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"content": "\u003cp>In the nearly 20 years that I’ve been attending the Cannes Film Festival, I’ve rarely witnessed anything as emotional as I did last May, when the Iranian director \u003ca href=\"https://www.npr.org/2024/11/26/nx-s1-5163638/mohammad-rasoulof-iran-seed-of-sacred-fig\">Mohammad Rasoulof\u003c/a> arrived for the world premiere screening of his new movie, \u003cem>The Seed of the Sacred Fig\u003c/em>.\u003c/p>\n\u003cp>As he walked up the red carpeted steps and entered the theater to thunderous applause, Rasoulof didn’t look like a man who had been on the run just two weeks earlier. He fled his country after receiving an eight-year prison sentence — hardly the first time he’s run afoul of the government, which, since 2010, has frequently arrested him, jailed him and banned him from filmmaking. Like some of his other movies, \u003cem>The Seed of the Sacred Fig\u003c/em> was shot entirely in secret.\u003c/p>\n\u003cp>[aside postid='arts_13969167']That can’t have been easy to pull off, though in some ways, it makes a certain sense for a drama that’s all about the corrosive nature of secrets and lies. Misagh Zare plays a lawyer named Iman, who’s just been promoted to investigating judge, a job so dangerous that he’s been issued a gun for his protection.\u003c/p>\n\u003cp>Iman’s wife, Najmeh, played by Soheila Golestani, is excited about the news; with Iman’s higher salary, they can at last afford a bigger home. But they warn their two daughters — 21-year-old Rezvan and teenage Sana — that they must be irreproachable in their behavior, so as not to harm their father’s reputation. That means wearing the hijab in public, keeping a low profile on social media and not hanging out with the wrong people.\u003c/p>\n\u003cp>But Rezvan and Sana are both smart, observant and increasingly critical of their parents’ traditionalism, especially in light of the news. The story takes place in 2022, during the early days of the “\u003ca href=\"https://www.npr.org/2022/10/27/1131436766/kurdish-roots-iran-protest-slogan\">Woman, life, freedom” movement\u003c/a>. Those protests erupted after a 22-year-old \u003ca href=\"https://www.npr.org/2023/09/15/1199463066/iran-mahsa-amini-anniversary-women-rights-protests\">Kurdish Iranian woman\u003c/a> died in the custody of the morality police, which had arrested her for allegedly wearing a hijab improperly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rasoulof includes real-life footage of the protests and ensuing acts of police violence, giving the movie a jolt of documentary immediacy. But he also shows us how Iran’s social unrest impacts the family directly. When one of her friends is injured at a rally, Rezvan becomes increasingly supportive of the movement, to her parents’ chagrin. But even Iman has his doubts about the government he serves. He’s demoralized by his new job, which forces him to interrogate — and likely imprison — hundreds of protestors.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TV3Sk2zwqK4\u003c/p>\n\u003cp>Rasoulof has never been shy about calling out Iran’s authoritarian regime, as he did in earlier movies like \u003cem>Manuscripts Don’t Burn\u003c/em> and \u003cem>There Is No Evil\u003c/em>. What makes \u003cem>The Seed of the Sacred Fig\u003c/em> so gripping over its nearly three-hour running time is how assuredly it blends domestic drama and topical thriller, the personal and the political.\u003c/p>\n\u003cp>The family home becomes a psychological war zone, where secrets fester behind closed doors and every character has something to hide. The actors are uniformly superb; I especially liked the nuanced sibling dynamic between Mahsa Rostami, as the sensitive, thoughtful older sister, and Setareh Maleki, as the slyer, more mischievous younger one. Rasoulof’s sympathies are clearly with them and the Woman, Life, Freedom protestors. But he also extends compassion to the parents, especially Iman, who, as Rezvan courageously points out, is too entrenched in the system to see that the system is wrong.\u003c/p>\n\u003cp>[aside postid='arts_13969006']Just as the family’s home is starting to feel unbearably claustrophobic, the movie shifts gears. There’s a sudden change in scenery, and after the slow-simmering suspense of the first half, Rasoulof pushes the drama into full-blown action-movie territory: there’s a high-speed car chase, an on-camera interrogation and, finally, a tense climax that suggests a showdown out of a classic Western.\u003c/p>\n\u003cp>It’s a bold stroke, and while not everyone will make the leap, I appreciate Rasoulof’s willingness to flex his genre muscles in service of a larger point. The family in this story isn’t just a family; it’s a kind of microcosm of middle class Iranian society, with deep rifts between people across genders and generations. Meaningful change may be possible, Rasoulof seems to be saying, but it will be inevitably painful and violent.\u003c/p>\n\u003cp>It’s a bleak conclusion, but it’s also suffused with a deep sense of mourning. Mohammad Rasoulof may have left Iran, but not once during this stunning movie is his love for his country ever in doubt.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Seed of the Sacred Fig’ is in theaters now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That can’t have been easy to pull off, though in some ways, it makes a certain sense for a drama that’s all about the corrosive nature of secrets and lies. Misagh Zare plays a lawyer named Iman, who’s just been promoted to investigating judge, a job so dangerous that he’s been issued a gun for his protection.\u003c/p>\n\u003cp>Iman’s wife, Najmeh, played by Soheila Golestani, is excited about the news; with Iman’s higher salary, they can at last afford a bigger home. But they warn their two daughters — 21-year-old Rezvan and teenage Sana — that they must be irreproachable in their behavior, so as not to harm their father’s reputation. That means wearing the hijab in public, keeping a low profile on social media and not hanging out with the wrong people.\u003c/p>\n\u003cp>But Rezvan and Sana are both smart, observant and increasingly critical of their parents’ traditionalism, especially in light of the news. The story takes place in 2022, during the early days of the “\u003ca href=\"https://www.npr.org/2022/10/27/1131436766/kurdish-roots-iran-protest-slogan\">Woman, life, freedom” movement\u003c/a>. Those protests erupted after a 22-year-old \u003ca href=\"https://www.npr.org/2023/09/15/1199463066/iran-mahsa-amini-anniversary-women-rights-protests\">Kurdish Iranian woman\u003c/a> died in the custody of the morality police, which had arrested her for allegedly wearing a hijab improperly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rasoulof includes real-life footage of the protests and ensuing acts of police violence, giving the movie a jolt of documentary immediacy. But he also shows us how Iran’s social unrest impacts the family directly. When one of her friends is injured at a rally, Rezvan becomes increasingly supportive of the movement, to her parents’ chagrin. But even Iman has his doubts about the government he serves. He’s demoralized by his new job, which forces him to interrogate — and likely imprison — hundreds of protestors.\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/TV3Sk2zwqK4'\n title='//www.youtube.com/embed/TV3Sk2zwqK4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rasoulof has never been shy about calling out Iran’s authoritarian regime, as he did in earlier movies like \u003cem>Manuscripts Don’t Burn\u003c/em> and \u003cem>There Is No Evil\u003c/em>. What makes \u003cem>The Seed of the Sacred Fig\u003c/em> so gripping over its nearly three-hour running time is how assuredly it blends domestic drama and topical thriller, the personal and the political.\u003c/p>\n\u003cp>The family home becomes a psychological war zone, where secrets fester behind closed doors and every character has something to hide. The actors are uniformly superb; I especially liked the nuanced sibling dynamic between Mahsa Rostami, as the sensitive, thoughtful older sister, and Setareh Maleki, as the slyer, more mischievous younger one. Rasoulof’s sympathies are clearly with them and the Woman, Life, Freedom protestors. But he also extends compassion to the parents, especially Iman, who, as Rezvan courageously points out, is too entrenched in the system to see that the system is wrong.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Just as the family’s home is starting to feel unbearably claustrophobic, the movie shifts gears. There’s a sudden change in scenery, and after the slow-simmering suspense of the first half, Rasoulof pushes the drama into full-blown action-movie territory: there’s a high-speed car chase, an on-camera interrogation and, finally, a tense climax that suggests a showdown out of a classic Western.\u003c/p>\n\u003cp>It’s a bold stroke, and while not everyone will make the leap, I appreciate Rasoulof’s willingness to flex his genre muscles in service of a larger point. The family in this story isn’t just a family; it’s a kind of microcosm of middle class Iranian society, with deep rifts between people across genders and generations. Meaningful change may be possible, Rasoulof seems to be saying, but it will be inevitably painful and violent.\u003c/p>\n\u003cp>It’s a bleak conclusion, but it’s also suffused with a deep sense of mourning. Mohammad Rasoulof may have left Iran, but not once during this stunning movie is his love for his country ever in doubt.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Seed of the Sacred Fig’ is in theaters now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s a discombobulating experience, after a \u003cem>Lord of the Rings\u003c/em> trilogy that was built, down to every frame and hobbit hair, for the big screen, to see something so comparatively minor, small-scaled and TV-sized as \u003cem>The Lord of the Rings: The War of the Rohirrim\u003c/em>.\u003c/p>\n\u003cp>The film, set 183 years before the events of \u003cem>The Hobbit\u003c/em>, is a return to Middle-earth that, despite some very earnest storytelling, never supplies much of an answer as to why, exactly, it exists.\u003c/p>\n\u003cp>[aside postid='arts_13969182']\u003cem>Rohirrim\u003c/em>, which sounds a little like the sound an orc might make sneezing, is perhaps best understood as a placeholder for further cinematic universe extrapolation from J.R.R. Tolkien’s books. (A live-action movie about Gollum is due out in 2026.) Here, the thin basis in Tolkien comes from the \u003cem>Lord of the Rings\u003c/em> appendix, which lists a history of Rohan, the plains kingdom south of the Elven forest of Lothlórien.\u003c/p>\n\u003cp>A small army of screenwriters — Jeffrey Addiss, Will Matthews, Phoebe Gittins and Arty Papageorgiou — have from those faint embers conjured a fiery war movie, made as an anime by director Kenji Kamiyama (\u003cem>Ghost in the Shell: Stand Along Complex\u003c/em>, \u003cem>Blade Runner: Black Lotus\u003c/em>). The obviously talented Kamiyama fashions some dazzling vintage anime visuals that — and perhaps this isn’t all bad — feels a world apart from Peter Jackson’s Middle-earth features.\u003c/p>\n\u003cp>But \u003cem>The War of Rohirrim\u003c/em> also feels conspicuously closer to 1990s direct-to-video release than an heir to some of the grandest big-screen fantasy storytelling of the past 25 years. Though there are many — too many — examples of Hollywood over-mining once-rich intellectual property, this dull, appendix-extracted anime adds to a not particularly Tolkienist tradition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gCUg6Td5fgQ\u003c/p>\n\u003cp>Tolkien diehards, though, may be grateful for whatever \u003cem>The Lord of the Rings\u003c/em> morsels they can find. And there is some precedent. Before Jackson (an executive producer here) built Middle-earth in New Zealand, \u003cem>The Lord of the Rings\u003c/em> prompted a pair of 1970s animated TV specials and a not-much-remembered animated 1978 movie.\u003c/p>\n\u003cp>\u003cem>The War of Rohirrim\u003c/em> concerns the adventures of Hera (voiced by Gaia Wise), daughter of Helm Hammerhand ( Brian Cox ), the Rohan king. Cox, coming off of \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a>, again finds himself beset with trouble over the future of his throne.\u003c/p>\n\u003cp>[aside postid='arts_13969055']Things get underway when Freka (Shaun Dolley), leader of the Dundelings, offers his son Wulf (Luke Pasqualino) to marry Hera and take the throne. After a swift refusal, a fight ensues, and with a mere punch, Helm accidentally kills Freka. Given how extreme Wulf’s vengeance is following this punch, it’s fair to wonder if \u003cem>The War of Rohirrim\u003c/em> could have been started just as easily with a slap or, perhaps, an overly aggressive noogie.\u003c/p>\n\u003cp>But only self-seriousness reigns in this \u003cem>Lord of the Rings\u003c/em> adventure. When the battle begins, Hera must save her people, which she strives to do by retreating to a fortress dug into a mountainside. Hera’s story is said to be one lost to history in the opening narration, but \u003cem>The War of Rohirrim\u003c/em> is just as much an origin story for the stronghold that will later be known as Helm’s Deep.\u003c/p>\n\u003cp>I don’t begrudge any Tolkien addict a little anime fun — and maybe these references and callbacks will be enough to conjure some of the majesty of the books or Jackson’s movies. You can tell \u003cem>Rohirrim\u003c/em> was made with sincere belief in the world Tolkien created. But I found the connective tissue, like the few notes from Howard Shore’s original score that float in, only reinforced how such grander movie ambitions once came to Rohan. \u003cem>The War of the Rohirrim\u003c/em> does manage to recapture one trait of the earlier films: at 134 minutes, it’s long.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Lord of the Rings: The War of the Rohirrim’ is released nationwide on Dec. 13, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a discombobulating experience, after a \u003cem>Lord of the Rings\u003c/em> trilogy that was built, down to every frame and hobbit hair, for the big screen, to see something so comparatively minor, small-scaled and TV-sized as \u003cem>The Lord of the Rings: The War of the Rohirrim\u003c/em>.\u003c/p>\n\u003cp>The film, set 183 years before the events of \u003cem>The Hobbit\u003c/em>, is a return to Middle-earth that, despite some very earnest storytelling, never supplies much of an answer as to why, exactly, it exists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Rohirrim\u003c/em>, which sounds a little like the sound an orc might make sneezing, is perhaps best understood as a placeholder for further cinematic universe extrapolation from J.R.R. Tolkien’s books. (A live-action movie about Gollum is due out in 2026.) Here, the thin basis in Tolkien comes from the \u003cem>Lord of the Rings\u003c/em> appendix, which lists a history of Rohan, the plains kingdom south of the Elven forest of Lothlórien.\u003c/p>\n\u003cp>A small army of screenwriters — Jeffrey Addiss, Will Matthews, Phoebe Gittins and Arty Papageorgiou — have from those faint embers conjured a fiery war movie, made as an anime by director Kenji Kamiyama (\u003cem>Ghost in the Shell: Stand Along Complex\u003c/em>, \u003cem>Blade Runner: Black Lotus\u003c/em>). The obviously talented Kamiyama fashions some dazzling vintage anime visuals that — and perhaps this isn’t all bad — feels a world apart from Peter Jackson’s Middle-earth features.\u003c/p>\n\u003cp>But \u003cem>The War of Rohirrim\u003c/em> also feels conspicuously closer to 1990s direct-to-video release than an heir to some of the grandest big-screen fantasy storytelling of the past 25 years. Though there are many — too many — examples of Hollywood over-mining once-rich intellectual property, this dull, appendix-extracted anime adds to a not particularly Tolkienist tradition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gCUg6Td5fgQ'\n title='//www.youtube.com/embed/gCUg6Td5fgQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tolkien diehards, though, may be grateful for whatever \u003cem>The Lord of the Rings\u003c/em> morsels they can find. And there is some precedent. Before Jackson (an executive producer here) built Middle-earth in New Zealand, \u003cem>The Lord of the Rings\u003c/em> prompted a pair of 1970s animated TV specials and a not-much-remembered animated 1978 movie.\u003c/p>\n\u003cp>\u003cem>The War of Rohirrim\u003c/em> concerns the adventures of Hera (voiced by Gaia Wise), daughter of Helm Hammerhand ( Brian Cox ), the Rohan king. Cox, coming off of \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a>, again finds himself beset with trouble over the future of his throne.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Things get underway when Freka (Shaun Dolley), leader of the Dundelings, offers his son Wulf (Luke Pasqualino) to marry Hera and take the throne. After a swift refusal, a fight ensues, and with a mere punch, Helm accidentally kills Freka. Given how extreme Wulf’s vengeance is following this punch, it’s fair to wonder if \u003cem>The War of Rohirrim\u003c/em> could have been started just as easily with a slap or, perhaps, an overly aggressive noogie.\u003c/p>\n\u003cp>But only self-seriousness reigns in this \u003cem>Lord of the Rings\u003c/em> adventure. When the battle begins, Hera must save her people, which she strives to do by retreating to a fortress dug into a mountainside. Hera’s story is said to be one lost to history in the opening narration, but \u003cem>The War of Rohirrim\u003c/em> is just as much an origin story for the stronghold that will later be known as Helm’s Deep.\u003c/p>\n\u003cp>I don’t begrudge any Tolkien addict a little anime fun — and maybe these references and callbacks will be enough to conjure some of the majesty of the books or Jackson’s movies. You can tell \u003cem>Rohirrim\u003c/em> was made with sincere belief in the world Tolkien created. But I found the connective tissue, like the few notes from Howard Shore’s original score that float in, only reinforced how such grander movie ambitions once came to Rohan. \u003cem>The War of the Rohirrim\u003c/em> does manage to recapture one trait of the earlier films: at 134 minutes, it’s long.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Lord of the Rings: The War of the Rohirrim’ is released nationwide on Dec. 13, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Best TV of 2024, As Chosen By NPR Critics",
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"headTitle": "The Best TV of 2024, As Chosen By NPR Critics | KQED",
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"content": "\u003cp>If you’re in the mood to binge from the couch this holiday season, NPR critics have gathered together their favorite TV shows of 2024. Have at it!\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13956676/baby-reindeer-netflix-review-problematic-abuse-lgbt-queerness\">Baby Reindeer\u003c/a>’\u003c/h2>\n\u003cp>Star and creator Richard Gadd turned his autobiographical one-man-show into an affecting nightmare of a series about a delusional woman who stalks a bartender and terrible aspiring comic. Where it gets complicated is in the details, including the fact that Gadd’s character was sexually abused by a male mentor in ways that reverberate through his life, raising questions about his own actions and the long reach of trauma. On top of all that, a woman who says she inspired the show’s stalker character has sued. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Netflix\u003c/em>\u003cbr>\n\u003cem>Genre: Drama\u003c/em>\u003c/p>\n\u003ch2>‘Interview with the Vampire’ Season 2\u003c/h2>\n\u003cp>AMC’s smart, thrilling and gratifyingly queer version of Anne Rice’s \u003cem>The Vampire Chronicles\u003c/em> improves on the books in ways large and small. Season 2 proved that while the chemistry between Louis (Jacob Anderson) and Lestat (Sam Reid) crackles, the show still works even when they’re apart. Credit the writers for finding new tensions between the cast to play with, especially Daniel (Eric Bogosian) and Armand (Assad Zaman), who each know more than they’re saying. — Glen Weldon\u003c/p>\n\u003cp>\u003cem>Where: AMC, Prime Video\u003c/em>\u003cbr>\n\u003cem>Genre: Drama, Horror and Thriller, Romance\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R9pXbNz6Vbw&t=76s\u003c/p>\n\u003ch2>‘Agatha All Along’\u003c/h2>\n\u003cp>The best Marvel TV show (\u003ca href=\"https://www.kqed.org/arts/13891309/wandavision-the-next-era-of-the-mcu-will-be-televised\">\u003cem>WandaVision\u003c/em>\u003c/a>) got the best follow-up to date, as the great Kathryn Hahn reprised her role as the evil (or at least wildly self-involved) witch, Agatha Harkness. From the \u003cem>Mare of Easttown\u003c/em> parody that kicked off the season, to the brilliant and moving episode which sent Patti freaking LuPone’s Lilia ping-ponging through her own memories, AAA delivered a small, specific and highly idiosyncratic peek into one dark corner of the Marvel Universe. — Glen Weldon\u003c/p>\n\u003cp>\u003cem>Where: Disney+\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy, Kid Friendly, Science Fiction and Fantasy\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13955549/ripley-netflix-review-style-andrew-scott\">Ripley\u003c/a>’\u003c/h2>\n\u003cp>This new adaptation of Patricia Highsmith’s novel \u003cem>The Talented Mr. Ripley\u003c/em> relied on outstanding work from star Andrew Scott as well as stunning black-and-white cinematography. This is an older, darker Tom than the one Matt Damon played in 1999, but he’s just as frightening and manipulative. A stretch of almost 20 wordless minutes in the third episode that deals with the logistics of murder was one of the most inventive and darkly funny things I saw this year. — Linda Holmes\u003c/p>\n\u003cp>\u003cem>Where: Netflix\u003c/em>\u003cbr>\n\u003cem>Genre: Drama, Horror and Thriller\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13964175/the-penguin-batman-spinoff-hbo-max-review-colin-farrell\">The Penguin\u003c/a>’\u003c/h2>\n\u003cp>On the surface, it’s still yet another Batman-without-Batman show. But spend even a few minutes with it, and it starts to reveal new, satisfying depths. The central performances of Colin Farrell (as mob underboss Oz Cobb) and Cristin Milioti (as the would-be head of a crime family) are given room to breathe, and complicate, and surprise. The world of Gotham is pulpy but psychologically complex in ways that have nothing to do with a weirdo who dresses up at night to punch crime in the face. — Glen Weldon\u003c/p>\n\u003cp>\u003cem>Where: Max, Video on demand\u003c/em>\u003cbr>\n\u003cem>Genre: Drama, Science Fiction and Fantasy\u003c/em>\u003c/p>\n\u003ch2>‘Photographer’\u003c/h2>\n\u003cp>For those tempted to dismiss \u003ca href=\"https://www.kqed.org/arts/tag/national-geographic\">National Geographic shows\u003c/a> as televised coffee table books, this series shatters those assumptions with revealing tales on the lives and work of seven astoundingly talented visual artists. My favorite story: Paul Nicklen, who was raised among Inuit people in the Arctic, and Cristina Mittermeier, who grew up in Mexico City and faced down racism and sexism throughout her career, have become a couple hailed as iconic ocean photographers, fooling oil rig workers to get crucial, breathtaking photos. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Disney+, Hulu\u003c/em>\u003cbr>\n\u003cem>Genre: Biography, Documentary\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WkL7cpG2UhE\u003c/p>\n\u003ch2>‘True Detective: Night Country’\u003c/h2>\n\u003cp>Rising above this anthology’s inconsistent history and some inexplicably ungrateful critiques from its creator, Nic Pizzolatto, director/showrunner Issa López crafted a brilliant fourth season centered on Indigenous culture and women, while tipping a hat to the origins of a notoriously male-centered franchise. López also gave us the spellbinding team of Jodie Foster and Kali Reis as two misanthropic officers forced to rely on each other in a way that was groundbreaking and indelible. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Max, Video on demand\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Drama, Horror and Thriller\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13966481/disclaimer-tv-review-apple-tv-cate-blanchett-thriller-kevin-kline\">Disclaimer\u003c/a>’\u003c/h2>\n\u003cp>Cate Blanchett is dynamite as a woman who receives a mysterious self-published novel in the mail and realizes the story is based on a terrible memory she’s tried to forget. She struggles to keep the incident from resurfacing and destroying her life with her husband and son, while unbeknownst to her, the man who sent the book to her (Kevin Kline) closes in. The series explores the slipperiness of what’s true and false, and the notion that people live in different realities based on the information they have. — Linda Holmes\u003c/p>\n\u003cp>\u003cem>Where: Apple TV/Apple TV+\u003c/em>\u003cbr>\n\u003cem>Genre: Drama, Horror and Thriller\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13958131/jerrod-carmichael-reality-show-hbo-max-series-analysis-cynthia\">Jerrod Carmichael Reality Show\u003c/a>’\u003c/h2>\n\u003cp>Any therapist worth their salt would strongly advise against coercing estranged family members to help process your childhood trauma for a prestige docuseries. But Jerrod Carmichael admits that the camera has always been his security blanket, and for that, we get this fascinating, maddening portrait of a Black queer artist who wants desperately to repair his familial relationships. It’s unclear whether this was good for Carmichael, but it just might have helped someone else watching at home. — Aisha Harris\u003c/p>\n\u003cp>\u003cem>Where: Max\u003c/em>\u003cbr>\n\u003cem>Genre: Biography, Documentary\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13965841/industry-season-3-hbo-max-analysis-summary-soap-myhala-abela\">Industry\u003c/a>’ Season 3\u003c/h2>\n\u003cp>After bubbling under the radar, Mickey Down and Konrad Kay’s pulpy melodrama finally had its Brat moment, and it couldn’t have happened in a more bonkers season. The fictional investment bank Pierpoint faced rocky institutional challenges, while Gen Z upstarts Yas (Marisa Abela), Harper (Myha’la), and Robert (Harry Lawtey) all encountered death in a myriad of ways. In a show about strivers, there were obvious winners and losers; by the end of the season, it was less clear who, if anyone, maintained any semblance of a soul. — Aisha Harris\u003c/p>\n\u003cp>\u003cem>Where: Max\u003c/em>\u003cbr>\n\u003cem>Genre: Drama\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yAN5uspO_hk&t=79s\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13953066/new-shogun-series-review-fx-james-clavell\">Shōgun\u003c/a>’\u003c/h2>\n\u003cp>This was the biggest swing the TV industry took this year: A sprawling series, set in feudal Japan, centered on the politics of the time, while de-centering the perspective of the British sailor at the heart of the James Clavell novel and 1980 miniseries. Thanks to towering performances from Anna Sawai and Hiroyuki Sanada, along with note-perfect work from an army of writers, artisans and technicians, \u003cem>Shōgun\u003c/em> is an affecting, landmark drama about duty, love, culture and changing times. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: FX, Hulu, Disney+\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Drama, History\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/pop/110589/what-we-do-in-the-shadows-puts-the-dead-in-deadpan\">What We Do in the Shadows\u003c/a>’ Season 6\u003c/h2>\n\u003cp>The funniest show on TV — \u003ca href=\"https://www.kqed.org/pop/tag/fx\">FX\u003c/a>’s vampire mockumentary — is going out with a bang, as the world’s most feckless vamps are seized with a renewed sense of purpose. Their new focus takes them variously into corporate America, monster-making, flailing attempts at world conquest and (shudder) the world of Airbnb. These characters aren’t the sort to learn and change, but the final season is making room for small moments of sweetness amid the ever-growing body count. — Glen Weldon\u003c/p>\n\u003cp>\u003cem>Where: FX, Hulu\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy, Science Fiction and Fantasy, Horror and Thriller\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13951374/mr-mrs-smith-are-back-so-are-the-fights-and-bewitching-on-screen-chemistry\">Mr. & Mrs. Smith\u003c/a>’\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/tag/donald-glover\">Donald Glover\u003c/a> and Maya Erskine have developed distinct comic identities, including on their respective shows \u003cem>Atlanta\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13886663/pen15-is-back-and-girlhood-is-still-painfully-awkward\">\u003cem>PEN15\u003c/em>\u003c/a>. Here, they play a pair of spies who don’t know each other but are recruited for a project that sends them undercover, posing as a married couple. As they complete missions, a real relationship emerges, but it’s constantly imperiled by all that they don’t know about each other. A cool and sexy comedy-drama-thriller that’s delicious throughout. — Linda Holmes\u003c/p>\n\u003cp>\u003cem>Where: Prime Video\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Comedy, Drama, Romance\u003c/em>\u003c/p>\n\u003ch2>‘Rachel Bloom: Death, Let Me Do My Special’\u003c/h2>\n\u003cp>The onset of the COVID-19 pandemic wasn’t all that long ago, but the passage of time can lend itself to forgetting or ignoring. Rachel Bloom’s poignant special is a necessary reminder that the scars from that period never fully disappear. In it, through humor and musical numbers (of course), and with a little help from a \u003cem>Crazy Ex-Girlfriend\u003c/em> co-star, she candidly addresses becoming a mother in the early days of lockdown and the sudden passing of her friend and collaborator Adam Schlesinger. — Aisha Harris\u003c/p>\n\u003cp>\u003cem>Where: Netflix\u003c/em>\u003cbr>\n\u003cem>Genre: Biography, Comedy, Drama, Music and Musicals\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xhsVj_4ONoA\u003c/p>\n\u003ch2>‘A Man on the Inside’\u003c/h2>\n\u003cp>Michael Schur knows how to balance heartwarming comedy with sharp, irreverent observations, and this project is no different. Here he reteams up with his \u003ca href=\"https://www.kqed.org/pop/105436/what-the-good-place-has-taught-us-about-philosophy-and-life-so-far\">\u003cem>The Good Place\u003c/em>\u003c/a> star Ted Danson, who plays Charles, a lonely retired widower hired by a private investigator to be a mole at a senior living facility. Charles is meant to be on the hunt for stolen jewelry, but he befriends the quirky residents while learning to cope with aging and grief. Great cast (including Sally Struthers!), delightful, and moving. — Aisha Harris\u003c/p>\n\u003cp>\u003cem>Where: Netflix\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy, Drama\u003c/em>\u003c/p>\n\u003ch2>‘Fantasmas’\u003c/h2>\n\u003cp>Gay hamsters. A cowgirl toilet. A litigious North Pole elf. \u003ca href=\"https://video.kqed.org/video/julio-torres-2024-vision-award-honoree-rolzwe/\">Julio Torres\u003c/a>’ comedy series \u003cem>Fantasmas\u003c/em> is ostensibly about his character’s search for an earring he lost at a NYC nightclub. But it’s also stuffed with absurd characters and situations that have no business cohering — that would, on any other show, fight for our attention. Not so here, because every aspect first passes through the filter of \u003ca href=\"https://www.kqed.org/arts/13952668/problemista-review-julio-torres-tilda-swinton-hasbro\">Torres’ comic sensibility\u003c/a>. Happily, that sensibility turns out to be an offbeat and idiosyncratic one. — Glen Weldon\u003c/p>\n\u003cp>\u003cem>Where: Max, Video on demand\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy\u003c/em>\u003c/p>\n\u003ch2>‘Shrinking’ Season 2\u003c/h2>\n\u003cp>This affecting comedy moved beyond the simple pleasures of its first season, which unleashed ace players like Jessica Williams and Michael Urie while deftly leveraging Harrison Ford’s legendary crustiness. For Season 2, we got a potent take on forgiveness, as Jason Segel’s psychotherapist character meets the guy who killed his wife in a drunk driving accident, played by \u003ca href=\"https://www.kqed.org/arts/13929879/five-great-moments-from-the-ted-lasso-finale\">\u003cem>Ted Lasso\u003c/em>\u003c/a> alum Bret Goldstein. That doesn’t sound particularly sidesplitting, that’s true. But somehow, they found the funny to accompany the painful reach toward acceptance. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Apple TV/Apple TV+\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13938662/gary-oldman-had-free-rein-in-spy-thriller-slow-horses-now-back-for-season-3\">Slow Horses\u003c/a>’ Season 4\u003c/h2>\n\u003cp>No other series on TV can make as much out of a fart joke. But it’s not just the flatulence from Gary Oldman’s deliberately slovenly MI-5 agent Jackson Lamb that is so compelling; it’s how he uses that sloppiness to disguise his dedication to the misfit agents under his command, especially Jack Lowden’s River Cartwright. When River’s granddad, a magnetic Jonathan Pryce, is caught in crisis while suffering dementia, the only thing that could ratchet up the drama actually happens: Hugo Weaving appears as River’s toxic dad. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Apple TV/Apple TV+\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Drama, Horror and Thriller\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V6jbU4jPru8&t=28s\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13954225/quiet-on-set-nickelodeon-abuse-documentary-dan-schneider-drake-bell-brian-peck\">Quiet on Set: The Dark Side of Kids TV\u003c/a>’\u003c/h2>\n\u003cp>It was inevitable that the flurry of documentaries revisiting ’90s pop culture would reach Nickelodeon’s kids TV empire. Investigation Discovery’s series explored allegations of toxic work environments fostered by superstar producer Dan Schneider on series like \u003cem>All That\u003c/em> and \u003cem>The Amanda Show\u003c/em>. It also sparked headlines as former \u003cem>Drake & Josh\u003c/em> star Drake Bell detailed the sexual abuse he suffered by a dialogue coach at the channel. (Schneider has since apologized for some behavior, but also denied other allegations and sued the series producers and Warner Bros. Discovery for defamation, claiming the show unfairly implies he was involved in abuse.) — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Max, Discovery+, Video on demand\u003c/em>\u003cbr>\n\u003cem>Genre: Documentary\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13897119/a-comedic-generational-divide-gets-bridged-in-hbos-hacks\">Hacks\u003c/a>’ Season 3\u003c/h2>\n\u003cp>This may have been the strongest season yet of \u003cem>Hacks\u003c/em>, because it stepped away from the idea that Deborah (Jean Smart) and Ava (Hannah Einbinder) are constantly at war and made them — for now — allies and friends. The sharpness of the dialogue continues to delight, and the fact that both women are lovable and flawed (and less mean to each other) goes a long way. While a twist at the end of the season seems to risk a disappointing reset in their relationship, this show has earned the benefit of the doubt. — Linda Holmes\u003c/p>\n\u003cp>\u003cem>Where: Max\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy\u003c/em>\u003c/p>\n\u003ch2>‘Fight Night: Million Dollar Heist’\u003c/h2>\n\u003cp>Pulling together a blaxploitation-inspired, gangster-fueled series with heavyweights like Terrence Howard, Taraji P. Henson, Don Cheadle, Samuel L. Jackson and Kevin Hart is an achievement. But using them to tell the true story of the dopest heist you never heard of — when powerful Black gangsters got robbed after watching a 1970 Muhammad Ali fight in Atlanta? With Jackson as a fire-breathing Black Godfather and Hart as a fast-talking hustler? That is pure, uncut TV genius. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Peacock, Prime Video, Video on demand\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Drama\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13967594/the-diplomat-season-2-review-netflix-keri-russell\">The Diplomat\u003c/a>’ Season 2\u003c/h2>\n\u003cp>Set in a fantasy world where hyper-competent government officials fight disaster free of toxic partisan politics, Netflix’s series found new territory this year. \u003cem>West Wing\u003c/em> alum Allison Janney was a surprisingly sharp vice president, complicating efforts by Keri Russell’s no-nonsense ambassador to uncover a conspiracy inside the British government. With scene-stealing performances from Rory Kinnear as the U.K.’s insufferable prime minister, it all built to a diabolically transformative twist ending. — Eric Deggans\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Where: Netflix\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Drama, Horror and Thriller\u003c/em>\u003c/p>\n\n",
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"title": "NPR’s Best TV Shows of 2024 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re in the mood to binge from the couch this holiday season, NPR critics have gathered together their favorite TV shows of 2024. Have at it!\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13956676/baby-reindeer-netflix-review-problematic-abuse-lgbt-queerness\">Baby Reindeer\u003c/a>’\u003c/h2>\n\u003cp>Star and creator Richard Gadd turned his autobiographical one-man-show into an affecting nightmare of a series about a delusional woman who stalks a bartender and terrible aspiring comic. Where it gets complicated is in the details, including the fact that Gadd’s character was sexually abused by a male mentor in ways that reverberate through his life, raising questions about his own actions and the long reach of trauma. On top of all that, a woman who says she inspired the show’s stalker character has sued. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Netflix\u003c/em>\u003cbr>\n\u003cem>Genre: Drama\u003c/em>\u003c/p>\n\u003ch2>‘Interview with the Vampire’ Season 2\u003c/h2>\n\u003cp>AMC’s smart, thrilling and gratifyingly queer version of Anne Rice’s \u003cem>The Vampire Chronicles\u003c/em> improves on the books in ways large and small. Season 2 proved that while the chemistry between Louis (Jacob Anderson) and Lestat (Sam Reid) crackles, the show still works even when they’re apart. Credit the writers for finding new tensions between the cast to play with, especially Daniel (Eric Bogosian) and Armand (Assad Zaman), who each know more than they’re saying. — Glen Weldon\u003c/p>\n\u003cp>\u003cem>Where: AMC, Prime Video\u003c/em>\u003cbr>\n\u003cem>Genre: Drama, Horror and Thriller, Romance\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/R9pXbNz6Vbw'\n title='//www.youtube.com/embed/R9pXbNz6Vbw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘Agatha All Along’\u003c/h2>\n\u003cp>The best Marvel TV show (\u003ca href=\"https://www.kqed.org/arts/13891309/wandavision-the-next-era-of-the-mcu-will-be-televised\">\u003cem>WandaVision\u003c/em>\u003c/a>) got the best follow-up to date, as the great Kathryn Hahn reprised her role as the evil (or at least wildly self-involved) witch, Agatha Harkness. From the \u003cem>Mare of Easttown\u003c/em> parody that kicked off the season, to the brilliant and moving episode which sent Patti freaking LuPone’s Lilia ping-ponging through her own memories, AAA delivered a small, specific and highly idiosyncratic peek into one dark corner of the Marvel Universe. — Glen Weldon\u003c/p>\n\u003cp>\u003cem>Where: Disney+\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy, Kid Friendly, Science Fiction and Fantasy\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13955549/ripley-netflix-review-style-andrew-scott\">Ripley\u003c/a>’\u003c/h2>\n\u003cp>This new adaptation of Patricia Highsmith’s novel \u003cem>The Talented Mr. Ripley\u003c/em> relied on outstanding work from star Andrew Scott as well as stunning black-and-white cinematography. This is an older, darker Tom than the one Matt Damon played in 1999, but he’s just as frightening and manipulative. A stretch of almost 20 wordless minutes in the third episode that deals with the logistics of murder was one of the most inventive and darkly funny things I saw this year. — Linda Holmes\u003c/p>\n\u003cp>\u003cem>Where: Netflix\u003c/em>\u003cbr>\n\u003cem>Genre: Drama, Horror and Thriller\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13964175/the-penguin-batman-spinoff-hbo-max-review-colin-farrell\">The Penguin\u003c/a>’\u003c/h2>\n\u003cp>On the surface, it’s still yet another Batman-without-Batman show. But spend even a few minutes with it, and it starts to reveal new, satisfying depths. The central performances of Colin Farrell (as mob underboss Oz Cobb) and Cristin Milioti (as the would-be head of a crime family) are given room to breathe, and complicate, and surprise. The world of Gotham is pulpy but psychologically complex in ways that have nothing to do with a weirdo who dresses up at night to punch crime in the face. — Glen Weldon\u003c/p>\n\u003cp>\u003cem>Where: Max, Video on demand\u003c/em>\u003cbr>\n\u003cem>Genre: Drama, Science Fiction and Fantasy\u003c/em>\u003c/p>\n\u003ch2>‘Photographer’\u003c/h2>\n\u003cp>For those tempted to dismiss \u003ca href=\"https://www.kqed.org/arts/tag/national-geographic\">National Geographic shows\u003c/a> as televised coffee table books, this series shatters those assumptions with revealing tales on the lives and work of seven astoundingly talented visual artists. My favorite story: Paul Nicklen, who was raised among Inuit people in the Arctic, and Cristina Mittermeier, who grew up in Mexico City and faced down racism and sexism throughout her career, have become a couple hailed as iconic ocean photographers, fooling oil rig workers to get crucial, breathtaking photos. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Disney+, Hulu\u003c/em>\u003cbr>\n\u003cem>Genre: Biography, Documentary\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/WkL7cpG2UhE'\n title='//www.youtube.com/embed/WkL7cpG2UhE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘True Detective: Night Country’\u003c/h2>\n\u003cp>Rising above this anthology’s inconsistent history and some inexplicably ungrateful critiques from its creator, Nic Pizzolatto, director/showrunner Issa López crafted a brilliant fourth season centered on Indigenous culture and women, while tipping a hat to the origins of a notoriously male-centered franchise. López also gave us the spellbinding team of Jodie Foster and Kali Reis as two misanthropic officers forced to rely on each other in a way that was groundbreaking and indelible. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Max, Video on demand\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Drama, Horror and Thriller\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13966481/disclaimer-tv-review-apple-tv-cate-blanchett-thriller-kevin-kline\">Disclaimer\u003c/a>’\u003c/h2>\n\u003cp>Cate Blanchett is dynamite as a woman who receives a mysterious self-published novel in the mail and realizes the story is based on a terrible memory she’s tried to forget. She struggles to keep the incident from resurfacing and destroying her life with her husband and son, while unbeknownst to her, the man who sent the book to her (Kevin Kline) closes in. The series explores the slipperiness of what’s true and false, and the notion that people live in different realities based on the information they have. — Linda Holmes\u003c/p>\n\u003cp>\u003cem>Where: Apple TV/Apple TV+\u003c/em>\u003cbr>\n\u003cem>Genre: Drama, Horror and Thriller\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13958131/jerrod-carmichael-reality-show-hbo-max-series-analysis-cynthia\">Jerrod Carmichael Reality Show\u003c/a>’\u003c/h2>\n\u003cp>Any therapist worth their salt would strongly advise against coercing estranged family members to help process your childhood trauma for a prestige docuseries. But Jerrod Carmichael admits that the camera has always been his security blanket, and for that, we get this fascinating, maddening portrait of a Black queer artist who wants desperately to repair his familial relationships. It’s unclear whether this was good for Carmichael, but it just might have helped someone else watching at home. — Aisha Harris\u003c/p>\n\u003cp>\u003cem>Where: Max\u003c/em>\u003cbr>\n\u003cem>Genre: Biography, Documentary\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13965841/industry-season-3-hbo-max-analysis-summary-soap-myhala-abela\">Industry\u003c/a>’ Season 3\u003c/h2>\n\u003cp>After bubbling under the radar, Mickey Down and Konrad Kay’s pulpy melodrama finally had its Brat moment, and it couldn’t have happened in a more bonkers season. The fictional investment bank Pierpoint faced rocky institutional challenges, while Gen Z upstarts Yas (Marisa Abela), Harper (Myha’la), and Robert (Harry Lawtey) all encountered death in a myriad of ways. In a show about strivers, there were obvious winners and losers; by the end of the season, it was less clear who, if anyone, maintained any semblance of a soul. — Aisha Harris\u003c/p>\n\u003cp>\u003cem>Where: Max\u003c/em>\u003cbr>\n\u003cem>Genre: Drama\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/yAN5uspO_hk'\n title='//www.youtube.com/embed/yAN5uspO_hk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13953066/new-shogun-series-review-fx-james-clavell\">Shōgun\u003c/a>’\u003c/h2>\n\u003cp>This was the biggest swing the TV industry took this year: A sprawling series, set in feudal Japan, centered on the politics of the time, while de-centering the perspective of the British sailor at the heart of the James Clavell novel and 1980 miniseries. Thanks to towering performances from Anna Sawai and Hiroyuki Sanada, along with note-perfect work from an army of writers, artisans and technicians, \u003cem>Shōgun\u003c/em> is an affecting, landmark drama about duty, love, culture and changing times. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: FX, Hulu, Disney+\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Drama, History\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/pop/110589/what-we-do-in-the-shadows-puts-the-dead-in-deadpan\">What We Do in the Shadows\u003c/a>’ Season 6\u003c/h2>\n\u003cp>The funniest show on TV — \u003ca href=\"https://www.kqed.org/pop/tag/fx\">FX\u003c/a>’s vampire mockumentary — is going out with a bang, as the world’s most feckless vamps are seized with a renewed sense of purpose. Their new focus takes them variously into corporate America, monster-making, flailing attempts at world conquest and (shudder) the world of Airbnb. These characters aren’t the sort to learn and change, but the final season is making room for small moments of sweetness amid the ever-growing body count. — Glen Weldon\u003c/p>\n\u003cp>\u003cem>Where: FX, Hulu\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy, Science Fiction and Fantasy, Horror and Thriller\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13951374/mr-mrs-smith-are-back-so-are-the-fights-and-bewitching-on-screen-chemistry\">Mr. & Mrs. Smith\u003c/a>’\u003c/h2>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/tag/donald-glover\">Donald Glover\u003c/a> and Maya Erskine have developed distinct comic identities, including on their respective shows \u003cem>Atlanta\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13886663/pen15-is-back-and-girlhood-is-still-painfully-awkward\">\u003cem>PEN15\u003c/em>\u003c/a>. Here, they play a pair of spies who don’t know each other but are recruited for a project that sends them undercover, posing as a married couple. As they complete missions, a real relationship emerges, but it’s constantly imperiled by all that they don’t know about each other. A cool and sexy comedy-drama-thriller that’s delicious throughout. — Linda Holmes\u003c/p>\n\u003cp>\u003cem>Where: Prime Video\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Comedy, Drama, Romance\u003c/em>\u003c/p>\n\u003ch2>‘Rachel Bloom: Death, Let Me Do My Special’\u003c/h2>\n\u003cp>The onset of the COVID-19 pandemic wasn’t all that long ago, but the passage of time can lend itself to forgetting or ignoring. Rachel Bloom’s poignant special is a necessary reminder that the scars from that period never fully disappear. In it, through humor and musical numbers (of course), and with a little help from a \u003cem>Crazy Ex-Girlfriend\u003c/em> co-star, she candidly addresses becoming a mother in the early days of lockdown and the sudden passing of her friend and collaborator Adam Schlesinger. — Aisha Harris\u003c/p>\n\u003cp>\u003cem>Where: Netflix\u003c/em>\u003cbr>\n\u003cem>Genre: Biography, Comedy, Drama, Music and Musicals\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/xhsVj_4ONoA'\n title='//www.youtube.com/embed/xhsVj_4ONoA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘A Man on the Inside’\u003c/h2>\n\u003cp>Michael Schur knows how to balance heartwarming comedy with sharp, irreverent observations, and this project is no different. Here he reteams up with his \u003ca href=\"https://www.kqed.org/pop/105436/what-the-good-place-has-taught-us-about-philosophy-and-life-so-far\">\u003cem>The Good Place\u003c/em>\u003c/a> star Ted Danson, who plays Charles, a lonely retired widower hired by a private investigator to be a mole at a senior living facility. Charles is meant to be on the hunt for stolen jewelry, but he befriends the quirky residents while learning to cope with aging and grief. Great cast (including Sally Struthers!), delightful, and moving. — Aisha Harris\u003c/p>\n\u003cp>\u003cem>Where: Netflix\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy, Drama\u003c/em>\u003c/p>\n\u003ch2>‘Fantasmas’\u003c/h2>\n\u003cp>Gay hamsters. A cowgirl toilet. A litigious North Pole elf. \u003ca href=\"https://video.kqed.org/video/julio-torres-2024-vision-award-honoree-rolzwe/\">Julio Torres\u003c/a>’ comedy series \u003cem>Fantasmas\u003c/em> is ostensibly about his character’s search for an earring he lost at a NYC nightclub. But it’s also stuffed with absurd characters and situations that have no business cohering — that would, on any other show, fight for our attention. Not so here, because every aspect first passes through the filter of \u003ca href=\"https://www.kqed.org/arts/13952668/problemista-review-julio-torres-tilda-swinton-hasbro\">Torres’ comic sensibility\u003c/a>. Happily, that sensibility turns out to be an offbeat and idiosyncratic one. — Glen Weldon\u003c/p>\n\u003cp>\u003cem>Where: Max, Video on demand\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy\u003c/em>\u003c/p>\n\u003ch2>‘Shrinking’ Season 2\u003c/h2>\n\u003cp>This affecting comedy moved beyond the simple pleasures of its first season, which unleashed ace players like Jessica Williams and Michael Urie while deftly leveraging Harrison Ford’s legendary crustiness. For Season 2, we got a potent take on forgiveness, as Jason Segel’s psychotherapist character meets the guy who killed his wife in a drunk driving accident, played by \u003ca href=\"https://www.kqed.org/arts/13929879/five-great-moments-from-the-ted-lasso-finale\">\u003cem>Ted Lasso\u003c/em>\u003c/a> alum Bret Goldstein. That doesn’t sound particularly sidesplitting, that’s true. But somehow, they found the funny to accompany the painful reach toward acceptance. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Apple TV/Apple TV+\u003c/em>\u003cbr>\n\u003cem>Genre: Comedy\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13938662/gary-oldman-had-free-rein-in-spy-thriller-slow-horses-now-back-for-season-3\">Slow Horses\u003c/a>’ Season 4\u003c/h2>\n\u003cp>No other series on TV can make as much out of a fart joke. But it’s not just the flatulence from Gary Oldman’s deliberately slovenly MI-5 agent Jackson Lamb that is so compelling; it’s how he uses that sloppiness to disguise his dedication to the misfit agents under his command, especially Jack Lowden’s River Cartwright. When River’s granddad, a magnetic Jonathan Pryce, is caught in crisis while suffering dementia, the only thing that could ratchet up the drama actually happens: Hugo Weaving appears as River’s toxic dad. — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Apple TV/Apple TV+\u003c/em>\u003cbr>\n\u003cem>Genre: Action, Drama, Horror and Thriller\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/V6jbU4jPru8'\n title='//www.youtube.com/embed/V6jbU4jPru8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13954225/quiet-on-set-nickelodeon-abuse-documentary-dan-schneider-drake-bell-brian-peck\">Quiet on Set: The Dark Side of Kids TV\u003c/a>’\u003c/h2>\n\u003cp>It was inevitable that the flurry of documentaries revisiting ’90s pop culture would reach Nickelodeon’s kids TV empire. 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Discovery for defamation, claiming the show unfairly implies he was involved in abuse.) — Eric Deggans\u003c/p>\n\u003cp>\u003cem>Where: Max, Discovery+, Video on demand\u003c/em>\u003cbr>\n\u003cem>Genre: Documentary\u003c/em>\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13897119/a-comedic-generational-divide-gets-bridged-in-hbos-hacks\">Hacks\u003c/a>’ Season 3\u003c/h2>\n\u003cp>This may have been the strongest season yet of \u003cem>Hacks\u003c/em>, because it stepped away from the idea that Deborah (Jean Smart) and Ava (Hannah Einbinder) are constantly at war and made them — for now — allies and friends. The sharpness of the dialogue continues to delight, and the fact that both women are lovable and flawed (and less mean to each other) goes a long way. 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"content": "\u003cp>\u003cem>This week, as we near the end of 2024, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year.\u003c/em>\u003c/p>\n\u003cp>[dropcap]I[/dropcap]t’s just after 11 a.m. on Nov. 25, and inside Little Caesars I hear an employee standing next to the oven in the back, screaming, “MUSTARRRRRRRD!”\u003c/p>\n\u003cp>At the register, my 8-year-old daughter is next to me, hungry and confused. I smile and say softly, “It’s happening.”\u003c/p>\n\u003cp>She doesn’t understand. \u003cem>What does mustard have to do with pizza? What’s happening? Why is my dad smiling? \u003c/em>\u003c/p>\n\u003cp>Maybe it’s too much for her to understand, but I’m sure you will. The sound of a low-wage hourly employee, working at a billion-dollar food chain, momentarily liberating themselves by bellowing lyrics from the top rapper in the game.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s a beautiful thing.\u003c/p>\n\u003cp>It’s art, it’s culture, it’s the reason hip-hop was created. It’s a taste of self-determination over the thunderous drums of the day-to-day struggle. It’s the sound of freedom, however fleeting.\u003c/p>\n\u003cdiv style=\"width: 100%\" align=\"center\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"700\" height=\"800\" src=\"https://www.instagram.com/p/DC4zqmZTdcw/embed\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\n\u003c/div>\n\u003cp>\u003cspan style=\"color: #ffffff\">b\u003c/span>\u003cbr>\nThe roar of “MUSTARD!!!” comes from “tv off,” a standout track on Kendrick Lamar’s latest album, \u003ci>GNX\u003c/i>. Partway through the song, the beat switches to a menacing tempo, and Kendrick shouts producer DJ Mustard’s name in such a tone that he etches it directly into the listener’s central nervous system — causing the word to sporadically spring from a person’s throat at a later date, even when the song isn’t playing.\u003c/p>\n\u003cp>The pizza-making homie was joking on the job, referencing popular culture, but for me it could’ve just as well been a call to an Orisha. His guttural utterance brought one very beautiful thing to mind about this past year: the culture is alive and well.\u003c/p>\n\u003cfigure id=\"attachment_13960077\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images.jpg\" alt=\"A Black man in a red hoodie raps on the mic and holds one finger aloft while an arena ceiling bathed in golden light is in the background\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar performs during ‘The Pop Out – Ken & Friends’ at the Forum on June 19, 2024 in Inglewood, California. \u003ccite>(Timothy Norris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>West Coast hip-hop is currently abuzz, and Kendrick is at the top of the pack. After emerging as the clear winner of an epic rap battle against Canadian rapper Drake, which brought arguably the song of the year “Not Like Us,” on Juneteenth Kendrick Lamar hosted \u003cem>The Pop Out: Ken & Friends,\u003c/em> a one-day festival featuring a host of artists from the greater Los Angeles area under the bright lights at The Forum. With narration from the Bay Area’s ambassador E-40, the show was an authentic display of unity and regional talent, livestreamed to the masses. Weeks later, Kendrick was announced as next year’s Super Bowl halftime headliner.\u003c/p>\n\u003cp>All told, 2024 was an immaculate year for the Pulitzer-Prize winning rapper, who I’ve followed since I was downloading his early mixtapes from DatPiff in my college dorm during President Obama’s first term. Kendrick is an artist I’ve only seen once in concert — \u003ca href=\"https://www.youtube.com/watch?v=v7JC3_XH5Kc\">at The New Parish in Oakland\u003c/a>, in 2011 — and yet I identify with his story. We’re both short kids from California, born in 1987 and raised on Tupac. I too am from a “mad city,” but I wasn’t in \u003cem>the game\u003c/em>, just \u003cem>game-\u003c/em>adjacent.\u003c/p>\n\u003cp>And I’m just one of many who can relate. That widespread ability to identify with Kendrick’s story means that this year’s success wasn’t just Kendrick’s. His rise is intertwined with a culture, a coast, a class of people. His listeners are a generation of folks who know what it’s like to sing songs that make ’em feel like a million bucks, despite the economic chasm between \u003cem>the pursuit\u003c/em> and \u003cem>the happiness\u003c/em> growing, exponentially.\u003c/p>\n\u003cfigure id=\"attachment_13969282\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969282\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner-.jpg\" alt=\"\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner-.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar. \u003ccite>(Andre D. Wagner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since I first heard his song “\u003ca href=\"https://www.youtube.com/watch?v=wHbr0Oe2u3Q\" target=\"_blank\" rel=\"noopener\">Heaven & Hell\u003c/a>” during the blog era, I’ve watched K. Dot’s influence grow. Parallel to his tale is my ever-increasing interest in West Coast hip-hop. Last year, I worked with my colleagues at KQED to produce \u003ca href=\"https://www.kqed.org/bayareahiphop%20\">That’s My Word\u003c/a>, a multimedia project inspired by hip-hop’s 50th anniversary, for which we unearthed some of the deepest, dopest parts of the Bay Area’s contributions to hip-hop.\u003c/p>\n\u003cp>After spending a year blowing dust off classic albums and talking to folks about hip-hop history, this year was about understanding the current wave, starting with the Bay and expanding out from there.\u003c/p>\n\u003cp>Over the past year I’ve written about \u003ca href=\"https://www.kqed.org/arts/13956365/larry-june-stanford-blackfest-free\">Larry June\u003c/a>’s free concert at Stanford University (good job), and the rise in popularity of San Francisco’s battle rapping-comedic-bar spitter \u003ca href=\"https://www.kqed.org/arts/13963964/san-franciscos-frak-has-been-wild-n-out\">Frak\u003c/a> (who is also a person). I wrote about being uplifted by the \u003cem>Black Love\u003c/em> album from\u003ca href=\"https://www.kqed.org/arts/13966594/oaklands-kingmakers-black-love-album\" target=\"_blank\" rel=\"noopener\"> Oakland’s Kingmakers Music\u003c/a>, and noted my nostalgia as I covered Oakland’s rising star \u003ca href=\"https://www.kqed.org/arts/13967001/paris-nights-east-oakland-rapper-videos-90s-throwbacks\">Paris Nights\u003c/a> and her ability to remake classic music videos and films. Berkeley’s \u003ca href=\"https://www.kqed.org/arts/13953009/loe-gino-berkeley-birkenstocks-and-bars\">LOE Gino\u003c/a> told me about bringing his authentic Birkenstock-wearing self into his raps, and San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13957335/queens-of-the-underground-latina-takeover-hip-hop\">Lil MC\u003c/a> shared insight on carving out a safe space for women and queer MCs in the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13957337\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957337\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed.jpg\" alt=\"\" width=\"1170\" height=\"658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-768x432.jpg 768w\" sizes=\"auto, (max-width: 1170px) 100vw, 1170px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">LiL MC and members of Iron Lotus Street Dance rock the stage at a Queens of The Underground event. \u003ccite>(Sarah Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/13965374/east-side-san-jose-rap-hustle\">East Side San Jose\u003c/a>, I talked to a handful of artists who simply want to make sure their culture isn’t overshadowed by the tech scions of Silicon Valley, so they make music about their side of town. Authentic artistic expression, despite the big banks down in the shark tank.\u003c/p>\n\u003cp>But what’s been published is just a small sample of what I’ve absorbed. This past summer I took in a LaRussell show at the Pergola in Vallejo, and hit History of the Bay Day in San Francisco. I drove all around the Bay listening to new music from Stockton’s EBK Jaaybo, Oakland’s Kamaiyah and San Francisco’s Lil Bean.\u003c/p>\n\u003cp>My playlists have a bunch of new music from Southern Californian talent too, like 03 Greedo and Vince Staples, as well as Big Sad 1900, BlueBucksClan, Buddy, Blu and even new music from Dre & Snoop. Kendrick’s former label mates Ab-Soul and ScHoolboy Q both dropped projects that should be in the conversation for album of the year, right next to Tyler, The Creator’s.\u003c/p>\n\u003cp>I knew West Coast hip-hop was active before I entered the pizza place on that November day, but the significance of its influence wasn’t clear until after I left.\u003c/p>\n\u003cfigure id=\"attachment_13968611\" class=\"wp-caption aligncenter\" style=\"max-width: 2935px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still.png\" alt=\"man sits on chair while people dance and bike around him\" width=\"2935\" height=\"1651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still.png 2935w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-1920x1080.png 1920w\" sizes=\"auto, (max-width: 2935px) 100vw, 2935px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Velo, Dmonte, Icecold 3000 and Aktive (left to right) ride scraper bikes and go dumb in Kendrick Lamar’s ‘squabble up’ video. \u003ccite>(Kendrick Lamar/YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same morning, Kendrick Lamar released the video for the song “squabble up,” the first single from his latest album. Saturated with cultural references, the video shows a Black Panther statuette and a painting of Black Jesus; a Pan-African flag, visuals inspired by Ice T’s \u003cem>Power\u003c/em> album cover and a reference to a character from 1993 film \u003cem>Menace II Society\u003c/em>. There’s also a scraper bike and a few turf dancers, nods to the hyphy movement, a topic I spent the bulk of last year untangling in a very personal podcast series “\u003ca href=\"https://www.kqed.org/arts/13934874/hyphy-kids-got-trauma\" target=\"_blank\" rel=\"noopener\">Hyphy Kids Got Trauma\u003c/a>,” about my coming of age and the commodification of my culture.\u003c/p>\n\u003cp>Kendrick Lamar’s latest music video, the album itself and the many threads that flow through his art speak to what I see as four generations of existence. He honors those who’ve passed on, shouts out the elders who made it happen, checks in with peers and provides space for the next generation. Culture is passed along.\u003c/p>\n\u003cp>The dances, the fashion, the slang and the teachings over dope beats — it’s all so simple, and yet so spiritual. It’s from the dirt and the have-nots, often shared across the internet and sold online.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And as the big business of Amazon, Spotify, Apple, Cash App, Ticketmaster and others rake in the dough, a pizza-maker reminds me that culture is still free.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, as we near the end of 2024, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>t’s just after 11 a.m. on Nov. 25, and inside Little Caesars I hear an employee standing next to the oven in the back, screaming, “MUSTARRRRRRRD!”\u003c/p>\n\u003cp>At the register, my 8-year-old daughter is next to me, hungry and confused. I smile and say softly, “It’s happening.”\u003c/p>\n\u003cp>She doesn’t understand. \u003cem>What does mustard have to do with pizza? What’s happening? Why is my dad smiling? \u003c/em>\u003c/p>\n\u003cp>Maybe it’s too much for her to understand, but I’m sure you will. The sound of a low-wage hourly employee, working at a billion-dollar food chain, momentarily liberating themselves by bellowing lyrics from the top rapper in the game.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s a beautiful thing.\u003c/p>\n\u003cp>It’s art, it’s culture, it’s the reason hip-hop was created. It’s a taste of self-determination over the thunderous drums of the day-to-day struggle. It’s the sound of freedom, however fleeting.