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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>\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>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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"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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"content": "\u003cfigure id=\"attachment_13969030\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969030\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time.png\" alt=\"A book cover featuring a landscape painting of a coast line and cloudy skies.\" width=\"1374\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time.png 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-800x1164.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1020x1485.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-768x1118.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1055x1536.png 1055w\" sizes=\"(max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">‘Time of the Child’ by Niall Williams. \u003ccite>(Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A village “on the western edge of a wet nowhere” populated by men who drink too much and women who smile too little. Throw in cows, an addled priest, an abandoned baby and a thick cloud cover of shame and you have the elements for a quintessential Irish story.\u003c/p>\n\u003cp>So quintessential, in fact, I’ve held off reading Niall Williams for a long time, despite hearing raves about his work. My skepticism, it turns out, was misplaced. I’ve just emerged from a Niall Williams binge with a belated appreciation for his writing, which invests specificity and life in characters and places easily reduced to clichés.\u003c/p>\n\u003cp>[aside postid='arts_13968936']\u003cem>Time of the Child \u003c/em>is Williams’ latest novel, a companion piece, rather than a sequel to, his 2019 novel, \u003cem>This Is Happiness. \u003c/em>Both books are set in the rural village of Faha — a town in the far west of Ireland whose inhabitants, we’re told, possess “the translucent flesh that came from living in an absolute humidity.”\u003c/p>\n\u003cp>\u003cem>Time of the Child\u003c/em> takes place in the weeks leading up to Christmas 1962 and opens — and closes — on a set piece of Mass at the parish church, where most of the village gathers. In between lies a story that feels, at once, realistic in its rough and comic everyday unfolding and mythic in its riffs on the grand themes of despair and spiritual redemption.\u003c/p>\n\u003cp>Jack Troy is the town doctor and central character here. He’s a melancholy contained man who, we’re told, “carrie[s] himself in a manner that [the townspeople of] Faha might have summarized as \u003cem>Not like us.\u003c/em>” Dr. Troy lost his wife and then the older woman he unexpectedly fell in love with, who’s now also dead. Keeping house for him is his 29-year-old daughter, Ronnie, the eldest of three sisters; the one who remained at home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ronnie, too, is a semi-enigma to the townspeople: Our narrator tells us that “Added to [her] reserve was not only the screened lives of all women in the parish at the time, but the marginal natures of all writers, for Ronnie Troy’s closest companion was her notebook.”\u003c/p>\n\u003cp>[aside postid='arts_13968840']Dr. Troy has become haunted by despair and by a particularly heartrending question: “\u003cem>Why does no one love my daughter?” \u003c/em>The answer, he fears, is his own glowering presence that may have repelled one especially promising suitor.\u003c/p>\n\u003cp>Inspired by what we’re told is a “mixed fuel of … brandy … [and] a parent’s fear of the unmade world after them,” Dr. Troy, uncharacteristically, resolves on a bizarre scheme to make things right. As the saying goes: “Man plans, God laughs.”\u003c/p>\n\u003cp>Instead of unfolding the Troy family narrative chronologically, Williams layers it on top of other simultaneous storylines, all of which are graced with language as bracing as salt spray from the chill Atlantic. We follow, for instance, the wanderings of Jude Quinlan, a 12-year-old “on the rope-bridge between man and boy.”