sealed movie terrariums. They’re like a $1 billion beta test that, for all their box-office success, have ultimately proven that all the design capabilities in the world can’t conjure a story of meaningful impact. The often-remarked light cultural footprint left by the first two blockbusters only hints at why these movie seem to evaporate by the ending credits. It’s the lack of inner life to any of the characters and the bland, screen-saver aesthetics. At this point in a trilogy, nine hours in, that hollowness makes \u003cem>Fire and Ash\u003c/em> feel like almost theoretical drama: more avatar than genuine article.\u003c/p>\n\u003cp>These movies have had to work extremely hard, moment to moment, just to pass as believable. But almost every gesture, every movement and every bit of dialogue has had something unnatural about it. (The high frame rate is partially to blame.) That’s made these uncanny movies a combination, in equal measure, of things you’ve never seen before, and things you can’t unsee.\u003c/p>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, scripted by Cameron, Rick Jaffa and Amanda Silver, picks up with the aftermath of the climatic battle of \u003cem>The Way of Water\u003c/em>. The Na’vi and their seafaring allies, the Metkayina clan, are nursing their wounds and recovering the human weapons that sunk to the sea floor.\u003c/p>\n\u003cp>When a rival clan called the Mangkwan or Ash People come to challenge the Na’vi, those weapons represent an ethical quandary. Should they use such firepower in their own local battles? This is a more difficult question partially because the fire-mad Mangkwan are especially bloodthirsty, led by their slinky sorceress, Vanang (played with seductive sadism by Chaplin, granddaughter of Charlie).\u003c/p>\n\u003cp>But their fight is only a piece of the larger war of \u003cem>Fire and Ash\u003c/em>. The focus of this third chapter (films four and five are said to be written but not greenlit) is interspecies coexistence. As human and Na’vi lines continue to blur, the question becomes whether the human invaders will transform Pandora or if Pandora will transform them.\u003c/p>\n\u003cfigure id=\"attachment_13985014\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg\" alt=\"aliens in military attire glower\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Lang’s character Quaritch in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That puts the focus on the three characters in various in-between states. First, there’s Spider (Jack Champion), the human son of Quaritch who lives happily with the Na’vi while breathing through a machine to survive the Pandora atmosphere. (Champion has the double misfortune of wearing a mask and looking downright puny next to the tall and slender natives.) But in \u003cem>Fire and Ash\u003c/em>, he discovers he can breathe unfiltered, a development that prompts intense military interest in a potentially hugely profitable breakthrough in Pandora assimilation.\u003c/p>\n\u003cp>There’s also Jake Sully (Sam Worthington), the former human who has made a Na’vi family with Neytiri (Zoe Saldaña). For Neytiri, the growing menace of human warfare causes her to doubt her bond with Jake. The prejudices of \u003cem>Fire and Ash\u003c/em> seep even into the home.\u003c/p>\n\u003cp>Most interesting of the three, though, remains Quaritch. He may be violently trying to subjugate Pandora but he also obviously delights in his Na’vi body and in his life on this distant moon. You can see him flinch when his commander, General Ardmore (Edie Falco), refers to their Mangkwan allies as “savages.” Meanwhile, Quaritch and Vanang hit it off like gangbusters.\u003c/p>\n\u003cp>“You’ve got new eyes, colonel,” one character tells Quaritch. “All you’ve got to do is open them.”\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films have done plenty to open eyes over the past 16 years. To new cinematic horizons, to the boundlessness of Cameron’s visions, to the Papyrus font. But the most endearing quality of \u003cem>Avatar\u003c/em> is that Cameron believes so ardently in it. I might be caught up less in the goings on Pandora, but I’m kind of glad that he is. There are worse things than dreaming up a better world, with still a fighting chance.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Avatar: Fire and Ash,’ opens in theaters Dec. 19, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rooting for the underdog, on the field or in a movie, is one of America’s greatest traditions. You can trace it all the way back to our time-honored, tea-stained origin story of a ragtag band of farmers and shopkeepers taking on the British Empire. \u003c/p>\n\u003cp>[aside postID='arts_13984386']\u003cem>Marty Supreme\u003c/em> (opening Dec. 25), Josh Safdie’s beautifully crafted runaway train with an astonishing Timothée Chalamet as its pedal-to-the-metal engineer, turns the basic underdog dynamic, with all its brio and bravery and desperation and bullshit, into a feverish exposé of the fury and folly of the American Dream. If that isn’t your cup of mead, friend, what kind of patriot are you?