\u003c/p>\n\u003cdiv style=\"width: 100%\" align=\"center\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"700\" height=\"800\" src=\"https://www.instagram.com/p/DC4zqmZTdcw/embed\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\n\u003c/div>\n\u003cp>\u003cspan style=\"color: #ffffff\">b\u003c/span>\u003cbr>\nThe roar of “MUSTARD!!!” comes from “tv off,” a standout track on Kendrick Lamar’s latest album, \u003ci>GNX\u003c/i>. Partway through the song, the beat switches to a menacing tempo, and Kendrick shouts producer DJ Mustard’s name in such a tone that he etches it directly into the listener’s central nervous system — causing the word to sporadically spring from a person’s throat at a later date, even when the song isn’t playing.\u003c/p>\n\u003cp>The pizza-making homie was joking on the job, referencing popular culture, but for me it could’ve just as well been a call to an Orisha. His guttural utterance brought one very beautiful thing to mind about this past year: the culture is alive and well.\u003c/p>\n\u003cfigure id=\"attachment_13960077\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960077\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images.jpg\" alt=\"A Black man in a red hoodie raps on the mic and holds one finger aloft while an arena ceiling bathed in golden light is in the background\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Kendrick.Timothy-Norris-Getty-Images-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar performs during ‘The Pop Out – Ken & Friends’ at the Forum on June 19, 2024 in Inglewood, California. \u003ccite>(Timothy Norris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>West Coast hip-hop is currently abuzz, and Kendrick is at the top of the pack. After emerging as the clear winner of an epic rap battle against Canadian rapper Drake, which brought arguably the song of the year “Not Like Us,” on Juneteenth Kendrick Lamar hosted \u003cem>The Pop Out: Ken & Friends,\u003c/em> a one-day festival featuring a host of artists from the greater Los Angeles area under the bright lights at The Forum. With narration from the Bay Area’s ambassador E-40, the show was an authentic display of unity and regional talent, livestreamed to the masses. Weeks later, Kendrick was announced as next year’s Super Bowl halftime headliner.\u003c/p>\n\u003cp>All told, 2024 was an immaculate year for the Pulitzer-Prize winning rapper, who I’ve followed since I was downloading his early mixtapes from DatPiff in my college dorm during President Obama’s first term. Kendrick is an artist I’ve only seen once in concert — \u003ca href=\"https://www.youtube.com/watch?v=v7JC3_XH5Kc\">at The New Parish in Oakland\u003c/a>, in 2011 — and yet I identify with his story. We’re both short kids from California, born in 1987 and raised on Tupac. I too am from a “mad city,” but I wasn’t in \u003cem>the game\u003c/em>, just \u003cem>game-\u003c/em>adjacent.\u003c/p>\n\u003cp>And I’m just one of many who can relate. That widespread ability to identify with Kendrick’s story means that this year’s success wasn’t just Kendrick’s. His rise is intertwined with a culture, a coast, a class of people. His listeners are a generation of folks who know what it’s like to sing songs that make ’em feel like a million bucks, despite the economic chasm between \u003cem>the pursuit\u003c/em> and \u003cem>the happiness\u003c/em> growing, exponentially.\u003c/p>\n\u003cfigure id=\"attachment_13969282\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969282\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner-.jpg\" alt=\"\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner-.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/Kendrick.Credit_-Andre-D.-Wagner--1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar. \u003ccite>(Andre D. Wagner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since I first heard his song “\u003ca href=\"https://www.youtube.com/watch?v=wHbr0Oe2u3Q\" target=\"_blank\" rel=\"noopener\">Heaven & Hell\u003c/a>” during the blog era, I’ve watched K. Dot’s influence grow. Parallel to his tale is my ever-increasing interest in West Coast hip-hop. Last year, I worked with my colleagues at KQED to produce \u003ca href=\"https://www.kqed.org/bayareahiphop%20\">That’s My Word\u003c/a>, a multimedia project inspired by hip-hop’s 50th anniversary, for which we unearthed some of the deepest, dopest parts of the Bay Area’s contributions to hip-hop.\u003c/p>\n\u003cp>After spending a year blowing dust off classic albums and talking to folks about hip-hop history, this year was about understanding the current wave, starting with the Bay and expanding out from there.\u003c/p>\n\u003cp>Over the past year I’ve written about \u003ca href=\"https://www.kqed.org/arts/13956365/larry-june-stanford-blackfest-free\">Larry June\u003c/a>’s free concert at Stanford University (good job), and the rise in popularity of San Francisco’s battle rapping-comedic-bar spitter \u003ca href=\"https://www.kqed.org/arts/13963964/san-franciscos-frak-has-been-wild-n-out\">Frak\u003c/a> (who is also a person). I wrote about being uplifted by the \u003cem>Black Love\u003c/em> album from\u003ca href=\"https://www.kqed.org/arts/13966594/oaklands-kingmakers-black-love-album\" target=\"_blank\" rel=\"noopener\"> Oakland’s Kingmakers Music\u003c/a>, and noted my nostalgia as I covered Oakland’s rising star \u003ca href=\"https://www.kqed.org/arts/13967001/paris-nights-east-oakland-rapper-videos-90s-throwbacks\">Paris Nights\u003c/a> and her ability to remake classic music videos and films. Berkeley’s \u003ca href=\"https://www.kqed.org/arts/13953009/loe-gino-berkeley-birkenstocks-and-bars\">LOE Gino\u003c/a> told me about bringing his authentic Birkenstock-wearing self into his raps, and San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13957335/queens-of-the-underground-latina-takeover-hip-hop\">Lil MC\u003c/a> shared insight on carving out a safe space for women and queer MCs in the Bay.\u003c/p>\n\u003cfigure id=\"attachment_13957337\" class=\"wp-caption aligncenter\" style=\"max-width: 1170px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957337\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed.jpg\" alt=\"\" width=\"1170\" height=\"658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed.jpg 1170w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/unnamed-768x432.jpg 768w\" sizes=\"auto, (max-width: 1170px) 100vw, 1170px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">LiL MC and members of Iron Lotus Street Dance rock the stage at a Queens of The Underground event. \u003ccite>(Sarah Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/13965374/east-side-san-jose-rap-hustle\">East Side San Jose\u003c/a>, I talked to a handful of artists who simply want to make sure their culture isn’t overshadowed by the tech scions of Silicon Valley, so they make music about their side of town. Authentic artistic expression, despite the big banks down in the shark tank.\u003c/p>\n\u003cp>But what’s been published is just a small sample of what I’ve absorbed. This past summer I took in a LaRussell show at the Pergola in Vallejo, and hit History of the Bay Day in San Francisco. I drove all around the Bay listening to new music from Stockton’s EBK Jaaybo, Oakland’s Kamaiyah and San Francisco’s Lil Bean.\u003c/p>\n\u003cp>My playlists have a bunch of new music from Southern Californian talent too, like 03 Greedo and Vince Staples, as well as Big Sad 1900, BlueBucksClan, Buddy, Blu and even new music from Dre & Snoop. Kendrick’s former label mates Ab-Soul and ScHoolboy Q both dropped projects that should be in the conversation for album of the year, right next to Tyler, The Creator’s.\u003c/p>\n\u003cp>I knew West Coast hip-hop was active before I entered the pizza place on that November day, but the significance of its influence wasn’t clear until after I left.\u003c/p>\n\u003cfigure id=\"attachment_13968611\" class=\"wp-caption aligncenter\" style=\"max-width: 2935px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968611\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still.png\" alt=\"man sits on chair while people dance and bike around him\" width=\"2935\" height=\"1651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still.png 2935w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/squabble-up-still-1920x1080.png 1920w\" sizes=\"auto, (max-width: 2935px) 100vw, 2935px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Velo, Dmonte, Icecold 3000 and Aktive (left to right) ride scraper bikes and go dumb in Kendrick Lamar’s ‘squabble up’ video. \u003ccite>(Kendrick Lamar/YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That same morning, Kendrick Lamar released the video for the song “squabble up,” the first single from his latest album. Saturated with cultural references, the video shows a Black Panther statuette and a painting of Black Jesus; a Pan-African flag, visuals inspired by Ice T’s \u003cem>Power\u003c/em> album cover and a reference to a character from 1993 film \u003cem>Menace II Society\u003c/em>. There’s also a scraper bike and a few turf dancers, nods to the hyphy movement, a topic I spent the bulk of last year untangling in a very personal podcast series “\u003ca href=\"https://www.kqed.org/arts/13934874/hyphy-kids-got-trauma\" target=\"_blank\" rel=\"noopener\">Hyphy Kids Got Trauma\u003c/a>,” about my coming of age and the commodification of my culture.\u003c/p>\n\u003cp>Kendrick Lamar’s latest music video, the album itself and the many threads that flow through his art speak to what I see as four generations of existence. He honors those who’ve passed on, shouts out the elders who made it happen, checks in with peers and provides space for the next generation. Culture is passed along.\u003c/p>\n\u003cp>The dances, the fashion, the slang and the teachings over dope beats — it’s all so simple, and yet so spiritual. It’s from the dirt and the have-nots, often shared across the internet and sold online.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And as the big business of Amazon, Spotify, Apple, Cash App, Ticketmaster and others rake in the dough, a pizza-maker reminds me that culture is still free.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Weike Wang Novel ‘Rental House’ Finds Beauty and Humor in a Marriage of Opposites",
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"content": "\u003cfigure id=\"attachment_13969288\" class=\"wp-caption aligncenter\" style=\"max-width: 1316px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969288\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/rental-house.png\" alt=\"A book cover featuring an illustration of an armchair on fire.\" width=\"1316\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/rental-house.png 1316w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/rental-house-800x1216.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/rental-house-1020x1550.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/rental-house-160x243.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/rental-house-768x1167.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/rental-house-1011x1536.png 1011w\" sizes=\"auto, (max-width: 1316px) 100vw, 1316px\">\u003cfigcaption class=\"wp-caption-text\">‘Rental House’ by Weike Wang. \u003ccite>(Riverhead Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vacation rental with the in-laws — for many, it’s a setup for disaster. In Weike Wang’s \u003cem>Rental House\u003c/em>, it’s certainly that. It’s also an opportunity for Wang, a wildly gifted writer, to explore the upside and downside of education, marriage and family. Add to the mix an interracial couple where one partner hails from an Appalachian background like that of JD Vance and the other’s life was shaped by the policies of Chairman Mao, and you have all you need for a laugh-out-loud satire of American dysfunction.\u003c/p>\n\u003cp>[aside postid='arts_13939425']The heroes are Nate and Keru, who meet sort-of-cute at a Halloween party their senior year at Yale. She’s in a leopard-print turtleneck, plaid jacket and shiny gold pants to represent “a bad dress day.” He’s got a fin strapped to his back to stand for “great white,” as in shark, not, Keru later realizes, his status as another well-to-do Caucasian male at an Ivy League school. Nate is anything but that. His background is hillbilly, minus the elegy, the first generation in his family to go to college. Keru is first-gen, too, having emigrated to this country as a child with her Chinese parents.\u003c/p>\n\u003cp>Both are whip smart. He studies fruit flies, she’s in consulting. Five years into their marriage, they invite each set of parents to spend a week at their Cape Cod beach house. By then, they’ve become doting parents of a giant sheepdog, Mantou, whose name means “steamed bun” in Chinese. As their parents arrive in staggered shifts, Wang gleefully pokes fun at each family’s prejudices and quirks. “To use a dishwasher is to admit defeat,” Keru’s demanding father tells Nate sternly. But the light-hearted tone darkens when Keru, stressed out by her in-laws’ visit, has a meltdown.\u003c/p>\n\u003cp>In the second half of the book, the stakes are higher. It’s five years later, and Keru is making gobs more money than her tenured professor husband though it requires 80-hour weeks. Easygoing Nate has been diagnosed with anxiety and even Mantou is depressed.\u003c/p>\n\u003cp>[aside postid='arts_13969192']This time, they rent a house in a luxury development in the Catskills, where Keru must harness her considerable problem-solving skills to steer their little ship of family through unexpected visits from nosy, obnoxious neighbors and Nate’s ne’er-do-well brother.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though ostensibly a comedy of manners built around an opposites-attract couple, Wang’s novel, her third after \u003cem>Chemistry\u003c/em> and \u003cem>Joan Is Okay,\u003c/em> is a poignant, profound meditation on this divided country enlivened by her dry wit and deadpan style.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rental House’ by Weike Wang is out now, via Riverhead Books.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The heroes are Nate and Keru, who meet sort-of-cute at a Halloween party their senior year at Yale. She’s in a leopard-print turtleneck, plaid jacket and shiny gold pants to represent “a bad dress day.” He’s got a fin strapped to his back to stand for “great white,” as in shark, not, Keru later realizes, his status as another well-to-do Caucasian male at an Ivy League school. Nate is anything but that. His background is hillbilly, minus the elegy, the first generation in his family to go to college. Keru is first-gen, too, having emigrated to this country as a child with her Chinese parents.\u003c/p>\n\u003cp>Both are whip smart. He studies fruit flies, she’s in consulting. Five years into their marriage, they invite each set of parents to spend a week at their Cape Cod beach house. By then, they’ve become doting parents of a giant sheepdog, Mantou, whose name means “steamed bun” in Chinese. As their parents arrive in staggered shifts, Wang gleefully pokes fun at each family’s prejudices and quirks. “To use a dishwasher is to admit defeat,” Keru’s demanding father tells Nate sternly. But the light-hearted tone darkens when Keru, stressed out by her in-laws’ visit, has a meltdown.\u003c/p>\n\u003cp>In the second half of the book, the stakes are higher. It’s five years later, and Keru is making gobs more money than her tenured professor husband though it requires 80-hour weeks. Easygoing Nate has been diagnosed with anxiety and even Mantou is depressed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This time, they rent a house in a luxury development in the Catskills, where Keru must harness her considerable problem-solving skills to steer their little ship of family through unexpected visits from nosy, obnoxious neighbors and Nate’s ne’er-do-well brother.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though ostensibly a comedy of manners built around an opposites-attract couple, Wang’s novel, her third after \u003cem>Chemistry\u003c/em> and \u003cem>Joan Is Okay,\u003c/em> is a poignant, profound meditation on this divided country enlivened by her dry wit and deadpan style.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rental House’ by Weike Wang is out now, via Riverhead Books.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>This week, as we near the end of 2024, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year.\u003c/i>\u003c/p>\n\u003cp>[dropcap]T[/dropcap]en years ago I was a junior in college, back when YikYak was still relevant and Schoolboy Q’s \u003cem>Oxymoron\u003c/em> album was brand new. Twice a week, I made my ritual trek along Chicago’s Fullerton Avenue to campus for my intro to American foreign policy class. It was only a handful of blocks from my apartment, but the cold wave that hit the city that winter made those blocks feel like miles, especially when it snowed. But the walk was worth it, because every week I got to periodically glance at the incredibly cool, cute, turquoise-haired stranger that sat one seat away from me: L. \u003c/p>\n\u003cp>L was every professor’s dream student to have in class. They were always ready to go when class started, spoke at least once during the discussions and took immaculate notes, and I, on the other hand, dreaded speaking up and was perpetually late thanks to an embarrassing combination of then-undiagnosed ADHD and ongoing sorority obligations. Every week I came to class intending to sit next to L so I could try and befriend them, and every week the seat was claimed before I arrived, already taken by some red-headed kid. To my annoyance, he had an absolutely glowing attendance record until finally, one class before the final exam, he was gone and the seat next to L was mine. \u003c/p>\n\u003cp>[aside postID='arts_13968532']It was one of those minuscule moments that wound up deeply altering my future. L and I just clicked. Our relationship has changed over the course of time (friends first, followed by a brief stint as partners, then back to friends), but so long as L is in my life, I don’t care what form it takes. L has been such a monumental source of joy that when they suggested flying out to the Bay Area in March so we could reunite to celebrate our decade of love and friendship, I immediately cleared my grad school calendar. \u003c/p>\n\u003cp>Our friendship has endured many twists and turns, including the pandemic, cross-country moves (L to Texas, me to California), and two master’s programs (one apiece). Between in-person hang outs over the years, we’ve visited each other’s islands on Animal Crossing, FaceTimed, and exchanged birthday cards, Christmas cards, Halloween cards, and plenty of ‘just because’ cards. Once, after helping me pack up my old Chicago apartment in the early days of COVID lockdown, my dad even let me take a detour on our way back to Minnesota, just so we could wave at each other from six feet apart. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We’ve never run out of things to talk about or learn from each other. I’ve always admired, for example, the way L carries themself. In 2014, L was totally unapologetic about the pieces of pop culture they loved, like One Direction and Captain America, and about their personal style, which included piercings and tattoos my parents would have burnt me at the stake for even thinking of getting. Today, L still encourages me to reject cringe culture, to enjoy the things I enjoy without caring what others think. So when they came out to visit, we indulged in all of our shared interests, cringe or not, including history, horror and K-pop. \u003c/p>\n\u003cfigure id=\"attachment_13969226\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/photocards_2000.jpg\" alt=\"two pictures of hands holding small photo frames in front of Victorian mansion\" width=\"2000\" height=\"1360\" class=\"size-full wp-image-13969226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/photocards_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/photocards_2000-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/photocards_2000-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/photocards_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/photocards_2000-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/photocards_2000-1536x1044.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/photocards_2000-1920x1306.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">With our K-pop photocards at the Winchester Mystery House in San José. \u003ccite>(Shannon Faulise/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We brought our favorite K-pop photocard holders along for a tour of the Winchester Mystery House in San José, drove to San Francisco and then Concord to scope out the selections at local K-pop stores, and ate takeout on my Berkeley apartment’s rooftop while the sun set. \u003c/p>\n\u003cp>We reminisced about the people we used to be and the things we used to do together, like attending protests and celebrating pride at Chicago’s Dyke March. We giggled about the time we ran into \u003cem>Drag Race\u003c/em> legend Naomi Smalls (L was so overwhelmed they forgot how to smile when we took a selfie with her), and the time L graciously agreed to be my date to the Chi Omega spring formal (the first, but not the last Greek life event I dragged them to). We reflected on the American foreign policy class that brought us together in the first place, and even clinked our glasses of soju to toast the red-headed kid for missing that last week of class. \u003c/p>\n\u003cp>L’s impact on me is emotional and very tactile. I keep two framed photos of their childhood self dressed as a witch for Halloween in my living room, and one of their old hoodies hangs in my closet. We have matching K-pop-related keychains and still sometimes refer to ourselves as “LANNON” (a combination of our names). We even have disgustingly cute matching friendship tattoos that we got last year: L has a pink-frosted doughnut to represent me, and I have an orange-frosted doughnut on my right arm to represent them. In the Instagram post L made after visiting me, someone in the comments even wished us a “happy LANNON decade!” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There just aren’t enough words to describe how stupidly lucky I am to have someone in my life who makes that life so much brighter and fun. We may no longer be the same Captain America-loving (L) and \u003cem>Pretty Little Liars\u003c/em>-obsessed (me) college kids we once were, but we’ve been, and will continue to be, together for all of our rebirths and revivals, through new hair colors, music obsessions and other lifestyle changes. The future is something that still haunts me when I think deeply about it, but at least I won’t have to face it alone. As 2024 comes to a close, I feel less scared and more excited to step into a new decade with L by my side, to see where and how we’ll continue to grow together. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This week, as we near the end of 2024, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://www.kqed.org/arts/tag/one-beautiful-thing\">One Beautiful Thing\u003c/a> from the year.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>en years ago I was a junior in college, back when YikYak was still relevant and Schoolboy Q’s \u003cem>Oxymoron\u003c/em> album was brand new. Twice a week, I made my ritual trek along Chicago’s Fullerton Avenue to campus for my intro to American foreign policy class. It was only a handful of blocks from my apartment, but the cold wave that hit the city that winter made those blocks feel like miles, especially when it snowed. But the walk was worth it, because every week I got to periodically glance at the incredibly cool, cute, turquoise-haired stranger that sat one seat away from me: L. \u003c/p>\n\u003cp>L was every professor’s dream student to have in class. They were always ready to go when class started, spoke at least once during the discussions and took immaculate notes, and I, on the other hand, dreaded speaking up and was perpetually late thanks to an embarrassing combination of then-undiagnosed ADHD and ongoing sorority obligations. Every week I came to class intending to sit next to L so I could try and befriend them, and every week the seat was claimed before I arrived, already taken by some red-headed kid. To my annoyance, he had an absolutely glowing attendance record until finally, one class before the final exam, he was gone and the seat next to L was mine. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It was one of those minuscule moments that wound up deeply altering my future. L and I just clicked. Our relationship has changed over the course of time (friends first, followed by a brief stint as partners, then back to friends), but so long as L is in my life, I don’t care what form it takes. L has been such a monumental source of joy that when they suggested flying out to the Bay Area in March so we could reunite to celebrate our decade of love and friendship, I immediately cleared my grad school calendar. \u003c/p>\n\u003cp>Our friendship has endured many twists and turns, including the pandemic, cross-country moves (L to Texas, me to California), and two master’s programs (one apiece). Between in-person hang outs over the years, we’ve visited each other’s islands on Animal Crossing, FaceTimed, and exchanged birthday cards, Christmas cards, Halloween cards, and plenty of ‘just because’ cards. Once, after helping me pack up my old Chicago apartment in the early days of COVID lockdown, my dad even let me take a detour on our way back to Minnesota, just so we could wave at each other from six feet apart. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We’ve never run out of things to talk about or learn from each other. I’ve always admired, for example, the way L carries themself. In 2014, L was totally unapologetic about the pieces of pop culture they loved, like One Direction and Captain America, and about their personal style, which included piercings and tattoos my parents would have burnt me at the stake for even thinking of getting. Today, L still encourages me to reject cringe culture, to enjoy the things I enjoy without caring what others think. So when they came out to visit, we indulged in all of our shared interests, cringe or not, including history, horror and K-pop. \u003c/p>\n\u003cfigure id=\"attachment_13969226\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/photocards_2000.jpg\" alt=\"two pictures of hands holding small photo frames in front of Victorian mansion\" width=\"2000\" height=\"1360\" class=\"size-full wp-image-13969226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/photocards_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/photocards_2000-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/photocards_2000-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/photocards_2000-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/photocards_2000-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/photocards_2000-1536x1044.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/photocards_2000-1920x1306.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">With our K-pop photocards at the Winchester Mystery House in San José. \u003ccite>(Shannon Faulise/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We brought our favorite K-pop photocard holders along for a tour of the Winchester Mystery House in San José, drove to San Francisco and then Concord to scope out the selections at local K-pop stores, and ate takeout on my Berkeley apartment’s rooftop while the sun set. \u003c/p>\n\u003cp>We reminisced about the people we used to be and the things we used to do together, like attending protests and celebrating pride at Chicago’s Dyke March. We giggled about the time we ran into \u003cem>Drag Race\u003c/em> legend Naomi Smalls (L was so overwhelmed they forgot how to smile when we took a selfie with her), and the time L graciously agreed to be my date to the Chi Omega spring formal (the first, but not the last Greek life event I dragged them to). We reflected on the American foreign policy class that brought us together in the first place, and even clinked our glasses of soju to toast the red-headed kid for missing that last week of class. \u003c/p>\n\u003cp>L’s impact on me is emotional and very tactile. I keep two framed photos of their childhood self dressed as a witch for Halloween in my living room, and one of their old hoodies hangs in my closet. We have matching K-pop-related keychains and still sometimes refer to ourselves as “LANNON” (a combination of our names). We even have disgustingly cute matching friendship tattoos that we got last year: L has a pink-frosted doughnut to represent me, and I have an orange-frosted doughnut on my right arm to represent them. In the Instagram post L made after visiting me, someone in the comments even wished us a “happy LANNON decade!” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There just aren’t enough words to describe how stupidly lucky I am to have someone in my life who makes that life so much brighter and fun. We may no longer be the same Captain America-loving (L) and \u003cem>Pretty Little Liars\u003c/em>-obsessed (me) college kids we once were, but we’ve been, and will continue to be, together for all of our rebirths and revivals, through new hair colors, music obsessions and other lifestyle changes. The future is something that still haunts me when I think deeply about it, but at least I won’t have to face it alone. As 2024 comes to a close, I feel less scared and more excited to step into a new decade with L by my side, to see where and how we’ll continue to grow together. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In Netflix’s new spy series \u003cem>Black Doves\u003c/em>, Keira Knightley’s character Helen Webb seems to be the perfect wife and partner for an up-and-coming official in the British government.\u003c/p>\n\u003cp>Beautiful and intelligent, she’s a warm mother to two cute kids, capable of hosting a holiday party for her husband’s staff in one moment and coercing the children to stop playing underneath a table in the next.\u003c/p>\n\u003cp>[aside postid='arts_13968374']But Mrs. Webb is also a spy for a mysterious intelligence organization, feeding them information about her husband’s work all while managing the family’s affairs — and having an affair with another man. And when that affair is discovered by a “handler” from the organization — played with a matronly ruthlessness by Sarah Lancashire — she mostly has one question for Mrs. Webb:\u003c/p>\n\u003cp>Why was she sleeping with this man?\u003c/p>\n\u003cp>Mrs. Webb’s answer was a surprise, coming from an experienced spy. “I wasn’t working an angle,” she says through tears. “It was real. It wasn’t a job. It was… love.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s right. After 10 years of marriage and two kids, Mrs. Webb fell in love with someone else while trying to decide if she still cares for her husband.\u003c/p>\n\u003cp>It’s a deliciously dramatic situation far different than the stories of detached, mostly loner spies like James Bond and \u003cem>Mission Impossible\u003c/em>‘s Ethan Hunt.\u003c/p>\n\u003ch3>Spies with families fill fall TV\u003c/h3>\n\u003cp>Sure, there have been spy characters with families in films and TV before, from Harrison Ford’s turn as Jack Ryan in 1992’s \u003cem>Patriot Games\u003c/em> to FX’s \u003cem>The Americans\u003c/em>, which concluded in 2018.\u003c/p>\n\u003cp>But this fall has seen a veritable flood of stories about spies with spouses and children, trying to hold onto their families while balancing the demands of brutal, often dehumanizing jobs.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/7752x4360+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F66%2Fdd%2F58644e1a498196161eec3d0cb8e0%2Fagency-101-lv-240708-00688-rt2.JPG\" alt=\"In The Agency, Michael Fassbender plays Martian, a spy who returns home after a lengthy assignment.\">\u003cfigcaption>In \u003cem>The Agency\u003c/em>, Michael Fassbender plays Martian, a spy who returns home after a lengthy assignment. \u003ccite> (Luke Varley | Paramount+ and Showtime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s Michael Fassbender’s CIA case officer Martian — I know, that name seems a little odd — in Showtime’s new series \u003cem>The Agency\u003c/em>. He’s trying to reconnect with a teen daughter named Poppy (India Fowler) who wants to know why he was gone so much during his last assignment.\u003c/p>\n\u003cp>She asks if he got information from people by making friends with them.\u003c/p>\n\u003cp>[aside postid='arts_13968835']“Friends are people you like,” Martian replies, wryly. “[These are more like] acquaintances.”\u003c/p>\n\u003cp>Poppy’s reply: “So you left us for six years to make… acquaintances?”\u003c/p>\n\u003cp>Ouch. Even bad guys have these issues. Like Eddie Redmayne’s character, an expert assassin in Peacock’s new series \u003cem>The Day of The Jackal\u003c/em>. He’s married to a woman named Nuria (Úrsula Corberó) who suspects he’s having an affair because he’s so secretive. She has no idea her charming husband, who she knows as Charles, is actually a world-famous hitman.\u003c/p>\n\u003cp>By the time she’s discovered the secret room he built in their home for his disguises, multiple passports and assorted weapons, you’re left wondering why she doesn’t just run for the hills.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1000x667+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F17%2Fd3%2Fee52718f4da79df4bbb6e81f2159%2Fnup-205202-00006.jpg\" alt=\"In The Day of the Jackal, Nuria (Úrsula Corberó) suspects her husband, who she knows as Charles (Eddie Redmayne), is having an affair. He's actually a world-famous hitman.\">\u003cfigcaption>In \u003cem>The Day of the Jackal\u003c/em>, Nuria (Úrsula Corberó) suspects her husband, who she knows as Charles (Eddie Redmayne), is having an affair. He’s actually a world-famous hitman. \u003ccite> (Marcell Piti | Carnival Film & Television Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Spies with families are popping up in lots of series: Paramount+’s \u003cem>Lioness\u003c/em>. Apple TV+’s \u003cem>Slow Horses\u003c/em>. And the trend makes sense; for TV series looking to stretch compelling ideas across eight or ten episodes, the plotlines generated by family conflict can add a wealth of new storylines.\u003c/p>\n\u003cp>Each of these shows deftly uses spouses, children and loved ones to present a kind of spy thriller that feels different, with characters drawn so viewers can perhaps see a bit of themselves inside.\u003c/p>\n\u003ch3>Everyday problems writ large\u003c/h3>\n\u003cp>Their struggles can sometimes feel like ordinary challenges blown up into world-shaking espionage tales: spouses and children who don’t understand their demanding jobs, devotion to a vocation that damages them and their relationships, a growing sense of shame as their work keeps them from being present for the family.\u003c/p>\n\u003cp>[aside postid='arts_13968228']These characters, even the villains, aren’t necessarily cold blooded killers. Nothing humanizes a character like seeing them care for someone they love. Indeed, that’s often the difference between anti-heroes and villains in such stories – the villains don’t really love anybody but themselves, while anti-heroes are driven by their connections to other people.\u003c/p>\n\u003cp>Even as you watch Redmayne’s The Jackal kill a gun maker to keep him from talking to the authorities, part of you is rooting for him to get back to Nuria and their son Carlito.\u003c/p>\n\u003cp>Particularly in the case of \u003cem>Black Doves\u003c/em>, the romantic and family relationships add a significant layer to almost every major character’s arc — including Ben Whishaw, who plays a hitman acting as muscle for Knightley’s character Mrs. Webb. He also struggles with feelings about the family he could have shared with his own ex-boyfriend, who had a child.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sure, there are times when these setups seem preposterous or overwrought. But spies with families are also passionate and oh-so-human. Which, in the end, makes for the very best kind of spy story.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Netflix’s new spy series \u003cem>Black Doves\u003c/em>, Keira Knightley’s character Helen Webb seems to be the perfect wife and partner for an up-and-coming official in the British government.\u003c/p>\n\u003cp>Beautiful and intelligent, she’s a warm mother to two cute kids, capable of hosting a holiday party for her husband’s staff in one moment and coercing the children to stop playing underneath a table in the next.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Mrs. Webb is also a spy for a mysterious intelligence organization, feeding them information about her husband’s work all while managing the family’s affairs — and having an affair with another man. And when that affair is discovered by a “handler” from the organization — played with a matronly ruthlessness by Sarah Lancashire — she mostly has one question for Mrs. Webb:\u003c/p>\n\u003cp>Why was she sleeping with this man?\u003c/p>\n\u003cp>Mrs. Webb’s answer was a surprise, coming from an experienced spy. “I wasn’t working an angle,” she says through tears. “It was real. It wasn’t a job. It was… love.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s right. After 10 years of marriage and two kids, Mrs. Webb fell in love with someone else while trying to decide if she still cares for her husband.\u003c/p>\n\u003cp>It’s a deliciously dramatic situation far different than the stories of detached, mostly loner spies like James Bond and \u003cem>Mission Impossible\u003c/em>‘s Ethan Hunt.\u003c/p>\n\u003ch3>Spies with families fill fall TV\u003c/h3>\n\u003cp>Sure, there have been spy characters with families in films and TV before, from Harrison Ford’s turn as Jack Ryan in 1992’s \u003cem>Patriot Games\u003c/em> to FX’s \u003cem>The Americans\u003c/em>, which concluded in 2018.\u003c/p>\n\u003cp>But this fall has seen a veritable flood of stories about spies with spouses and children, trying to hold onto their families while balancing the demands of brutal, often dehumanizing jobs.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/7752x4360+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F66%2Fdd%2F58644e1a498196161eec3d0cb8e0%2Fagency-101-lv-240708-00688-rt2.JPG\" alt=\"In The Agency, Michael Fassbender plays Martian, a spy who returns home after a lengthy assignment.\">\u003cfigcaption>In \u003cem>The Agency\u003c/em>, Michael Fassbender plays Martian, a spy who returns home after a lengthy assignment. \u003ccite> (Luke Varley | Paramount+ and Showtime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s Michael Fassbender’s CIA case officer Martian — I know, that name seems a little odd — in Showtime’s new series \u003cem>The Agency\u003c/em>. He’s trying to reconnect with a teen daughter named Poppy (India Fowler) who wants to know why he was gone so much during his last assignment.\u003c/p>\n\u003cp>She asks if he got information from people by making friends with them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Friends are people you like,” Martian replies, wryly. “[These are more like] acquaintances.”\u003c/p>\n\u003cp>Poppy’s reply: “So you left us for six years to make… acquaintances?”\u003c/p>\n\u003cp>Ouch. Even bad guys have these issues. Like Eddie Redmayne’s character, an expert assassin in Peacock’s new series \u003cem>The Day of The Jackal\u003c/em>. He’s married to a woman named Nuria (Úrsula Corberó) who suspects he’s having an affair because he’s so secretive. She has no idea her charming husband, who she knows as Charles, is actually a world-famous hitman.\u003c/p>\n\u003cp>By the time she’s discovered the secret room he built in their home for his disguises, multiple passports and assorted weapons, you’re left wondering why she doesn’t just run for the hills.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/1000x667+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F17%2Fd3%2Fee52718f4da79df4bbb6e81f2159%2Fnup-205202-00006.jpg\" alt=\"In The Day of the Jackal, Nuria (Úrsula Corberó) suspects her husband, who she knows as Charles (Eddie Redmayne), is having an affair. He's actually a world-famous hitman.\">\u003cfigcaption>In \u003cem>The Day of the Jackal\u003c/em>, Nuria (Úrsula Corberó) suspects her husband, who she knows as Charles (Eddie Redmayne), is having an affair. He’s actually a world-famous hitman. \u003ccite> (Marcell Piti | Carnival Film & Television Limited)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Spies with families are popping up in lots of series: Paramount+’s \u003cem>Lioness\u003c/em>. Apple TV+’s \u003cem>Slow Horses\u003c/em>. And the trend makes sense; for TV series looking to stretch compelling ideas across eight or ten episodes, the plotlines generated by family conflict can add a wealth of new storylines.\u003c/p>\n\u003cp>Each of these shows deftly uses spouses, children and loved ones to present a kind of spy thriller that feels different, with characters drawn so viewers can perhaps see a bit of themselves inside.\u003c/p>\n\u003ch3>Everyday problems writ large\u003c/h3>\n\u003cp>Their struggles can sometimes feel like ordinary challenges blown up into world-shaking espionage tales: spouses and children who don’t understand their demanding jobs, devotion to a vocation that damages them and their relationships, a growing sense of shame as their work keeps them from being present for the family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These characters, even the villains, aren’t necessarily cold blooded killers. Nothing humanizes a character like seeing them care for someone they love. Indeed, that’s often the difference between anti-heroes and villains in such stories – the villains don’t really love anybody but themselves, while anti-heroes are driven by their connections to other people.\u003c/p>\n\u003cp>Even as you watch Redmayne’s The Jackal kill a gun maker to keep him from talking to the authorities, part of you is rooting for him to get back to Nuria and their son Carlito.\u003c/p>\n\u003cp>Particularly in the case of \u003cem>Black Doves\u003c/em>, the romantic and family relationships add a significant layer to almost every major character’s arc — including Ben Whishaw, who plays a hitman acting as muscle for Knightley’s character Mrs. Webb. He also struggles with feelings about the family he could have shared with his own ex-boyfriend, who had a child.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sure, there are times when these setups seem preposterous or overwrought. But spies with families are also passionate and oh-so-human. Which, in the end, makes for the very best kind of spy story.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Of all the post-apocalyptic landscapes we’ve been treated to over the years, none is as beautiful nor peaceful as that of \u003cem>Flow\u003c/em>.\u003c/p>\n\u003cp>In Gints Zilbalodis’ wondrously shimmering animated fable, a solitary black cat, after escaping a cataclysmic flood, navigates a water world. What brought things to this point is never explained. We’re left to look upon this strange, verdant and overgrown landscape through the amber eyes of our unnamed feline protagonist. Humans are completely absent, and it’s part of this beguilingly meditative film to wonder not just about what role we played in the flood, but to ponder the grace of the animal life left to inherit the Earth.\u003c/p>\n\u003cp>[aside postid='arts_13969167']As much as I didn’t have a wordless Latvian animated movie on my 2024 bingo card, \u003cem>Flow\u003c/em> — an expected Oscar contender currently in theaters — is quite easily the best animated movie of the year and one of the most poetic ecological parables in recent memory. It’s an all-audiences movie, and by that, I’m tempted to include not just young and old, but cats and dogs, too.\u003c/p>\n\u003cp>When the waters rise, the cat encounters a friendly Labrador, a long-legged secretary bird, a dozing capybara and a bauble-hoarding ring-tailed lemur. Cute as they are, they aren’t quite your typical animated animals. Part of the allure of \u003cem>Flow\u003c/em> is seeing animal characters that would normally be anthropomorphized and voiced by celebrity actors — the lemur, in particularly, has until now been ruled by Sacha Baron Cohen’s King Julian of \u003cem>Madagascar\u003c/em> — move and sound authentically.