\u003c/p>\n\u003cp>Jude’s father drinks and gambles and his mother, Mamie, possesses “the anxious look of one married to an instability.” Listen to how Williams moves fluidly from the mundane to the wider lens of the numinous in these snippets from an extended passage where Jude helps to unload a van full of Christmas toys for the town fair:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>There were toy soldiers, kits for flying gliders, … skittles in a net, balls, bats. … dolls of one expression but many dresses, …\u003c/p>\n\u003cp>For Jude, carrying everything from the van … was as close has he would get to handling any of these things. He had no resentment or bitterness. Rather, from nearness to the marvelous something rubbed off on him …\u003c/p>\n\u003cp>The other thing, the one that only occurred to him years later when he would recall what happened that day, was that what he was carrying out of the van that December morning was his childhood.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>[aside postid='arts_13968980']For those who believe in such phenomena, Jude will be the instrument for bringing a miracle — a Christmas miracle complete with a baby and a virginal mother, no less — into this story. The other miracle here is a literary one: \u003cem>Time of the Child\u003c/em> itself, which gives readers that singular experience of nearness to the marvelous.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Time of the Child’ by Niall Williams is out now, via Bloomsbury Publishing.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Time of the Child \u003c/em>is Williams’ latest novel, a companion piece, rather than a sequel to, his 2019 novel, \u003cem>This Is Happiness. \u003c/em>Both books are set in the rural village of Faha — a town in the far west of Ireland whose inhabitants, we’re told, possess “the translucent flesh that came from living in an absolute humidity.”\u003c/p>\n\u003cp>\u003cem>Time of the Child\u003c/em> takes place in the weeks leading up to Christmas 1962 and opens — and closes — on a set piece of Mass at the parish church, where most of the village gathers. In between lies a story that feels, at once, realistic in its rough and comic everyday unfolding and mythic in its riffs on the grand themes of despair and spiritual redemption.\u003c/p>\n\u003cp>Jack Troy is the town doctor and central character here. He’s a melancholy contained man who, we’re told, “carrie[s] himself in a manner that [the townspeople of] Faha might have summarized as \u003cem>Not like us.\u003c/em>” Dr. Troy lost his wife and then the older woman he unexpectedly fell in love with, who’s now also dead. Keeping house for him is his 29-year-old daughter, Ronnie, the eldest of three sisters; the one who remained at home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ronnie, too, is a semi-enigma to the townspeople: Our narrator tells us that “Added to [her] reserve was not only the screened lives of all women in the parish at the time, but the marginal natures of all writers, for Ronnie Troy’s closest companion was her notebook.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Dr. Troy has become haunted by despair and by a particularly heartrending question: “\u003cem>Why does no one love my daughter?” \u003c/em>The answer, he fears, is his own glowering presence that may have repelled one especially promising suitor.\u003c/p>\n\u003cp>Inspired by what we’re told is a “mixed fuel of … brandy … [and] a parent’s fear of the unmade world after them,” Dr. Troy, uncharacteristically, resolves on a bizarre scheme to make things right. As the saying goes: “Man plans, God laughs.”\u003c/p>\n\u003cp>Instead of unfolding the Troy family narrative chronologically, Williams layers it on top of other simultaneous storylines, all of which are graced with language as bracing as salt spray from the chill Atlantic. We follow, for instance, the wanderings of Jude Quinlan, a 12-year-old “on the rope-bridge between man and boy.”\u003c/p>\n\u003cp>Jude’s father drinks and gambles and his mother, Mamie, possesses “the anxious look of one married to an instability.” Listen to how Williams moves fluidly from the mundane to the wider lens of the numinous in these snippets from an extended passage where Jude helps to unload a van full of Christmas toys for the town fair:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>There were toy soldiers, kits for flying gliders, … skittles in a net, balls, bats. … dolls of one expression but many dresses, …\u003c/p>\n\u003cp>For Jude, carrying everything from the van … was as close has he would get to handling any of these things. He had no resentment or bitterness. Rather, from nearness to the marvelous something rubbed off on him …\u003c/p>\n\u003cp>The other thing, the one that only occurred to him years later when he would recall what happened that day, was that what he was carrying out of the van that December morning was his childhood.