\u003c/p>\n\u003cp>Josh Safdie’s best films (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13872331/uncut-gems-glittering-darkly\">Uncut Gems\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.npr.org/2017/08/11/542423079/stylishly-gritty-this-chase-thriller-really-is-a-good-time\">Good Time\u003c/a>\u003c/em>, co-directed with his brother Bennie, who also directed a sports movie on his own this year, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13982077/smashing-machine-movie-review-mark-kerr-biopic-mma-dwayne-rock-johnson\">The Smashing Machine\u003c/a>\u003c/em>) center on men who know only one direction (forward) and one speed (faster). Are those protagonists (played by Adam Sandler and Robert Pattinson) and Marty running toward something or away from something? It’s a trick question, of course.\u003c/p>\n\u003cfigure id=\"attachment_13984493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg\" alt=\"blurry image of man running down busy city street with valise\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13984493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chalamet’s Marty Mauser is inspired by the late Marty Reisman, who titled his (ghostwritten) 1974 autobiography \u003cem>\u003ca href=\"https://archive.org/details/moneyplayercon00reis\">The Money Player: The Confessions of America’s Greatest Table Tennis Champion and Hustler\u003c/a>\u003c/em>. But we have no clue this skinny kid is an athlete when we are introduced to him in the early 1950s. He’s conning a customer in his uncle’s Lower East Side shoe store into buying the too-tight pair he’s passing off as her size.\u003c/p>\n\u003cp>She’s too savvy to fall for Marty’s spiel — much of the tension in \u003cem>Marty Supreme\u003c/em> derives from whether people will fold or stiffen in the face of his high-speed verbal onslaughts — but she’s instantly displaced by the arrival of a young woman who has some urgent footwear business with Marty that takes them downstairs to the storeroom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em>’s early scenes, set in confined spaces, convey the claustrophobia driving its namesake to exceed the world’s expectations and escape the crummy, anonymous life everyone around him seems fated to. But we aren’t prepared for Marty’s lunatic ambition, and his off-putting brand of American exceptionalism in which he effortlessly shifts from hero to victim to suit his schemes.\u003c/p>\n\u003cfigure id=\"attachment_13985002\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg\" alt=\"black man and white man gesture over ping pong table in bowling alley\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, the Creator and Timothée Chalamet in a scene from ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We are both charmed by and leery of this showman, gambler and flamboyant self-promoter who, we come to see, is indifferent to the damage he leaves in his wake. If Marty is a kind of forerunner for larger-than-life competitors like Muhammad Ali, Evel Knievel, Pete Rose and John McEnroe, he’s also cut from the same cloth as the “pal” who borrowed your car and lied about the scratches and dents.\u003c/p>\n\u003cp>Most filmmakers would be content to highlight the working-class desolation of Marty’s milieu, and let the high-stakes drama of far-flung table-tennis tournaments and New Jersey bowling alley scams rivet the viewer. Safdie and co-writer Ronald Bronstein bravely go further, repeatedly reminding us of Marty’s Jewishness in ways that are edgy and shocking.\u003c/p>\n\u003cp>In one scene, Marty cajoles fellow player Béla (Hungarian actor Géza Rohrig of the shattering 2015 concentration-camp saga \u003cem>\u003ca href=\"https://www.kqed.org/arts/11241009/shallow-focus-creates-depth-of-feeling-in-son-of-saul\">Son of Saul\u003c/a>\u003c/em>) to reveal the tattooed numbers on his arm to a stranger. Later, on a trip to the Middle East, Marty shamelessly chips off a piece from a pyramid that he gifts to his mother with the line, “We built it.”\u003c/p>\n\u003cfigure id=\"attachment_13985003\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg\" alt=\"blond woman in hat looking up\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gwyneth Paltrow in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t enough for Marty to make some money, get his picture in the papers and travel abroad. Nor is it enough to capture the attention of a one-time movie star (Gwyneth Paltrow) with a rich husband. Sadly, he isn’t satisfied with success.\u003c/p>\n\u003cp>If I were a lousy psychotherapist, I might see \u003cem>Marty Supreme\u003c/em> as a Holocaust-revenge movie. Marty’s taking (back) what’s his (or what he sees as the Jewish people’s). The problem with that interpretation is that Marty directs his white-hot frenzy at anyone in his path, including erstwhile friends and supporters. He combines the ambition of \u003ca href=\"https://www.youtube.com/watch?v=1ADWjL42OGc\">Duddy Kravitz\u003c/a>, the zero-to-60 acceleration of the Roadrunner and the relentlessness of the Terminator with their accompanying lack of scruples.