\u003c/p>\n\u003cp>Well, mostly. Circumstances bring these five together aboard a small sailboat, an ark sans Noah. And while \u003cem>Flow\u003c/em> doesn’t exactly go for realism — the secretary bird, for instance, proves an especially adept captain in steering the rudder — it is most decidedly drawn in closer harmony to the natural world than your average animation. Together they sail through mountain tops-turned-islands and an abandoned city with rivers for streets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=82WW9dVbglI\u003c/p>\n\u003cp>That \u003cem>Flow\u003c/em> is made with computer generated animation adds to its dreamy, curiously real surrealism. Zilbalodis created \u003cem>Flow\u003c/em> with Blender, the free, open-source graphics software tool. His camera moves less with the prescribed, storyboarded form of traditional animation than as a nimble, roving perspective within a virtual world. That such a natural and sensory movie is made possible by cutting-edge technology is one reason why the dystopic world of \u003cem>Flow\u003c/em> always feels more hopeful than it ought to.\u003c/p>\n\u003cp>[aside postid='arts_13969006']Another reason is the animals. Though they come from different species and have little means of communication, they together form an odd partnership. The cat is initially wary of each, but they slowly form an evident bond. Their survival hinges on their cooperation, which is occasionally threatened by the self-interest of others (there’s a pack of less community-minded dogs) or the cat’s own timid reluctance. Staying to face a problem or trust another animal, rather than scampering away, goes against its nature.\u003c/p>\n\u003cp>In that way, these two- and four-legged creatures, digitally rendered in a human-less future, are both worthy heirs to the planet and furry figures of inspiration for today. Reflections run through \u003cem>Flow\u003c/em> — in a mirror clutched by the lemur, in the water the cat peers into — but none more so than the image of ourselves gazing back at it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Flow’ is in theaters now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As much as I didn’t have a wordless Latvian animated movie on my 2024 bingo card, \u003cem>Flow\u003c/em> — an expected Oscar contender currently in theaters — is quite easily the best animated movie of the year and one of the most poetic ecological parables in recent memory. It’s an all-audiences movie, and by that, I’m tempted to include not just young and old, but cats and dogs, too.\u003c/p>\n\u003cp>When the waters rise, the cat encounters a friendly Labrador, a long-legged secretary bird, a dozing capybara and a bauble-hoarding ring-tailed lemur. Cute as they are, they aren’t quite your typical animated animals. Part of the allure of \u003cem>Flow\u003c/em> is seeing animal characters that would normally be anthropomorphized and voiced by celebrity actors — the lemur, in particularly, has until now been ruled by Sacha Baron Cohen’s King Julian of \u003cem>Madagascar\u003c/em> — move and sound authentically.\u003c/p>\n\u003cp>Well, mostly. Circumstances bring these five together aboard a small sailboat, an ark sans Noah. And while \u003cem>Flow\u003c/em> doesn’t exactly go for realism — the secretary bird, for instance, proves an especially adept captain in steering the rudder — it is most decidedly drawn in closer harmony to the natural world than your average animation. Together they sail through mountain tops-turned-islands and an abandoned city with rivers for streets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/82WW9dVbglI'\n title='//www.youtube.com/embed/82WW9dVbglI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That \u003cem>Flow\u003c/em> is made with computer generated animation adds to its dreamy, curiously real surrealism. Zilbalodis created \u003cem>Flow\u003c/em> with Blender, the free, open-source graphics software tool. His camera moves less with the prescribed, storyboarded form of traditional animation than as a nimble, roving perspective within a virtual world. That such a natural and sensory movie is made possible by cutting-edge technology is one reason why the dystopic world of \u003cem>Flow\u003c/em> always feels more hopeful than it ought to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Another reason is the animals. Though they come from different species and have little means of communication, they together form an odd partnership. The cat is initially wary of each, but they slowly form an evident bond. Their survival hinges on their cooperation, which is occasionally threatened by the self-interest of others (there’s a pack of less community-minded dogs) or the cat’s own timid reluctance. Staying to face a problem or trust another animal, rather than scampering away, goes against its nature.\u003c/p>\n\u003cp>In that way, these two- and four-legged creatures, digitally rendered in a human-less future, are both worthy heirs to the planet and furry figures of inspiration for today. Reflections run through \u003cem>Flow\u003c/em> — in a mirror clutched by the lemur, in the water the cat peers into — but none more so than the image of ourselves gazing back at it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Flow’ is in theaters now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hello friends! The end of 2024 is upon us! Was it good for you? Did you \u003ca href=\"https://www.kqed.org/arts/13967133/charli-xcx-fans-election-2024-harris-trump\">Brat Summer\u003c/a>? Did you \u003ca href=\"https://www.kqed.org/arts/13965878/moo-deng-viral-pygmy-hippo-thailand-bouncy-pork\">Moo Deng\u003c/a> fall? Did you, um… get a teeny bit worried that the robots are coming to destroy us?\u003c/p>\n\u003cp>In many ways, this year’s tech advancements made real life feel alarmingly close to both \u003ca href=\"https://www.kqed.org/pop/tag/jurassic-park\">\u003cem>Jurassic Park\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"https://www.kqed.org/pop/112098/the-timeless-feminism-of-sarah-connor-in-terminator-2\">Terminator 2\u003c/a>. \u003c/em>The former because humans are so preoccupied with whether or not they can, they haven’t bothered to stop and think about whether they should. The latter because, yes, evil humanoid machines are definitely on their way.\u003c/p>\n\u003cp>If, like me, you have the sinking feeling that one day in the not too distant future, AI technology is going to steal all of our jobs and could also probably murder us, we should take a second now to appreciate the moment we’re in. Because this moment — which inevitably won’t last very long — is one in which the robots are still basic enough to make fun of. Let’s do that while we still can.\u003c/p>\n\u003ch2>Confused Ghost Cars\u003c/h2>\n\u003cfigure id=\"attachment_13968274\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968274\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/waymo.png\" alt=\"A Waymo autonomous car photographed between two walls using a fisheye lens.\" width=\"2000\" height=\"1124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/waymo.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/waymo-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/waymo-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/waymo-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/waymo-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/waymo-1536x863.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/waymo-1920x1079.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Waymo vehicle, which may or may not be confused by the walls on either side of it right now. \u003ccite>(Christopher J. Beale)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In mid-August, I saw a tourist in Chinatown catch sight of a driverless Waymo for the first time and clutch her children closer to her, as if Satan himself were behind the wheel. It was a solid reminder that these things remain unnerving to broad swaths of humans across America, even as a plethora of (overly confident) Bay Area residents use them to get from A to B.\u003c/p>\n\u003cp>Of all of the driverless car companies, none had a year quite as eventful as Waymo. Lest we forget that Waymo began 2024 by having one of its cars \u003ca href=\"https://www.youtube.com/watch?v=EYTZRb-SWhY\">used as a fireworks launcher\u003c/a> at the Chinese New Year celebrations in San Francisco, and ended the year \u003ca href=\"https://www.youtube.com/watch?v=WSjKBPNZTDQ\">stuck in a Veteran’s Day Parade\u003c/a> getting manhandled by a frustrated cop. In between, Bay Area drivers dealt with Waymos on the freeway, Waymos stalling entirely at random, and Waymos having full blown meltdowns… in GROUPS.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@unilad/video/7431874637757271329\" data-video-id=\"7431874637757271329\">\n\u003csection>\u003ca title=\"@unilad\" href=\"https://www.tiktok.com/@unilad?refer=embed\" target=\"_blank\" rel=\"noopener\">@unilad\u003c/a> This is the future…🤣🤦♂️ 🎥 Viralhog \u003ca title=\"unilad\" href=\"https://www.tiktok.com/tag/unilad?refer=embed\" target=\"_blank\" rel=\"noopener\">#UNILAD\u003c/a> \u003ca title=\"fastandfurious\" href=\"https://www.tiktok.com/tag/fastandfurious?refer=embed\" target=\"_blank\" rel=\"noopener\">#fastandfurious\u003c/a> \u003ca title=\"fail\" href=\"https://www.tiktok.com/tag/fail?refer=embed\" target=\"_blank\" rel=\"noopener\">#fail\u003c/a> \u003ca title=\"electriccar\" href=\"https://www.tiktok.com/tag/electriccar?refer=embed\" target=\"_blank\" rel=\"noopener\">#electriccar\u003c/a> \u003ca title=\"electric\" href=\"https://www.tiktok.com/tag/electric?refer=embed\" target=\"_blank\" rel=\"noopener\">#electric\u003c/a> \u003ca title=\"tesla\" href=\"https://www.tiktok.com/tag/tesla?refer=embed\" target=\"_blank\" rel=\"noopener\">#tesla\u003c/a> \u003ca title=\"waymo\" href=\"https://www.tiktok.com/tag/waymo?refer=embed\" target=\"_blank\" rel=\"noopener\">#waymo\u003c/a> \u003ca title=\"amazon\" href=\"https://www.tiktok.com/tag/amazon?refer=embed\" target=\"_blank\" rel=\"noopener\">#amazon\u003c/a> \u003ca title=\"driverlesscar\" href=\"https://www.tiktok.com/tag/driverlesscar?refer=embed\" target=\"_blank\" rel=\"noopener\">#driverlesscar\u003c/a> \u003ca title=\"tech\" href=\"https://www.tiktok.com/tag/tech?refer=embed\" target=\"_blank\" rel=\"noopener\">#tech\u003c/a> \u003ca title=\"techtok\" href=\"https://www.tiktok.com/tag/techtok?refer=embed\" target=\"_blank\" rel=\"noopener\">#techtok\u003c/a> \u003ca title=\"technology\" href=\"https://www.tiktok.com/tag/technology?refer=embed\" target=\"_blank\" rel=\"noopener\">#technology\u003c/a> \u003ca title=\"♬ original sound - UNILAD\" href=\"https://www.tiktok.com/music/original-sound-UNILAD-7431874717734177569?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – UNILAD\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>These cars might look eerie, but they often behave like a raccoon drunk on fermented fruit: they think they’re doing all of the things, but simply cannot figure out \u003cem>how\u003c/em> to do all of the things. It’s impossible to know at this pivotal junction whether or not driverless cars might one day go all \u003ca href=\"https://www.imdb.com/title/tt0091499/\">\u003cem>Maximum Overdrive\u003c/em>\u003c/a> on us. But right now? If they do us any physical harm whatsoever, it won’t be on purpose. It will be because one of them is having a panic attack.\u003c/p>\n\u003ch2>Imploding Chat GPT\u003c/h2>\n\u003cp>In February, Chat GPT had a full-blown meltdown and started bombarding its users with phrases so flowery, convoluted and meaningless, they were practically Mars Volta lyrics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chat GPT user Damon Crockett reported on X that, after asking a question about JavaScript, he received, in part, the following: “The disk and the cue are for the onlooker and the sort of the amass to be in a free, a flood, and a fort to the reign and the response, the resolute and the realm you draw and dye.” (Tell me that doesn’t sound like an out-take from \u003ca href=\"https://www.youtube.com/watch?v=8l7Ix-LfSBA\">\u003cem>De-Loused in the Comatorium\u003c/em>\u003c/a>!)\u003c/p>\n\u003cp>https://twitter.com/DamonCrockett/status/1760113482869952850\u003c/p>\n\u003cp>Another user reported receiving the answer “Overgrown is overgrown is overgrown is overgrown is overgrown” after asking for a “synonym of overgrown.” (Maybe just try a thesaurus next time?)\u003c/p>\n\u003cp>https://twitter.com/josephfcox/status/1760296412099563862\u003c/p>\n\u003cp>Later in the year, it also became apparent that Chat GPT didn’t even recognize Eminem lyrics. What a freakin’ nerd.\u003c/p>\n\u003cp>https://twitter.com/proofofbeef/status/1862282499113803779\u003c/p>\n\u003ch2>Lying Optimus Robots\u003c/h2>\n\u003cp>It was hard not to have a full-blown panic attack when Elon Musk unveiled his army of faceless droids back in October at Tesla’s \u003cem>We, Robot\u003c/em> gathering. As the machines stomped through the event space, and videos played of the Optimus robots helping humans around the house, Musk made a series of claims about his robots’ capabilities.\u003c/p>\n\u003cp>“What can it do? It can do anything you want,” Musk stated. “It can be a teacher, or babysit your kids. It can walk your dog, mow your lawn, get the groceries, just be your friend, serve drinks. Whatever you can think of, it will do.”\u003c/p>\n\u003cp>https://twitter.com/PopBase/status/1844594933518434642\u003c/p>\n\u003cp>The Optimus robots then proceeded to engage attendees in conversation, serve drinks and dance. This of course scared the bejesus out of those of us who don’t want our computers to come complete with hands that could choke us to death if the right virus is engaged.\u003c/p>\n\u003cp>\u003ca href=\"https://techcrunch.com/2024/10/14/tesla-optimus-bots-were-controlled-by-humans-during-the-we-robot-event/\">The truth came out after the event\u003c/a>, via Bloomberg and other outlets: Musk’s robot army had, in fact, been operated by an unseen group of technicians. Despite Musk’s claims, the Optimus robots are not yet capable of teaching your kids, walking your dog, mowing your lawn or getting the groceries. Nope. You’d still have to employ a human to make the robot perform those tasks.\u003c/p>\n\u003ch2>Ignorant AI Image Generators\u003c/h2>\n\u003cp>As we worry about just how many jobs \u003ca href=\"https://www.kqed.org/arts/13928253/ai-art-artificial-intelligence-student-artists-midjourney\">AI generators are going to steal from creative humans\u003c/a>, it’s also worth remembering this. Right now, those photo generators still don’t know what a glass of wine filled to the brim looks like, or that unlit birthday candles exist.\u003c/p>\n\u003cp>https://twitter.com/fakehistoryhunt/status/1858369475449373164\u003c/p>\n\u003cp>Please hang onto these tiny, stupid rays of sunshine. If nothing else, it’ll be something to tell the grandkids about when we’re all broke and living in underground bunkers hiding from robot dog soldiers.\u003c/p>\n\u003ch2>Robot Dogs Walking Funny\u003c/h2>\n\u003cp>Speaking of which… Remember \u003ca href=\"https://www.youtube.com/watch?v=xejjA2AFO5I\">that terrifying episode\u003c/a> in \u003cem>Black Mirror\u003c/em>’s fourth season when a woman is relentlessly pursued by murderous robot guard dogs? Of course you do! You’ve probably already had nightmares about it! Well, multiple companies are alarmingly close to unleashing these soulless metal creatures on the world right now. Several militaries around the world are already making use of them.\u003c/p>\n\u003cp>Just look at this horror show:\u003c/p>\n\u003cp>https://twitter.com/thinking_panda/status/1864661575711510614\u003c/p>\n\u003cp>Now, before we all start having to routinely carry around flame throwers and grenades, let’s try and squeeze in some chuckles at their expense.\u003c/p>\n\u003cp>Look how this yellow one falls down and can’t get back up again! HA! (Also, maybe hit pause before the silver one shows up because that one looks like it could probably climb through your bedroom window tonight.)\u003c/p>\n\u003cp>https://twitter.com/XH_Lee23/status/1807983485350559816\u003c/p>\n\u003cp>Oh and, okay, please also enjoy this footage of a humanoid robot walking a robot dog. Together, they look like your Aunt Susan and Cousin Doris trying to get home from the bar on Christmas Eve.\u003c/p>\n\u003cp>THEY WALK FUNNY. HA. HA. HA.\u003c/p>\n\u003cp>https://twitter.com/Rainmaker1973/status/1862077105611178389\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>We’re all definitely going to die.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hello friends! The end of 2024 is upon us! Was it good for you? Did you \u003ca href=\"https://www.kqed.org/arts/13967133/charli-xcx-fans-election-2024-harris-trump\">Brat Summer\u003c/a>? Did you \u003ca href=\"https://www.kqed.org/arts/13965878/moo-deng-viral-pygmy-hippo-thailand-bouncy-pork\">Moo Deng\u003c/a> fall? Did you, um… get a teeny bit worried that the robots are coming to destroy us?\u003c/p>\n\u003cp>In many ways, this year’s tech advancements made real life feel alarmingly close to both \u003ca href=\"https://www.kqed.org/pop/tag/jurassic-park\">\u003cem>Jurassic Park\u003c/em>\u003c/a> and \u003cem>\u003ca href=\"https://www.kqed.org/pop/112098/the-timeless-feminism-of-sarah-connor-in-terminator-2\">Terminator 2\u003c/a>. \u003c/em>The former because humans are so preoccupied with whether or not they can, they haven’t bothered to stop and think about whether they should. The latter because, yes, evil humanoid machines are definitely on their way.\u003c/p>\n\u003cp>If, like me, you have the sinking feeling that one day in the not too distant future, AI technology is going to steal all of our jobs and could also probably murder us, we should take a second now to appreciate the moment we’re in. Because this moment — which inevitably won’t last very long — is one in which the robots are still basic enough to make fun of. Let’s do that while we still can.\u003c/p>\n\u003ch2>Confused Ghost Cars\u003c/h2>\n\u003cfigure id=\"attachment_13968274\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968274\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/waymo.png\" alt=\"A Waymo autonomous car photographed between two walls using a fisheye lens.\" width=\"2000\" height=\"1124\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/waymo.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/waymo-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/waymo-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/waymo-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/waymo-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/waymo-1536x863.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/waymo-1920x1079.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Waymo vehicle, which may or may not be confused by the walls on either side of it right now. \u003ccite>(Christopher J. Beale)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In mid-August, I saw a tourist in Chinatown catch sight of a driverless Waymo for the first time and clutch her children closer to her, as if Satan himself were behind the wheel. It was a solid reminder that these things remain unnerving to broad swaths of humans across America, even as a plethora of (overly confident) Bay Area residents use them to get from A to B.\u003c/p>\n\u003cp>Of all of the driverless car companies, none had a year quite as eventful as Waymo. Lest we forget that Waymo began 2024 by having one of its cars \u003ca href=\"https://www.youtube.com/watch?v=EYTZRb-SWhY\">used as a fireworks launcher\u003c/a> at the Chinese New Year celebrations in San Francisco, and ended the year \u003ca href=\"https://www.youtube.com/watch?v=WSjKBPNZTDQ\">stuck in a Veteran’s Day Parade\u003c/a> getting manhandled by a frustrated cop. In between, Bay Area drivers dealt with Waymos on the freeway, Waymos stalling entirely at random, and Waymos having full blown meltdowns… in GROUPS.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@unilad/video/7431874637757271329\" data-video-id=\"7431874637757271329\">\n\u003csection>\u003ca title=\"@unilad\" href=\"https://www.tiktok.com/@unilad?refer=embed\" target=\"_blank\" rel=\"noopener\">@unilad\u003c/a> This is the future…🤣🤦♂️ 🎥 Viralhog \u003ca title=\"unilad\" href=\"https://www.tiktok.com/tag/unilad?refer=embed\" target=\"_blank\" rel=\"noopener\">#UNILAD\u003c/a> \u003ca title=\"fastandfurious\" href=\"https://www.tiktok.com/tag/fastandfurious?refer=embed\" target=\"_blank\" rel=\"noopener\">#fastandfurious\u003c/a> \u003ca title=\"fail\" href=\"https://www.tiktok.com/tag/fail?refer=embed\" target=\"_blank\" rel=\"noopener\">#fail\u003c/a> \u003ca title=\"electriccar\" href=\"https://www.tiktok.com/tag/electriccar?refer=embed\" target=\"_blank\" rel=\"noopener\">#electriccar\u003c/a> \u003ca title=\"electric\" href=\"https://www.tiktok.com/tag/electric?refer=embed\" target=\"_blank\" rel=\"noopener\">#electric\u003c/a> \u003ca title=\"tesla\" href=\"https://www.tiktok.com/tag/tesla?refer=embed\" target=\"_blank\" rel=\"noopener\">#tesla\u003c/a> \u003ca title=\"waymo\" href=\"https://www.tiktok.com/tag/waymo?refer=embed\" target=\"_blank\" rel=\"noopener\">#waymo\u003c/a> \u003ca title=\"amazon\" href=\"https://www.tiktok.com/tag/amazon?refer=embed\" target=\"_blank\" rel=\"noopener\">#amazon\u003c/a> \u003ca title=\"driverlesscar\" href=\"https://www.tiktok.com/tag/driverlesscar?refer=embed\" target=\"_blank\" rel=\"noopener\">#driverlesscar\u003c/a> \u003ca title=\"tech\" href=\"https://www.tiktok.com/tag/tech?refer=embed\" target=\"_blank\" rel=\"noopener\">#tech\u003c/a> \u003ca title=\"techtok\" href=\"https://www.tiktok.com/tag/techtok?refer=embed\" target=\"_blank\" rel=\"noopener\">#techtok\u003c/a> \u003ca title=\"technology\" href=\"https://www.tiktok.com/tag/technology?refer=embed\" target=\"_blank\" rel=\"noopener\">#technology\u003c/a> \u003ca title=\"♬ original sound - UNILAD\" href=\"https://www.tiktok.com/music/original-sound-UNILAD-7431874717734177569?