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For those who believe in such phenomena, Jude will be the instrument for bringing a miracle — a Christmas miracle complete with a baby and a virginal mother, no less — into this story. The other miracle here is a literary one: \u003cem>Time of the Child\u003c/em> itself, which gives readers that singular experience of nearness to the marvelous.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Time of the Child’ by Niall Williams is out now, via Bloomsbury Publishing.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As much as theaters are humming right now, with \u003ca href=\"https://www.kqed.org/arts/13968348/wicked-defies-gravity-if-not-time\">\u003cem>Wicked\u003c/em>\u003c/a> and \u003cem>Moana 2\u003c/em> bringing moviegoers by the droves, it’s been a fairly bruising movie year.\u003c/p>\n\u003cp>In between the blockbusters, though, the challenge of not just capturing the attention of audiences but of simply getting to the screen feels more perilous than ever. The year was marked by filmmakers who wagered everything from a $120 million pile (Francis Ford Coppola’s \u003ca href=\"https://www.kqed.org/arts/13965555/megalopolis-francis-ford-coppola-review\">\u003cem>Megalopolis\u003c/em>\u003c/a>) to their life (the dissident Iranian filmmaker Mohammad Rasoulof’s \u003cem>The Seed of the Sacred Fig\u003c/em>).\u003c/p>\n\u003cp>[aside postid='arts_13968679']Considering the paths of the \u003cem>The Apprentice\u003c/em> (about Donald Trump’s rise in New York) or the Israeli occupation documentary \u003cem>No Other Land\u003c/em> (which still lacks a distributor), the question of what gets released was a common and chilling refrain.\u003c/p>\n\u003cp>That also made the movies that managed their way through — the ones that told urgent stories or dazzled with originality at a time of sequel stranglehold — all the more worth celebrating.\u003c/p>\n\u003cp>Here are The Associated Press’ Film Writers Jake Coyle and Lindsey Bahr’s picks for the best movies of 2024:\u003c/p>\n\u003ch2>Jake Coyle’s top movies of 2024\u003c/h2>\n\u003ch2>1. ‘\u003ca href=\"https://www.kqed.org/arts/13968437/all-we-imagine-as-light-movie-review-india-mumbai\">All We Imagine As Light\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=2mgQcpmYr_A\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Was this a great year for movies? The consensus seems to be no, and that may be true. But it did produce some stone-cold masterpieces, none more so than Payal Kapadia’s sublime tale of three women in modern Mumbai. It’s a grittily real movie graced, in equally parts, by keen-eyed documentary and dreamy poetry. Beguilingly, \u003cem>All We Imagine As Light\u003c/em> grows more profound as it cleaves further from reality. In theaters.\u003c/p>\n\u003ch2>2. ‘Nickel Boys’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=-2qZ429rUZw\u003c/p>\n\u003cp>Like Kapadia, RaMell Ross started out in documentary before bringing a singular eye to narrative film. His adaptation of Colson Whitehead’s Pulitzer Prize–winning novel, about two Black teenagers at an abusive reform school in the Jim Crow South, is shot mostly from the two boys’ first-person perspective. The result is one of the most visually inventive American films of the decade and, just as certainly, one of the richest in empathy. Opens in theaters Dec. 13.\u003c/p>\n\u003ch2>3. ‘\u003ca href=\"https://www.kqed.org/arts/13967226/anora-movie-review-sean-baker-mikey-madison\">Anora\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=08sR1MY2wpU\u003c/p>\n\u003cp>So many of the reasons to go to the movies — to laugh at a clattering comic set piece, to witness the breakthrough of a young performer, to be devastated by something tragic — are contained within the thrillingly kitchen-sink \u003cem>Anora\u003c/em>. It’s a concoction that only Sean Baker could conceive, let alone execute. (And, by the way, if you liked Yura Borisov’s performance alongside Mikey Madison, seek out 2021’s \u003cem>Compartment No. 6\u003c/em>.) In theaters.