\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em> is far and away one of the best movies of 2025, and its brilliant execution extends to the way it guides your feelings toward its anti-hero. There comes a point, sooner or later, where you will stop taking Marty’s side. You may even hope for his comeuppance, as I did. And then there’s a turn where Safdie and Chalamet will likely make you root for Marty again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>American movies typically encourage us to cheer for the underdog. \u003cem>Marty Supreme\u003c/em> makes you question that simple loyalty, and ponder how much a child of immigrants who seeks to prove that the streets are paved with gold is allowed to get away with.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rooting for the underdog, on the field or in a movie, is one of America’s greatest traditions. You can trace it all the way back to our time-honored, tea-stained origin story of a ragtag band of farmers and shopkeepers taking on the British Empire. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Marty Supreme\u003c/em> (opening Dec. 25), Josh Safdie’s beautifully crafted runaway train with an astonishing Timothée Chalamet as its pedal-to-the-metal engineer, turns the basic underdog dynamic, with all its brio and bravery and desperation and bullshit, into a feverish exposé of the fury and folly of the American Dream. If that isn’t your cup of mead, friend, what kind of patriot are you?\u003c/p>\n\u003cp>Josh Safdie’s best films (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13872331/uncut-gems-glittering-darkly\">Uncut Gems\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.npr.org/2017/08/11/542423079/stylishly-gritty-this-chase-thriller-really-is-a-good-time\">Good Time\u003c/a>\u003c/em>, co-directed with his brother Bennie, who also directed a sports movie on his own this year, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13982077/smashing-machine-movie-review-mark-kerr-biopic-mma-dwayne-rock-johnson\">The Smashing Machine\u003c/a>\u003c/em>) center on men who know only one direction (forward) and one speed (faster). Are those protagonists (played by Adam Sandler and Robert Pattinson) and Marty running toward something or away from something? It’s a trick question, of course.\u003c/p>\n\u003cfigure id=\"attachment_13984493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg\" alt=\"blurry image of man running down busy city street with valise\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13984493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chalamet’s Marty Mauser is inspired by the late Marty Reisman, who titled his (ghostwritten) 1974 autobiography \u003cem>\u003ca href=\"https://archive.org/details/moneyplayercon00reis\">The Money Player: The Confessions of America’s Greatest Table Tennis Champion and Hustler\u003c/a>\u003c/em>. But we have no clue this skinny kid is an athlete when we are introduced to him in the early 1950s. He’s conning a customer in his uncle’s Lower East Side shoe store into buying the too-tight pair he’s passing off as her size.\u003c/p>\n\u003cp>She’s too savvy to fall for Marty’s spiel — much of the tension in \u003cem>Marty Supreme\u003c/em> derives from whether people will fold or stiffen in the face of his high-speed verbal onslaughts — but she’s instantly displaced by the arrival of a young woman who has some urgent footwear business with Marty that takes them downstairs to the storeroom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em>’s early scenes, set in confined spaces, convey the claustrophobia driving its namesake to exceed the world’s expectations and escape the crummy, anonymous life everyone around him seems fated to. But we aren’t prepared for Marty’s lunatic ambition, and his off-putting brand of American exceptionalism in which he effortlessly shifts from hero to victim to suit his schemes.\u003c/p>\n\u003cfigure id=\"attachment_13985002\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg\" alt=\"black man and white man gesture over ping pong table in bowling alley\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, the Creator and Timothée Chalamet in a scene from ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We are both charmed by and leery of this showman, gambler and flamboyant self-promoter who, we come to see, is indifferent to the damage he leaves in his wake. If Marty is a kind of forerunner for larger-than-life competitors like Muhammad Ali, Evel Knievel, Pete Rose and John McEnroe, he’s also cut from the same cloth as the “pal” who borrowed your car and lied about the scratches and dents.\u003c/p>\n\u003cp>Most filmmakers would be content to highlight the working-class desolation of Marty’s milieu, and let the high-stakes drama of far-flung table-tennis tournaments and New Jersey bowling alley scams rivet the viewer. Safdie and co-writer Ronald Bronstein bravely go further, repeatedly reminding us of Marty’s Jewishness in ways that are edgy and shocking.