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – UNILAD\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These cars might look eerie, but they often behave like a raccoon drunk on fermented fruit: they think they’re doing all of the things, but simply cannot figure out \u003cem>how\u003c/em> to do all of the things. It’s impossible to know at this pivotal junction whether or not driverless cars might one day go all \u003ca href=\"https://www.imdb.com/title/tt0091499/\">\u003cem>Maximum Overdrive\u003c/em>\u003c/a> on us. But right now? If they do us any physical harm whatsoever, it won’t be on purpose. It will be because one of them is having a panic attack.\u003c/p>\n\u003ch2>Imploding Chat GPT\u003c/h2>\n\u003cp>In February, Chat GPT had a full-blown meltdown and started bombarding its users with phrases so flowery, convoluted and meaningless, they were practically Mars Volta lyrics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chat GPT user Damon Crockett reported on X that, after asking a question about JavaScript, he received, in part, the following: “The disk and the cue are for the onlooker and the sort of the amass to be in a free, a flood, and a fort to the reign and the response, the resolute and the realm you draw and dye.” (Tell me that doesn’t sound like an out-take from \u003ca href=\"https://www.youtube.com/watch?v=8l7Ix-LfSBA\">\u003cem>De-Loused in the Comatorium\u003c/em>\u003c/a>!)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Another user reported receiving the answer “Overgrown is overgrown is overgrown is overgrown is overgrown” after asking for a “synonym of overgrown.” (Maybe just try a thesaurus next time?)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Later in the year, it also became apparent that Chat GPT didn’t even recognize Eminem lyrics. What a freakin’ nerd.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch2>Lying Optimus Robots\u003c/h2>\n\u003cp>It was hard not to have a full-blown panic attack when Elon Musk unveiled his army of faceless droids back in October at Tesla’s \u003cem>We, Robot\u003c/em> gathering. As the machines stomped through the event space, and videos played of the Optimus robots helping humans around the house, Musk made a series of claims about his robots’ capabilities.\u003c/p>\n\u003cp>“What can it do? It can do anything you want,” Musk stated. “It can be a teacher, or babysit your kids. It can walk your dog, mow your lawn, get the groceries, just be your friend, serve drinks. Whatever you can think of, it will do.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The Optimus robots then proceeded to engage attendees in conversation, serve drinks and dance. This of course scared the bejesus out of those of us who don’t want our computers to come complete with hands that could choke us to death if the right virus is engaged.\u003c/p>\n\u003cp>\u003ca href=\"https://techcrunch.com/2024/10/14/tesla-optimus-bots-were-controlled-by-humans-during-the-we-robot-event/\">The truth came out after the event\u003c/a>, via Bloomberg and other outlets: Musk’s robot army had, in fact, been operated by an unseen group of technicians. Despite Musk’s claims, the Optimus robots are not yet capable of teaching your kids, walking your dog, mowing your lawn or getting the groceries. Nope. You’d still have to employ a human to make the robot perform those tasks.\u003c/p>\n\u003ch2>Ignorant AI Image Generators\u003c/h2>\n\u003cp>As we worry about just how many jobs \u003ca href=\"https://www.kqed.org/arts/13928253/ai-art-artificial-intelligence-student-artists-midjourney\">AI generators are going to steal from creative humans\u003c/a>, it’s also worth remembering this. Right now, those photo generators still don’t know what a glass of wine filled to the brim looks like, or that unlit birthday candles exist.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Please hang onto these tiny, stupid rays of sunshine. If nothing else, it’ll be something to tell the grandkids about when we’re all broke and living in underground bunkers hiding from robot dog soldiers.\u003c/p>\n\u003ch2>Robot Dogs Walking Funny\u003c/h2>\n\u003cp>Speaking of which… Remember \u003ca href=\"https://www.youtube.com/watch?v=xejjA2AFO5I\">that terrifying episode\u003c/a> in \u003cem>Black Mirror\u003c/em>’s fourth season when a woman is relentlessly pursued by murderous robot guard dogs? Of course you do! You’ve probably already had nightmares about it! Well, multiple companies are alarmingly close to unleashing these soulless metal creatures on the world right now. Several militaries around the world are already making use of them.\u003c/p>\n\u003cp>Just look at this horror show:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Now, before we all start having to routinely carry around flame throwers and grenades, let’s try and squeeze in some chuckles at their expense.\u003c/p>\n\u003cp>Look how this yellow one falls down and can’t get back up again! HA! (Also, maybe hit pause before the silver one shows up because that one looks like it could probably climb through your bedroom window tonight.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Oh and, okay, please also enjoy this footage of a humanoid robot walking a robot dog. Together, they look like your Aunt Susan and Cousin Doris trying to get home from the bar on Christmas Eve.\u003c/p>\n\u003cp>THEY WALK FUNNY. HA. HA. HA.\u003c/p>\u003c/p>\u003c/div>",
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"title": "Brave, Mesmerizing Amy Adams Triumphs Over Frustratingly Odd Script in ‘Nightbitch’",
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"content": "\u003cp>The question sounds so basic and friendly. But it’s actually loaded, as many mothers can attest. “Do you just love getting to be home with him all the time?” asks the younger, more put-together woman in the supermarket. “Must be so wonderful.”\u003c/p>\n\u003cp>Wonderful, of course — and sometimes brain-numbing and soul-draining too, some exhausted fulltime moms might reply. Especially if, like Amy Adams’ character in Marielle Heller’s \u003cem>Nightbitch\u003c/em>, they’d left their prized art gallery job to this other woman.\u003c/p>\n\u003cp>[aside postid='arts_13969055']And so Adams responds, twice, showing in this very opening scene exactly why her typically brave, brutally frank performance lifts this movie from an oddly uneven script to something unequivocally worth seeing.\u003c/p>\n\u003cp>First we get the honest answer, the one no one really gives until later in the shower: she feels “stuck inside of a prison of my own creation,” where she torments herself and ends up binge-eating Fig Newtons to keep from crying. She is angry all the time. Oh and, she has gotten dumber.\u003c/p>\n\u003cp>Then we rewind and director-writer Heller has Adams give her real answer: “I do, I love it! I love being a Mom.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There we are, two minutes and 13 seconds into \u003cem>Nightbitch\u003c/em> and you may already find yourself wowed by Adams. If not, just wait until her Mother is sitting at a chic restaurant with a bunch of colleagues from the art world, and her fangs come out.\u003c/p>\n\u003cp>And we don’t mean figuratively. We mean literally.\u003c/p>\n\u003cp>Let’s go back to the beginning, shall we?\u003c/p>\n\u003cp>\u003cem>Nightbitch\u003c/em> is based on the 2021 novel by Rachel Yoder, a feminist fable that the author has said came from her own malaise when pausing work for child-rearing.\u003c/p>\n\u003cp>She sets her tale in an unidentified suburb of an unidentified city. Mother (characters all have generic names), formerly an admired installation artist, spends her weekdays alone with her adorable, blond 2-year-old Son. Husband has a job that seems to bring him home only on weekends.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=918prRymA-U\u003c/p>\n\u003cp>The early scenes depicting Mother’s life are tight and impactful, a contrast to the confused havoc that will come toward the end of the film. Life revolves around the playground and the home, with occasional trips to storytime at the library where she notes, in narration, that she has no interest in the company of other moms — why should they be friends just because they’re moms?\u003c/p>\n\u003cp>In fact, Mother lives in solitude, and director Heller does a nice job illustrating how that feels. You can almost feel the weight of the afternoon coming around, at this comfortable but hardly ostentatious home, when it’s too early for dinner and you’ve done all the activities already and you wonder if you can make it through the day.\u003c/p>\n\u003cp>Then things start to get weird. In the bathroom mirror, Mother starts noticing things. Her teeth are getting sharper. There’s something weird coming out of an apparent cyst at the bottom of her spine. She finds extra nipples. And that’s before she starts eating rare meat. (Also, if you love cats, you may want to close your eyes at one point.)\u003c/p>\n\u003cp>[aside postid='arts_13969006']Somehow Adams, who also produces here, makes these things seem, if not quite natural, then logical. What’s happening is that Mother’s frustration is becoming ferocious. Dangerously ferocious. But also — empowering. At night, or so she thinks, she is a wild dog.\u003c/p>\n\u003cp>Aspects of the film work wonderfully. Mother’s relationship with Son (twins Arleigh and Emmett Snowden) is lovely, largely due to a decision to let the young boys talk freely, with the adult actors reacting to their words. It lends a grounding realism to a film that quickly veers surreal.\u003c/p>\n\u003cp>Less successful is the relationship between Mother and Husband (Scoot McNairy), which takes on too much importance as the film goes on, in a baffling way. (Also, just asking, has anyone in this movie ever heard of a babysitter?)\u003c/p>\n\u003cp>More importantly, a story that posits itself on such a tantalizing idea — that by transforming into a dog, Mother discovers her true nature and power — resorts late in the game to a safer story about a marriage that never seemed appealing enough for us to care about anyway. It doesn’t help that it’s hard to grasp the distracting subplot about Mother’s own mother.\u003c/p>\n\u003cp>None of this takes away from the strength of Adams’ performance. You believe her love for her child as much as you believe her resentment for what he is taking away from her. And Adams can make almost any line work, including one about a walnut. But we digress.\u003c/p>\n\u003cp>It’s an irony that for reasons of storytelling, characters have generic names — because Adams is such a singular and particular talent. The journey she embarks upon is bizarre indeed, but you won’t regret taking it with her.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Nightbitch’ is released nationwide on Dec. 6, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There we are, two minutes and 13 seconds into \u003cem>Nightbitch\u003c/em> and you may already find yourself wowed by Adams. If not, just wait until her Mother is sitting at a chic restaurant with a bunch of colleagues from the art world, and her fangs come out.\u003c/p>\n\u003cp>And we don’t mean figuratively. We mean literally.\u003c/p>\n\u003cp>Let’s go back to the beginning, shall we?\u003c/p>\n\u003cp>\u003cem>Nightbitch\u003c/em> is based on the 2021 novel by Rachel Yoder, a feminist fable that the author has said came from her own malaise when pausing work for child-rearing.\u003c/p>\n\u003cp>She sets her tale in an unidentified suburb of an unidentified city. Mother (characters all have generic names), formerly an admired installation artist, spends her weekdays alone with her adorable, blond 2-year-old Son. Husband has a job that seems to bring him home only on weekends.\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/918prRymA-U'\n title='//www.youtube.com/embed/918prRymA-U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The early scenes depicting Mother’s life are tight and impactful, a contrast to the confused havoc that will come toward the end of the film. Life revolves around the playground and the home, with occasional trips to storytime at the library where she notes, in narration, that she has no interest in the company of other moms — why should they be friends just because they’re moms?\u003c/p>\n\u003cp>In fact, Mother lives in solitude, and director Heller does a nice job illustrating how that feels. You can almost feel the weight of the afternoon coming around, at this comfortable but hardly ostentatious home, when it’s too early for dinner and you’ve done all the activities already and you wonder if you can make it through the day.\u003c/p>\n\u003cp>Then things start to get weird. In the bathroom mirror, Mother starts noticing things. Her teeth are getting sharper. There’s something weird coming out of an apparent cyst at the bottom of her spine. She finds extra nipples. And that’s before she starts eating rare meat. (Also, if you love cats, you may want to close your eyes at one point.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Somehow Adams, who also produces here, makes these things seem, if not quite natural, then logical. What’s happening is that Mother’s frustration is becoming ferocious. Dangerously ferocious. But also — empowering. At night, or so she thinks, she is a wild dog.\u003c/p>\n\u003cp>Aspects of the film work wonderfully. Mother’s relationship with Son (twins Arleigh and Emmett Snowden) is lovely, largely due to a decision to let the young boys talk freely, with the adult actors reacting to their words. It lends a grounding realism to a film that quickly veers surreal.\u003c/p>\n\u003cp>Less successful is the relationship between Mother and Husband (Scoot McNairy), which takes on too much importance as the film goes on, in a baffling way. (Also, just asking, has anyone in this movie ever heard of a babysitter?)\u003c/p>\n\u003cp>More importantly, a story that posits itself on such a tantalizing idea — that by transforming into a dog, Mother discovers her true nature and power — resorts late in the game to a safer story about a marriage that never seemed appealing enough for us to care about anyway. It doesn’t help that it’s hard to grasp the distracting subplot about Mother’s own mother.\u003c/p>\n\u003cp>None of this takes away from the strength of Adams’ performance. You believe her love for her child as much as you believe her resentment for what he is taking away from her. And Adams can make almost any line work, including one about a walnut. But we digress.\u003c/p>\n\u003cp>It’s an irony that for reasons of storytelling, characters have generic names — because Adams is such a singular and particular talent. The journey she embarks upon is bizarre indeed, but you won’t regret taking it with her.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Nightbitch’ is released nationwide on Dec. 6, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13969097\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969097\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ptn-coy-hero-primary-cropped-watermark-digital-1920x1920-2024-0911-scaled.jpeg\" alt=\"A stylized image featuring a clear cocktail glass of heavily whipped mousse.\" width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ptn-coy-hero-primary-cropped-watermark-digital-1920x1920-2024-0911-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ptn-coy-hero-primary-cropped-watermark-digital-1920x1920-2024-0911-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ptn-coy-hero-primary-cropped-watermark-digital-1920x1920-2024-0911-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ptn-coy-hero-primary-cropped-watermark-digital-1920x1920-2024-0911-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ptn-coy-hero-primary-cropped-watermark-digital-1920x1920-2024-0911-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ptn-coy-hero-primary-cropped-watermark-digital-1920x1920-2024-0911-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ptn-coy-hero-primary-cropped-watermark-digital-1920x1920-2024-0911-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ptn-coy-hero-primary-cropped-watermark-digital-1920x1920-2024-0911-1920x1920.jpeg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Each year, Pantone selects a color meant to reflect the trends, moods and happenings in the zeitgeist. \u003ccite>(Pantone Color Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each year, since the turn of the millennium, word arrives from on high: Pantone, the self-described world’s authority on color, announces its Color of the Year.\u003c/p>\n\u003cp>On Thursday, Pantone declared “Mocha Mousse” as the color for 2025.\u003c/p>\n\u003cp>The “evocative soft brown” or “warming rich brown hue,” the company said in a press release, “nurtures with its suggestion of the delectable quality of cacao, chocolate and coffee, appealing to our desire for comfort.”\u003c/p>\n\u003cp>In unveiling a hue meant to reflect the culture through the language of color, Pantone also forecasts what’s next in design trends.\u003c/p>\n\u003cp>The earthy color seizes on “a growing movement to align ourselves with the natural world,” the release read.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pantone’s Color of the Year is meant to capture the zeitgeist, said Laurie Pressman, vice president of the Pantone Color Institute. At the same time, it’s also intended to serve as a cultural antidote.\u003c/p>\n\u003cp>“It’s emblematic of a snapshot in time and it’s giving people what they feel they need — that that color can hope to answer,” Pressman said. “It’s us taking the temperature: What’s taking place in the world around us and how does that get expressed into the language of color?”\u003c/p>\n\u003cp>[aside postid='arts_13964383']“And as we were doing our research for this year, what we were really seeing more than anything is people looking for harmony and living a life of harmony,” she said, and a need to feel “grounded.”\u003c/p>\n\u003cp>In response to the annual color pick, designers in fashion and interiors, marketers and creators incorporate the pigment into their products to stay on trend. As part of the campaign, brands partner with Pantone, making the company money from owning a color.\u003c/p>\n\u003cp>That said, you can expect to see a lot more brown around.\u003c/p>\n\u003cp>But Pantone is not the only company to develop a standardized set of colors, nor the first to put names to colors. So, what makes Pantone such a color expert?\u003c/p>\n\u003cp>From the start, Pantone recognized the need to portray color accurately. More importantly, it knew how to sell it.\u003c/p>\n\u003ch3>How Pantone set the industry standard\u003c/h3>\n\u003cp>Before it became the color juggernaut it is today, Pantone was a commercial printing company under a different name. When Lawrence Herbert, a print technician with a background in chemistry, was hired by the corporation in the 1950s, he identified a recurring problem in his work.\u003c/p>\n\u003cp>When requesting printed copies, of brochures or posters, customers struggled to talk about color accurately. To get the color they were after, as Herbert’s son Richard, a former president of Pantone, told NPR’s \u003cem>Planet Money \u003c/em>earlier this year, they would have to send in an actual sample of the color.\u003c/p>\n\u003cp>“Our famous thing was — cut a piece off their tie and send it into the print and say, match this color,” Richard said. “They had their own ink formula books, and they could get close. But it was very random.”\u003c/p>\n\u003cp>[aside postid='arts_13961723']In 1963, Lawrence founded the solution. He developed the Pantone Matching System (PMS) as a way to standardize color reproduction so that print copies matched the original, no matter the printing device. He got buy-in from ink makers for his color standard, first in the U.S. and later in Europe and Asia.\u003c/p>\n\u003cp>Pantone expanded its range of pigments, and by 1968 it became the industry standard.\u003c/p>\n\u003cp>Pressman credits the shrewd marketer in Herbert for turning Pantone into a widely accepted color system.\u003c/p>\n\u003cp>“He understood, if this is an issue going on in print, this is an issue that goes through many other different industries,” Pressman said.\u003c/p>\n\u003cp>Clients across a range of industries would knock on Pantone’s door to get help with getting their color uniform, often before Pantone had developed a way to do so. There was a need in the market for custom color development and Pantone adapted, according to the company’s vice president.\u003c/p>\n\u003cp>As other industries, such as the fashion and home markets, turned to Pantone to get the right color match, the company branched out from paper into textiles and created new color formats that could translate to a variety of materials. Today, its library of colors numbers upwards of 10,000 different colors.\u003c/p>\n\u003cp>The Color of the Year campaign, aided by its public relations arm, became another opportunity for Pantone to sell its proprietary colors, through the formulation books and color palettes it sells, or brand deals and partnerships.\u003c/p>\n\u003cp>Some of its famous trademarked colors belong to big brands. Both Target’s bold red and Tiffany & Co.’s robin egg blue belong to the Pantone color family.\u003c/p>\n\u003ch3>Pantone’s precursors are rooted in the need to describe the natural world\u003c/h3>\n\u003cp>A color chosen to correspond to the natural world is fitting, considering the history of modern color systems.