\u003c/p>\n\u003ch2>4. ‘\u003ca href=\"https://www.kqed.org/arts/13957217/bold-audacious-i-saw-the-tv-glow-explores-fandom-identity-and-the-way-we-remember\">I Saw the TV Glow\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=kymDzCgPwj0&t=41s\u003c/p>\n\u003cp>Jane Schoenbrun’s sophomore feature — a dramatic leap forward for filmmaker and a transfixing trans parable — is a chilling 1990s coming of age in which a \u003cem>Buffy the Vampire Slayer\u003c/em>-like series called \u003cem>The Pink Opaque\u003c/em> offers a possible portal out of drab suburban life and other suffocations. It feels chillingly, beautifully ripped out of Schoenbrun’s soul — and it’s got a killer soundtrack. Streaming on Max, available for digital rental.\u003c/p>\n\u003ch2>5. ‘Green Border’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=4Q2cNooTO0w\u003c/p>\n\u003cp>The fury of Agnieszka Holland’s searing migrant drama is suitably calibrated to the crisis. Along the Poland-Belarus border, a small band of migrants from Syria and Afghanistan are sent back and forth across a wooded borderland — sometimes they’re even literally tossed — in a grim game of “not in my backyard.” It’s not an easy movie to watch, nor should it be. To keep up with the times, more uncomfortable movies like this may be needed. Streaming on Kino Film Collection, available for digital rental.\u003c/p>\n\u003ch2>6. ‘\u003ca href=\"https://www.kqed.org/arts/13956892/the-fall-guy-remake-movie-review-ryan-gosling-emily-blunt\">The Fall Guy\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=j7jPnwVGdZ8&t=105s\u003c/p>\n\u003cp>We also need more big, fun movies with Ryan Gosling. David Leitch’s affectionate ode to stunt performers manages to celebrate behind-the-scenes crew members while simultaneously being completely carried by two of our most winning movie stars in Gosling and Emily Blunt. The societal value of watching Gosling cry to Taylor Swift’s “All Too Well” should not be underestimated. Streaming on Peacock, available for digital rental.\u003c/p>\n\u003ch2>7. ‘The Seed of the Sacred Fig’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=TV3Sk2zwqK4\u003c/p>\n\u003cp>The way the Iranian filmmaker Mohammad Rasoulof, who was forced into exile while editing this, condenses real-life social upheaval into a family drama makes this a uniquely disquieting film. Like Kurosawa’s \u003cem>Stray Dog\u003c/em>, Rasoulof’s movie centers around a lost handgun. The subsequent search reveals just how deeply the Iranian government’s policies have seeped into the most intimate relationships. In theaters.\u003c/p>\n\u003ch2>8. ‘Ghostlight’ and ‘\u003ca href=\"https://www.kqed.org/arts/13961106/sing-sing-movie-review-colman-domingo-prison-theater-program\">Sing Sing\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=R1TycuGX4Mw\u003c/p>\n\u003cp>We had not one but two movies this year that captured the therapeutic properties of theater. Each, almost unbelievably, deftly eludes tipping into cliche thanks to abiding compassion and authenticity in the performances. Alex Thompson and Kelly O’Sullivan’s \u003cem>Ghostlight\u003c/em> is about a grieving father, a construction worker (an exceptional Keith Kupferer), who reluctantly joins a local production of \u003cem>Romeo and Juliet\u003c/em>. \u003cem>Sing Sing\u003c/em> dramatizes a real rehabilitation prison program. Its screening at Sing Sing Correctional, where many of its performers were once incarcerated, was easily the most moving moviegoing experience of the year for me. \u003cem>Ghostlight\u003c/em> is available for digital rental. \u003cem>Sing Sing\u003c/em> returns to theaters Jan. 17.\u003c/p>\n\u003ch2>9. ‘\u003ca href=\"https://www.kqed.org/arts/13964403/a-dying-father-brings-his-three-daughters-together-in-a-sharply-written-film\">His Three Daughters\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=K0jwAP2fS1E\u003c/p>\n\u003cp>In Azazel Jacobs’ funny, tender and raw family drama, a flawless cast of Carrie Coon, Elizabeth Olsen and Natasha Lyonne play three sisters caring for their dying father. In close quarters and with death looming, it all comes out. Streaming on Netflix.\u003c/p>\n\u003ch2>10. ‘Made in England: The Films of Powell and Pressburger’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=BcXCsE3KB7k\u003c/p>\n\u003cp>In between large, lengthy epics, Martin Scorsese has made some of his most interesting and personal films. In this, Scorsese narrates for director David Hinton his lifetime journey with the films of Powell and Pressburger, the great filmmakers of \u003cem>The Red Shoes\u003c/em>, \u003cem>I Know Where I’m Going!