\u003c/p>\n\u003cp>In one scene, Marty cajoles fellow player Béla (Hungarian actor Géza Rohrig of the shattering 2015 concentration-camp saga \u003cem>\u003ca href=\"https://www.kqed.org/arts/11241009/shallow-focus-creates-depth-of-feeling-in-son-of-saul\">Son of Saul\u003c/a>\u003c/em>) to reveal the tattooed numbers on his arm to a stranger. Later, on a trip to the Middle East, Marty shamelessly chips off a piece from a pyramid that he gifts to his mother with the line, “We built it.”\u003c/p>\n\u003cfigure id=\"attachment_13985003\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg\" alt=\"blond woman in hat looking up\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gwyneth Paltrow in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t enough for Marty to make some money, get his picture in the papers and travel abroad. Nor is it enough to capture the attention of a one-time movie star (Gwyneth Paltrow) with a rich husband. Sadly, he isn’t satisfied with success.\u003c/p>\n\u003cp>If I were a lousy psychotherapist, I might see \u003cem>Marty Supreme\u003c/em> as a Holocaust-revenge movie. Marty’s taking (back) what’s his (or what he sees as the Jewish people’s). The problem with that interpretation is that Marty directs his white-hot frenzy at anyone in his path, including erstwhile friends and supporters. He combines the ambition of \u003ca href=\"https://www.youtube.com/watch?v=1ADWjL42OGc\">Duddy Kravitz\u003c/a>, the zero-to-60 acceleration of the Roadrunner and the relentlessness of the Terminator with their accompanying lack of scruples.\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em> is far and away one of the best movies of 2025, and its brilliant execution extends to the way it guides your feelings toward its anti-hero. There comes a point, sooner or later, where you will stop taking Marty’s side. You may even hope for his comeuppance, as I did. And then there’s a turn where Safdie and Chalamet will likely make you root for Marty again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>American movies typically encourage us to cheer for the underdog. \u003cem>Marty Supreme\u003c/em> makes you question that simple loyalty, and ponder how much a child of immigrants who seeks to prove that the streets are paved with gold is allowed to get away with.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kate Winslet is due a very thoughtful Christmas gift this year. The veteran actor made a pretty extraordinary maternal gesture, directing, producing and starring in a film her son, Joe Anders, wrote, \u003cem>Goodbye June\u003c/em>, which is in limited release this weekend and streaming on Netflix Dec. 24.\u003c/p>\n\u003cp>While it might be worth pointing out that the script originated in a screenwriting class, there will be no nepo baby jokes here. Put alongside most of the Christmas offerings on Netflix, which seem to veer more toward the secret princess/fantasy/romance side of things, and aren’t even attempting to be, well, very good, \u003cem>Goodbye June\u003c/em> is an admirably solid, if generic, drama about family and death with a very distinguished cast.\u003c/p>\n\u003cp>[aside postid='arts_13984386']Terminal illness, estranged adult siblings and hospital rooms are certainly not going to be everyone’s cup of tea around the holidays, but you probably already know by this point whether this is an experience you want to sign up for. It remains a mystery why so many holiday movies feel the need to include a dying mother. Perhaps it’s because, from an emotional standpoint, it rarely misses.\u003c/p>\n\u003cp>Unlike, say \u003cem>The Family Stone\u003c/em> however, \u003cem>Goodbye June\u003c/em> actually places the audience in that most unpleasant of settings: The hospital. It begins with a nightmare scenario, with the elderly mother, June (Helen Mirren) collapsing as the kettle cries out on the stove. Her grown son Connor (Johnny Flynn) finds her, collects his father Bernie (Timothy Spall), and they race off to the hospital, forgetting to turn off the tap in the sink before they leave. \u003cem>Goodbye June\u003c/em> has an eye for the mundane details that make up everyday life that all seem so small in the face of loss.\u003c/p>\n\u003cp>Soon, they’re greeted by the rest of June and Bernie’s daughters, Julia (Winslet), a successful, busy and exhausted mom of three; Molly (Andrea Riseborough), a hippie mom of many who resents Julia and can’t accept that her mother is dying; and Helen (Toni Collette), who likes crystals. The four grown children are wildly unprepared to deal with their mother’s decline. Molly, perhaps the most baffling character, shoos away the palliative care workers, insisting on taking June home immediately.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>June, calmly telling her kids that she would rather stay in the hospital than go home, is a balm in all of the craziness. At least one person is ready to face it all head on.