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/335x545+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fec%2Fd5%2Fd962a8724cfaae5a3503404ea9fb%2Fridgway.jpg\" alt=\"Robert Ridgway\">\u003cfigcaption>Robert Ridgway \u003ccite> (Smithsonian Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before Pantone turned its color standard into a big business, some of the first modern color systems came from naturalists trying to identify and differentiate bird species or flowers in reference works known as color dictionaries.\u003c/p>\n\u003cp>[aside postid='arts_13956994']Color systems date back to at least the 17th century, but in the 19th century, an ornithologist named Robert Ridgway took issue with some of the existing nomenclature of colors, according to Daniel Lewis, who authored \u003cem>The Feathery Tribe\u003c/em>, a biography of Ridgway.\u003c/p>\n\u003cp>In his 1912 self-published work, titled \u003cem>Color Standards and Color Nomenclature, \u003c/em>an expansion of his first color book of 1886, Ridgway wrote that “the nomenclature of colors remains vague and, for practical purposes, meaningless, thereby seriously impeding progress in almost every branch of industry and research.”\u003c/p>\n\u003cp>He decried the nondescriptive and befuddling names of popular colors, wrote Lewis, including “baby blue,” “London smoke,” “ashes of roses” and “elephant’s breath.”\u003c/p>\n\u003cp>Ridgway’s color dictionary, with over 1,000 colors, included hues that referenced birds, like “Jay Blue,” while others derived from fruits — “Apple Green” — or the natural environment, as in “Storm Gray.”\u003c/p>\n\u003cp>His color book “evolved into the Pantone color chart,” according to Lewis. “Ridgway’s Colors” are still used today by mycologists, philatelists and food colorists, according to Lewis’ 2012 book.\u003c/p>\n\u003cp>But his color mixing system was technically flawed, subject to the whims of the natural elements, and never became widely adopted.\u003c/p>\n\u003cp>An article in \u003ca href=\"https://hyperallergic.com/283388/the-bird-based-color-system-that-eventually-became-pantone/\">Hyperallergic, an online arts magazine\u003c/a>, from 2016 cites a 1985 critique published by the Beta Beta Beta Biological Society: “\u003cem>Color Standards\u003c/em> lacks precise descriptions of how to reproduce the colors. In addition to this problem, Ridgway chose some pigments that were not as permanent as he had hoped, but were affected by humidity, abrasion, and hue shift.”\u003c/p>\n\u003cp>Another edge Pantone has on its competitors is that it knows how to tell stories about color and arrange them in an accessible way.\u003c/p>\n\u003cp>[aside postid='arts_13960573']“You can’t copyright a word. But when you organize words in a specific way, it tells a story and a unique story. The same is true with color. You can’t copyright a color. But, you know, if you create this arrangement of colors that creates a system, that’s protectable, and that’s copyrightable.”\u003c/p>\n\u003cp>Because its color system is protected, graphic designers, dye manufacturers and others working in the world of color have been stymied. In 2022, for example, when Pantone’s deal with Adobe ended, a \u003ca href=\"https://x.com/rsms/status/1586734991303577600\">paywall went up\u003c/a> for the Pantone colors in Photoshop; if you weren’t willing to pay a monthly fee, the colors turned black.\u003c/p>\n\u003cp>Still, according to Pantone, plenty of other people are willing to pay.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“You have more and more people — as we live in this visual culture — wanting guidance,” Pressman said. “So much money rests on these decisions.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13969097\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969097\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ptn-coy-hero-primary-cropped-watermark-digital-1920x1920-2024-0911-scaled.jpeg\" alt=\"A stylized image featuring a clear cocktail glass of heavily whipped mousse.\" width=\"2560\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ptn-coy-hero-primary-cropped-watermark-digital-1920x1920-2024-0911-scaled.jpeg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ptn-coy-hero-primary-cropped-watermark-digital-1920x1920-2024-0911-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ptn-coy-hero-primary-cropped-watermark-digital-1920x1920-2024-0911-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ptn-coy-hero-primary-cropped-watermark-digital-1920x1920-2024-0911-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ptn-coy-hero-primary-cropped-watermark-digital-1920x1920-2024-0911-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ptn-coy-hero-primary-cropped-watermark-digital-1920x1920-2024-0911-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ptn-coy-hero-primary-cropped-watermark-digital-1920x1920-2024-0911-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/ptn-coy-hero-primary-cropped-watermark-digital-1920x1920-2024-0911-1920x1920.jpeg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Each year, Pantone selects a color meant to reflect the trends, moods and happenings in the zeitgeist. \u003ccite>(Pantone Color Institute)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each year, since the turn of the millennium, word arrives from on high: Pantone, the self-described world’s authority on color, announces its Color of the Year.\u003c/p>\n\u003cp>On Thursday, Pantone declared “Mocha Mousse” as the color for 2025.\u003c/p>\n\u003cp>The “evocative soft brown” or “warming rich brown hue,” the company said in a press release, “nurtures with its suggestion of the delectable quality of cacao, chocolate and coffee, appealing to our desire for comfort.”\u003c/p>\n\u003cp>In unveiling a hue meant to reflect the culture through the language of color, Pantone also forecasts what’s next in design trends.\u003c/p>\n\u003cp>The earthy color seizes on “a growing movement to align ourselves with the natural world,” the release read.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pantone’s Color of the Year is meant to capture the zeitgeist, said Laurie Pressman, vice president of the Pantone Color Institute. At the same time, it’s also intended to serve as a cultural antidote.\u003c/p>\n\u003cp>“It’s emblematic of a snapshot in time and it’s giving people what they feel they need — that that color can hope to answer,” Pressman said. “It’s us taking the temperature: What’s taking place in the world around us and how does that get expressed into the language of color?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“And as we were doing our research for this year, what we were really seeing more than anything is people looking for harmony and living a life of harmony,” she said, and a need to feel “grounded.”\u003c/p>\n\u003cp>In response to the annual color pick, designers in fashion and interiors, marketers and creators incorporate the pigment into their products to stay on trend. As part of the campaign, brands partner with Pantone, making the company money from owning a color.\u003c/p>\n\u003cp>That said, you can expect to see a lot more brown around.\u003c/p>\n\u003cp>But Pantone is not the only company to develop a standardized set of colors, nor the first to put names to colors. So, what makes Pantone such a color expert?\u003c/p>\n\u003cp>From the start, Pantone recognized the need to portray color accurately. More importantly, it knew how to sell it.\u003c/p>\n\u003ch3>How Pantone set the industry standard\u003c/h3>\n\u003cp>Before it became the color juggernaut it is today, Pantone was a commercial printing company under a different name. When Lawrence Herbert, a print technician with a background in chemistry, was hired by the corporation in the 1950s, he identified a recurring problem in his work.\u003c/p>\n\u003cp>When requesting printed copies, of brochures or posters, customers struggled to talk about color accurately. To get the color they were after, as Herbert’s son Richard, a former president of Pantone, told NPR’s \u003cem>Planet Money \u003c/em>earlier this year, they would have to send in an actual sample of the color.\u003c/p>\n\u003cp>“Our famous thing was — cut a piece off their tie and send it into the print and say, match this color,” Richard said. “They had their own ink formula books, and they could get close. But it was very random.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 1963, Lawrence founded the solution. He developed the Pantone Matching System (PMS) as a way to standardize color reproduction so that print copies matched the original, no matter the printing device. He got buy-in from ink makers for his color standard, first in the U.S. and later in Europe and Asia.\u003c/p>\n\u003cp>Pantone expanded its range of pigments, and by 1968 it became the industry standard.\u003c/p>\n\u003cp>Pressman credits the shrewd marketer in Herbert for turning Pantone into a widely accepted color system.\u003c/p>\n\u003cp>“He understood, if this is an issue going on in print, this is an issue that goes through many other different industries,” Pressman said.\u003c/p>\n\u003cp>Clients across a range of industries would knock on Pantone’s door to get help with getting their color uniform, often before Pantone had developed a way to do so. There was a need in the market for custom color development and Pantone adapted, according to the company’s vice president.\u003c/p>\n\u003cp>As other industries, such as the fashion and home markets, turned to Pantone to get the right color match, the company branched out from paper into textiles and created new color formats that could translate to a variety of materials. Today, its library of colors numbers upwards of 10,000 different colors.\u003c/p>\n\u003cp>The Color of the Year campaign, aided by its public relations arm, became another opportunity for Pantone to sell its proprietary colors, through the formulation books and color palettes it sells, or brand deals and partnerships.\u003c/p>\n\u003cp>Some of its famous trademarked colors belong to big brands. Both Target’s bold red and Tiffany & Co.’s robin egg blue belong to the Pantone color family.\u003c/p>\n\u003ch3>Pantone’s precursors are rooted in the need to describe the natural world\u003c/h3>\n\u003cp>A color chosen to correspond to the natural world is fitting, considering the history of modern color systems.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/335x545+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fec%2Fd5%2Fd962a8724cfaae5a3503404ea9fb%2Fridgway.jpg\" alt=\"Robert Ridgway\">\u003cfigcaption>Robert Ridgway \u003ccite> (Smithsonian Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before Pantone turned its color standard into a big business, some of the first modern color systems came from naturalists trying to identify and differentiate bird species or flowers in reference works known as color dictionaries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Color systems date back to at least the 17th century, but in the 19th century, an ornithologist named Robert Ridgway took issue with some of the existing nomenclature of colors, according to Daniel Lewis, who authored \u003cem>The Feathery Tribe\u003c/em>, a biography of Ridgway.\u003c/p>\n\u003cp>In his 1912 self-published work, titled \u003cem>Color Standards and Color Nomenclature, \u003c/em>an expansion of his first color book of 1886, Ridgway wrote that “the nomenclature of colors remains vague and, for practical purposes, meaningless, thereby seriously impeding progress in almost every branch of industry and research.”\u003c/p>\n\u003cp>He decried the nondescriptive and befuddling names of popular colors, wrote Lewis, including “baby blue,” “London smoke,” “ashes of roses” and “elephant’s breath.”\u003c/p>\n\u003cp>Ridgway’s color dictionary, with over 1,000 colors, included hues that referenced birds, like “Jay Blue,” while others derived from fruits — “Apple Green” — or the natural environment, as in “Storm Gray.”\u003c/p>\n\u003cp>His color book “evolved into the Pantone color chart,” according to Lewis. “Ridgway’s Colors” are still used today by mycologists, philatelists and food colorists, according to Lewis’ 2012 book.\u003c/p>\n\u003cp>But his color mixing system was technically flawed, subject to the whims of the natural elements, and never became widely adopted.\u003c/p>\n\u003cp>An article in \u003ca href=\"https://hyperallergic.com/283388/the-bird-based-color-system-that-eventually-became-pantone/\">Hyperallergic, an online arts magazine\u003c/a>, from 2016 cites a 1985 critique published by the Beta Beta Beta Biological Society: “\u003cem>Color Standards\u003c/em> lacks precise descriptions of how to reproduce the colors. In addition to this problem, Ridgway chose some pigments that were not as permanent as he had hoped, but were affected by humidity, abrasion, and hue shift.”\u003c/p>\n\u003cp>Another edge Pantone has on its competitors is that it knows how to tell stories about color and arrange them in an accessible way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“You can’t copyright a word. But when you organize words in a specific way, it tells a story and a unique story. The same is true with color. You can’t copyright a color. But, you know, if you create this arrangement of colors that creates a system, that’s protectable, and that’s copyrightable.”\u003c/p>\n\u003cp>Because its color system is protected, graphic designers, dye manufacturers and others working in the world of color have been stymied. In 2022, for example, when Pantone’s deal with Adobe ended, a \u003ca href=\"https://x.com/rsms/status/1586734991303577600\">paywall went up\u003c/a> for the Pantone colors in Photoshop; if you weren’t willing to pay a monthly fee, the colors turned black.\u003c/p>\n\u003cp>Still, according to Pantone, plenty of other people are willing to pay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Anthony Robles’ story seems almost tailor made for a Hollywood film. Born with only one leg, his right, he overcame the prejudices of those around him and his own physical limitations to become a champion wrestler. Though coaches at the top wrestling programs couldn’t see his potential, he was undeterred, coasting on his own determination and his mother Judy’s (Jennifer Lopez) unwavering belief in him.\u003c/p>\n\u003cp>[aside postid='arts_13968835']The film version is aptly titled \u003cem>Unstoppable\u003c/em>, and it’s getting a limited theatrical release starting Friday before it streams on Prime Video on Jan. 16. Directed by William Goldenberg, the Oscar-winning editor of \u003cem>Argo\u003c/em> making his feature directorial debut, \u003cem>Unstoppable\u003c/em> has all the makings of a rousing sports drama that’s sure to have audiences cheering in theaters or on their couches. You’d have to be a certain kind of grinch not to get swept up in the hurdles and triumphs, especially with such a compelling lead performance from Jharrel Jerome. And yet for a story about a guy who shattered expectations, the film itself is rather conventional.\u003c/p>\n\u003cp>Eschewing the temptation to tell his story from birth, \u003cem>Unstoppable\u003c/em>’s arc begins at the end of high school. He chose long ago to not rely on a prosthetic and is comfortable in his body. His sport is wrestling, which he’ll joke later that he chose because it was the only one where the other guy couldn’t run away from him.\u003c/p>\n\u003cp>Though he’s winning at the high school level, the exciting college programs, like Iowa, are not interested in taking a chance on him. His best offer is a full ride at Drexel in Philadelphia, which everyone agrees is better than walking on at one of the better-known schools. But complications on the home front force his hand and soon enough he’s walking on at Arizona State University, trying to prove himself to a coach, Sean Charles (Don Cheadle), who had already advised him to go elsewhere.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fxEEdR2ZTDw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mom as eldest son’s biggest cheerleader she isn’t, but Judy has a lot going on. She had Anthony at age 16 and, when we meet up with them, is married and has four young children with Rick (Bobby Cannavale), a toxic husband and father who goes long on the virtues of making the right choices and being a man and providing for his family (which, spoiler, he doesn’t). It’s a very one-note role for Cannavale, just a shorthand villain who’s always just around the corner ready to ruin things, whether it’s dinner or Anthony’s plans to move across the country.\u003c/p>\n\u003cp>[aside postid='arts_13969006']Regardless of how much this is true, \u003cem>Unstoppable\u003c/em> relies too heavily on the cliches of a working-class domestic drama and Rick’s vileness which perhaps is a little insulting to Judy’s experience. This is a woman who managed to achieve incredible things (revealed at the end) despite being a single mother to five. While Lopez is magnetic as always, it’s hard not to wonder what this character might have looked like if one of the three credited screenwriters had been a woman. Judy does get her own arc and demonstrates her agency in a mic drop kind of scene, but it seems like a rather small moment to concentrate on once you’ve learned what she went on to accomplish.\u003c/p>\n\u003cp>The film is really best when it’s about the sport, the impossible training including a run up a rocky hill that Anthony does on his crutches, the matches, and Anthony’s relationships with his coaches who become de facto father figures for him. Michael Peña, as his high school coach, is particularly impactful in his limited scenes, and Cheadle is always a joy. But it’s ultimately Jerome’s show, and a good one at that. Let’s hope it’s the first of many leading film roles for him.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Unstoppable’ is released in limited theaters on Dec. 6, 2024. It begins streaming on Prime Video on Jan. 16, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film version is aptly titled \u003cem>Unstoppable\u003c/em>, and it’s getting a limited theatrical release starting Friday before it streams on Prime Video on Jan. 16. Directed by William Goldenberg, the Oscar-winning editor of \u003cem>Argo\u003c/em> making his feature directorial debut, \u003cem>Unstoppable\u003c/em> has all the makings of a rousing sports drama that’s sure to have audiences cheering in theaters or on their couches. You’d have to be a certain kind of grinch not to get swept up in the hurdles and triumphs, especially with such a compelling lead performance from Jharrel Jerome. And yet for a story about a guy who shattered expectations, the film itself is rather conventional.\u003c/p>\n\u003cp>Eschewing the temptation to tell his story from birth, \u003cem>Unstoppable\u003c/em>’s arc begins at the end of high school. He chose long ago to not rely on a prosthetic and is comfortable in his body. His sport is wrestling, which he’ll joke later that he chose because it was the only one where the other guy couldn’t run away from him.\u003c/p>\n\u003cp>Though he’s winning at the high school level, the exciting college programs, like Iowa, are not interested in taking a chance on him. His best offer is a full ride at Drexel in Philadelphia, which everyone agrees is better than walking on at one of the better-known schools. But complications on the home front force his hand and soon enough he’s walking on at Arizona State University, trying to prove himself to a coach, Sean Charles (Don Cheadle), who had already advised him to go elsewhere.\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/fxEEdR2ZTDw'\n title='//www.youtube.com/embed/fxEEdR2ZTDw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Regardless of how much this is true, \u003cem>Unstoppable\u003c/em> relies too heavily on the cliches of a working-class domestic drama and Rick’s vileness which perhaps is a little insulting to Judy’s experience. This is a woman who managed to achieve incredible things (revealed at the end) despite being a single mother to five. While Lopez is magnetic as always, it’s hard not to wonder what this character might have looked like if one of the three credited screenwriters had been a woman. Judy does get her own arc and demonstrates her agency in a mic drop kind of scene, but it seems like a rather small moment to concentrate on once you’ve learned what she went on to accomplish.\u003c/p>\n\u003cp>The film is really best when it’s about the sport, the impossible training including a run up a rocky hill that Anthony does on his crutches, the matches, and Anthony’s relationships with his coaches who become de facto father figures for him. Michael Peña, as his high school coach, is particularly impactful in his limited scenes, and Cheadle is always a joy. But it’s ultimately Jerome’s show, and a good one at that. Let’s hope it’s the first of many leading film roles for him.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Unstoppable’ is released in limited theaters on Dec. 6, 2024. It begins streaming on Prime Video on Jan. 16, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
"meta": {
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"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",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"rss": "https://feeds.megaphone.fm/KQINC6993880386",
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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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"meta": {
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},
"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"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",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"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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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"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",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"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/",
"meta": {
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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"
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"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