\u003c/em> and \u003cem>Black Narcissus\u003c/em>. As an expression of movie love — of the power of film to transfix you, to change your life, to live alongside you as you grow older — \u003cem>Made in England\u003c/em> could hardly be more effusive. Such insightful, passionate testimonies are an increasingly necessary lifeblood in a film culture where algorithms are typically blind to the treasures of cinema’s past. Streaming on WatchTCM and available for digital rental.\u003c/p>\n\u003cp>Also: \u003cem>Grand Tour, Ernest Cole: Lost and Found, No Other Land, Rebel Ridge, The Brutalist, Between the Temples, Evil Does Not Exist, Universal Language, Daughters\u003c/em>\u003c/p>\n\u003ch2>Lindsey Bahr’s top movies of 2024\u003c/h2>\n\u003ch2>1. ‘\u003ca href=\"https://www.kqed.org/arts/13967528/steve-mcqueen-wwii-drama-blitz-movie-review-appletv-saoirse-ronan-elliott-heffernan\">Blitz\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=iZwykQK9aZo\u003c/p>\n\u003cp>Steve McQueen tells a different kind of World War II story in \u003cem>Blitz\u003c/em>, a powerful and clear-eyed odyssey through London during the German bombing raid. Structured around a 9-year-old boy (Elliott Heffernan) trying to make his way back to his mother (Saoirse Ronan), it is a sneakily revolutionary glimpse into and poignant elegy for worlds unexplored and stories untold. Streaming on Apple TV+.\u003c/p>\n\u003ch2>2. ‘\u003ca href=\"https://www.kqed.org/arts/13968437/all-we-imagine-as-light-movie-review-india-mumbai\">All We Imagine as Light\u003c/a>’\u003c/h2>\n\u003cp>Poetic and transportive, Kapadia’s Mumbai-set film explores the vibrations of a thrilling but brutally impersonal metropolis, the lives of three women in different stages and predicaments (forbidden love, loneliness, eviction) and delicacy of female friendships.\u003c/p>\n\u003ch2>3. ‘\u003ca href=\"https://www.kqed.org/arts/13960032/thelma-movie-review-june-squibb-delightful-revenge-comedy\">Thelma\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=t3iETKRp24c\u003c/p>\n\u003cp>Josh Margolin’s debut feature about a 90-something (played by the incomparable June Squibb) on a mission to get $10,000 back from a scammer is so modest in scope and effortlessly enjoyable that it’s easy to undervalue. This independent film feels as sharp and put-together as a yesteryear studio comedy. It’s pure joy and one of those movies you could recommend to anyone. Streaming on Hulu.\u003c/p>\n\u003ch2>4. ‘\u003ca href=\"https://www.kqed.org/arts/13967226/anora-movie-review-sean-baker-mikey-madison\">Anora\u003c/a>’\u003c/h2>\n\u003cp>It takes a special kind of movie to transcend the echo chamber of arthouse cinephelia and become a cultural moment, but Baker’s \u003cem>Anora\u003c/em> did it. A classic in waiting, Baker and his star Mikey Madison, who lifts the streetwise stripper trope, take audiences on an unforgettable ride in this fairy tale that falls apart in spectacular fashion.\u003c/p>\n\u003ch2>5. ‘Nickel Boys’\u003c/h2>\n\u003cp>Ross transforms Whitehead’s Pulitzer-winning novel about the abuses and generational trauma of a reform school in the Jim Crow South for the screen by employing first-person point-of-view. It’s a bold choice that pays off, transporting you into the heartbreaking reality of Elwood and Turner, two characters you won’t soon forget.\u003c/p>\n\u003ch2>6. ‘\u003ca href=\"https://www.kqed.org/arts/13952684/dune-part-two-sustains-the-dystopian-dream-of-part-one\">Dune: Part Two\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=Way9Dexny3w\u003c/p>\n\u003cp>Decades of dreaming about a film does not always seem to benefit said film, but Denis Villeneuve was able to translate his passion for Frank Herbert’s opus into pure cinematic spectacle, and doom, about the rise of a leader. It’s a grand and thrilling adventure that could make sci-fi nerds out of us all. Streaming on MAX.\u003c/p>\n\u003ch2>7. ‘\u003ca href=\"https://www.kqed.org/arts/13967522/kieran-culkin-shines-in-jesse-eisenbergs-deft-accomplished-a-real-pain\">A Real Pain\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=b2et8Vpu7Ls&t=3s\u003c/p>\n\u003cp>Jesse Eisenberg grapples with modern and historical trauma in the disarmingly entertaining road trip film \u003cem>A Real Pain\u003c/em>, which he wrote, directed and stars in alongside Kieran Culkin as cousins on a Holocaust tour in Poland. In theaters.