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vIDoYSWCuzQ\u003c/p>\n\u003cp>Certainly this is a story about how so many people aren’t ready to deal with the one inevitability in life, and how imminent grief affects everyone differently. But the script doesn’t do a character like Molly many favors. Her smug rejection of reality borders on annoying and the eventual explanation of why she’s been estranged from Julia for so many years doesn’t help.\u003c/p>\n\u003cp>[aside postid='arts_13984241']Winslet, making her feature directorial debut, isn’t doing anything flashy here, with stylish choices or long takes, like Anders’ father Sam Mendes might. She shoots it simply, which is fitting for the story. This is a piece about characters and Winslet gives her actors space to build people that by and large feel pretty real — the standouts are really Flynn, as the sensitive son still living at home and closest to his parents, and Spall, believably oblivious in that charmingly British way.\u003c/p>\n\u003cp>The story progresses in mostly expected ways, with each child getting their own moment with mom before the end. Aside from several questionable choices to make the audience wonder whether or not June has died, and a nurse character named Angel (Fisayo Akinade), \u003cem>Goodbye June\u003c/em> does also have moments of grace, humor and insight.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Goodbye June’ is playing at the Landmark Opera Plaza Cinema (601 Van Ness Ave.) in San Francisco from Dec. 12, and begins streaming on Netflix on Dec. 24, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kate Winslet is due a very thoughtful Christmas gift this year. The veteran actor made a pretty extraordinary maternal gesture, directing, producing and starring in a film her son, Joe Anders, wrote, \u003cem>Goodbye June\u003c/em>, which is in limited release this weekend and streaming on Netflix Dec. 24.\u003c/p>\n\u003cp>While it might be worth pointing out that the script originated in a screenwriting class, there will be no nepo baby jokes here. Put alongside most of the Christmas offerings on Netflix, which seem to veer more toward the secret princess/fantasy/romance side of things, and aren’t even attempting to be, well, very good, \u003cem>Goodbye June\u003c/em> is an admirably solid, if generic, drama about family and death with a very distinguished cast.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Terminal illness, estranged adult siblings and hospital rooms are certainly not going to be everyone’s cup of tea around the holidays, but you probably already know by this point whether this is an experience you want to sign up for. It remains a mystery why so many holiday movies feel the need to include a dying mother. Perhaps it’s because, from an emotional standpoint, it rarely misses.\u003c/p>\n\u003cp>Unlike, say \u003cem>The Family Stone\u003c/em> however, \u003cem>Goodbye June\u003c/em> actually places the audience in that most unpleasant of settings: The hospital. It begins with a nightmare scenario, with the elderly mother, June (Helen Mirren) collapsing as the kettle cries out on the stove. Her grown son Connor (Johnny Flynn) finds her, collects his father Bernie (Timothy Spall), and they race off to the hospital, forgetting to turn off the tap in the sink before they leave. \u003cem>Goodbye June\u003c/em> has an eye for the mundane details that make up everyday life that all seem so small in the face of loss.\u003c/p>\n\u003cp>Soon, they’re greeted by the rest of June and Bernie’s daughters, Julia (Winslet), a successful, busy and exhausted mom of three; Molly (Andrea Riseborough), a hippie mom of many who resents Julia and can’t accept that her mother is dying; and Helen (Toni Collette), who likes crystals. The four grown children are wildly unprepared to deal with their mother’s decline. Molly, perhaps the most baffling character, shoos away the palliative care workers, insisting on taking June home immediately.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Winslet, making her feature directorial debut, isn’t doing anything flashy here, with stylish choices or long takes, like Anders’ father Sam Mendes might. She shoots it simply, which is fitting for the story. This is a piece about characters and Winslet gives her actors space to build people that by and large feel pretty real — the standouts are really Flynn, as the sensitive son still living at home and closest to his parents, and Spall, believably oblivious in that charmingly British way.\u003c/p>\n\u003cp>The story progresses in mostly expected ways, with each child getting their own moment with mom before the end. Aside from several questionable choices to make the audience wonder whether or not June has died, and a nurse character named Angel (Fisayo Akinade), \u003cem>Goodbye June\u003c/em> does also have moments of grace, humor and insight.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Goodbye June’ is playing at the Landmark Opera Plaza Cinema (601 Van Ness Ave.) in San Francisco from Dec. 12, and begins streaming on Netflix on Dec. 24, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"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",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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