\u003c/p>\n\u003ch2>8. ‘\u003ca href=\"https://www.kqed.org/arts/13965970/the-outrun-movie-review-saoirse-ronan-amy-liptrot-memoir\">The Outrun\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=pFv-v_wFsK8\u003c/p>\n\u003cp>Saoirse Ronan delivered one of the year’s absolute best performances as an alcoholic who goes further and further into seclusion in the Orkney Islands in an attempt to start life anew. Films about addiction are hardly novel, and yet Nora Fingscheidt captures the wild highs, lows and in-betweens of the human condition with unapologetic honesty. Available for digital rental.\u003c/p>\n\u003ch2>9. ‘\u003ca href=\"https://www.kqed.org/arts/13957223/evil-does-not-exist-movie-review-ryusuke-hamaguchi-nature-film\">Evil Does Not Exist\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=zVY4lWfrbME\u003c/p>\n\u003cp>Ryûsuke Hamaguchi’s follow-up to \u003ca href=\"https://www.kqed.org/arts/13906968/drive-my-car-may-be-the-most-absorbing-ride-you-take-all-year\">\u003cem>Drive My Car\u003c/em>\u003c/a> takes us to a small mountain village in Japan, where residents are hesitant to welcome a big city company with plans to set up a glamping site. It’s a slow-burn kind of experience, with community debates about mountain streams and septic tanks that might not sound terribly exciting and yet it’s one of the year’s most haunting and effective. Streaming on Criterion Channel, available for digital rental.\u003c/p>\n\u003ch2>10. ‘\u003ca href=\"https://www.kqed.org/arts/13962259/delicate-and-powerful-good-one-is-one-of-the-years-indie-breakouts\">Good One\u003c/a>’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=RGZNT7qgeG4\u003c/p>\n\u003cp>It was a great year for first-time directors, including India Donaldson whose quietly brilliant character study of a teenage girl on a camping trip with her dad and his friend resonates even a year later. Streaming on Apple TV+.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Also: \u003cem>The Taste of Things, Green Border, Challengers, Beetlejuice Beetlejuice, La Cocina, Will & Harper, Conclave, Maria, Young Woman and the Sea, Tuesday, Lee\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As much as theaters are humming right now, with \u003ca href=\"https://www.kqed.org/arts/13968348/wicked-defies-gravity-if-not-time\">\u003cem>Wicked\u003c/em>\u003c/a> and \u003cem>Moana 2\u003c/em> bringing moviegoers by the droves, it’s been a fairly bruising movie year.\u003c/p>\n\u003cp>In between the blockbusters, though, the challenge of not just capturing the attention of audiences but of simply getting to the screen feels more perilous than ever. The year was marked by filmmakers who wagered everything from a $120 million pile (Francis Ford Coppola’s \u003ca href=\"https://www.kqed.org/arts/13965555/megalopolis-francis-ford-coppola-review\">\u003cem>Megalopolis\u003c/em>\u003c/a>) to their life (the dissident Iranian filmmaker Mohammad Rasoulof’s \u003cem>The Seed of the Sacred Fig\u003c/em>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Considering the paths of the \u003cem>The Apprentice\u003c/em> (about Donald Trump’s rise in New York) or the Israeli occupation documentary \u003cem>No Other Land\u003c/em> (which still lacks a distributor), the question of what gets released was a common and chilling refrain.\u003c/p>\n\u003cp>That also made the movies that managed their way through — the ones that told urgent stories or dazzled with originality at a time of sequel stranglehold — all the more worth celebrating.\u003c/p>\n\u003cp>Here are The Associated Press’ Film Writers Jake Coyle and Lindsey Bahr’s picks for the best movies of 2024:\u003c/p>\n\u003ch2>Jake Coyle’s top movies of 2024\u003c/h2>\n\u003ch2>1. ‘\u003ca href=\"https://www.kqed.org/arts/13968437/all-we-imagine-as-light-movie-review-india-mumbai\">All We Imagine As Light\u003c/a>’\u003c/h2>\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/2mgQcpmYr_A'\n title='//www.youtube.com/embed/2mgQcpmYr_A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Was this a great year for movies? The consensus seems to be no, and that may be true. But it did produce some stone-cold masterpieces, none more so than Payal Kapadia’s sublime tale of three women in modern Mumbai. It’s a grittily real movie graced, in equally parts, by keen-eyed documentary and dreamy poetry. Beguilingly, \u003cem>All We Imagine As Light\u003c/em> grows more profound as it cleaves further from reality. In theaters.\u003c/p>\n\u003ch2>2. ‘Nickel Boys’\u003c/h2>\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/-2qZ429rUZw'\n title='//www.youtube.com/embed/-2qZ429rUZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like Kapadia, RaMell Ross started out in documentary before bringing a singular eye to narrative film. His adaptation of Colson Whitehead’s Pulitzer Prize–winning novel, about two Black teenagers at an abusive reform school in the Jim Crow South, is shot mostly from the two boys’ first-person perspective. The result is one of the most visually inventive American films of the decade and, just as certainly, one of the richest in empathy. Opens in theaters Dec. 13.\u003c/p>\n\u003ch2>3. ‘\u003ca href=\"https://www.kqed.org/arts/13967226/anora-movie-review-sean-baker-mikey-madison\">Anora\u003c/a>’\u003c/h2>\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/08sR1MY2wpU'\n title='//www.youtube.com/embed/08sR1MY2wpU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So many of the reasons to go to the movies — to laugh at a clattering comic set piece, to witness the breakthrough of a young performer, to be devastated by something tragic — are contained within the thrillingly kitchen-sink \u003cem>Anora\u003c/em>. It’s a concoction that only Sean Baker could conceive, let alone execute. (And, by the way, if you liked Yura Borisov’s performance alongside Mikey Madison, seek out 2021’s \u003cem>Compartment No. 6\u003c/em>.) In theaters.\u003c/p>\n\u003ch2>4. ‘\u003ca href=\"https://www.kqed.org/arts/13957217/bold-audacious-i-saw-the-tv-glow-explores-fandom-identity-and-the-way-we-remember\">I Saw the TV Glow\u003c/a>’\u003c/h2>\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/kymDzCgPwj0'\n title='//www.youtube.com/embed/kymDzCgPwj0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jane Schoenbrun’s sophomore feature — a dramatic leap forward for filmmaker and a transfixing trans parable — is a chilling 1990s coming of age in which a \u003cem>Buffy the Vampire Slayer\u003c/em>-like series called \u003cem>The Pink Opaque\u003c/em> offers a possible portal out of drab suburban life and other suffocations. It feels chillingly, beautifully ripped out of Schoenbrun’s soul — and it’s got a killer soundtrack. Streaming on Max, available for digital rental.\u003c/p>\n\u003ch2>5. ‘Green Border’\u003c/h2>\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/4Q2cNooTO0w'\n title='//www.youtube.com/embed/4Q2cNooTO0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The fury of Agnieszka Holland’s searing migrant drama is suitably calibrated to the crisis. Along the Poland-Belarus border, a small band of migrants from Syria and Afghanistan are sent back and forth across a wooded borderland — sometimes they’re even literally tossed — in a grim game of “not in my backyard.” It’s not an easy movie to watch, nor should it be. To keep up with the times, more uncomfortable movies like this may be needed. Streaming on Kino Film Collection, available for digital rental.\u003c/p>\n\u003ch2>6. ‘\u003ca href=\"https://www.kqed.org/arts/13956892/the-fall-guy-remake-movie-review-ryan-gosling-emily-blunt\">The Fall Guy\u003c/a>’\u003c/h2>\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/j7jPnwVGdZ8'\n title='//www.youtube.com/embed/j7jPnwVGdZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We also need more big, fun movies with Ryan Gosling. David Leitch’s affectionate ode to stunt performers manages to celebrate behind-the-scenes crew members while simultaneously being completely carried by two of our most winning movie stars in Gosling and Emily Blunt. The societal value of watching Gosling cry to Taylor Swift’s “All Too Well” should not be underestimated. Streaming on Peacock, available for digital rental.\u003c/p>\n\u003ch2>7. ‘The Seed of the Sacred Fig’\u003c/h2>\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>The way the Iranian filmmaker Mohammad Rasoulof, who was forced into exile while editing this, condenses real-life social upheaval into a family drama makes this a uniquely disquieting film. Like Kurosawa’s \u003cem>Stray Dog\u003c/em>, Rasoulof’s movie centers around a lost handgun. The subsequent search reveals just how deeply the Iranian government’s policies have seeped into the most intimate relationships. In theaters.\u003c/p>\n\u003ch2>8. ‘Ghostlight’ and ‘\u003ca href=\"https://www.kqed.org/arts/13961106/sing-sing-movie-review-colman-domingo-prison-theater-program\">Sing Sing\u003c/a>’\u003c/h2>\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/R1TycuGX4Mw'\n title='//www.youtube.com/embed/R1TycuGX4Mw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We had not one but two movies this year that captured the therapeutic properties of theater. Each, almost unbelievably, deftly eludes tipping into cliche thanks to abiding compassion and authenticity in the performances. Alex Thompson and Kelly O’Sullivan’s \u003cem>Ghostlight\u003c/em> is about a grieving father, a construction worker (an exceptional Keith Kupferer), who reluctantly joins a local production of \u003cem>Romeo and Juliet\u003c/em>. \u003cem>Sing Sing\u003c/em> dramatizes a real rehabilitation prison program. Its screening at Sing Sing Correctional, where many of its performers were once incarcerated, was easily the most moving moviegoing experience of the year for me. \u003cem>Ghostlight\u003c/em> is available for digital rental. \u003cem>Sing Sing\u003c/em> returns to theaters Jan. 17.\u003c/p>\n\u003ch2>9. ‘\u003ca href=\"https://www.kqed.org/arts/13964403/a-dying-father-brings-his-three-daughters-together-in-a-sharply-written-film\">His Three Daughters\u003c/a>’\u003c/h2>\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/K0jwAP2fS1E'\n title='//www.youtube.com/embed/K0jwAP2fS1E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Azazel Jacobs’ funny, tender and raw family drama, a flawless cast of Carrie Coon, Elizabeth Olsen and Natasha Lyonne play three sisters caring for their dying father. In close quarters and with death looming, it all comes out. Streaming on Netflix.\u003c/p>\n\u003ch2>10. ‘Made in England: The Films of Powell and Pressburger’\u003c/h2>\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/BcXCsE3KB7k'\n title='//www.youtube.com/embed/BcXCsE3KB7k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In between large, lengthy epics, Martin Scorsese has made some of his most interesting and personal films. In this, Scorsese narrates for director David Hinton his lifetime journey with the films of Powell and Pressburger, the great filmmakers of \u003cem>The Red Shoes\u003c/em>, \u003cem>I Know Where I’m Going!\u003c/em> and \u003cem>Black Narcissus\u003c/em>. As an expression of movie love — of the power of film to transfix you, to change your life, to live alongside you as you grow older — \u003cem>Made in England\u003c/em> could hardly be more effusive. Such insightful, passionate testimonies are an increasingly necessary lifeblood in a film culture where algorithms are typically blind to the treasures of cinema’s past. Streaming on WatchTCM and available for digital rental.\u003c/p>\n\u003cp>Also: \u003cem>Grand Tour, Ernest Cole: Lost and Found, No Other Land, Rebel Ridge, The Brutalist, Between the Temples, Evil Does Not Exist, Universal Language, Daughters\u003c/em>\u003c/p>\n\u003ch2>Lindsey Bahr’s top movies of 2024\u003c/h2>\n\u003ch2>1. ‘\u003ca href=\"https://www.kqed.org/arts/13967528/steve-mcqueen-wwii-drama-blitz-movie-review-appletv-saoirse-ronan-elliott-heffernan\">Blitz\u003c/a>’\u003c/h2>\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/iZwykQK9aZo'\n title='//www.youtube.com/embed/iZwykQK9aZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Steve McQueen tells a different kind of World War II story in \u003cem>Blitz\u003c/em>, a powerful and clear-eyed odyssey through London during the German bombing raid. Structured around a 9-year-old boy (Elliott Heffernan) trying to make his way back to his mother (Saoirse Ronan), it is a sneakily revolutionary glimpse into and poignant elegy for worlds unexplored and stories untold. Streaming on Apple TV+.\u003c/p>\n\u003ch2>2. ‘\u003ca href=\"https://www.kqed.org/arts/13968437/all-we-imagine-as-light-movie-review-india-mumbai\">All We Imagine as Light\u003c/a>’\u003c/h2>\n\u003cp>Poetic and transportive, Kapadia’s Mumbai-set film explores the vibrations of a thrilling but brutally impersonal metropolis, the lives of three women in different stages and predicaments (forbidden love, loneliness, eviction) and delicacy of female friendships.\u003c/p>\n\u003ch2>3. ‘\u003ca href=\"https://www.kqed.org/arts/13960032/thelma-movie-review-june-squibb-delightful-revenge-comedy\">Thelma\u003c/a>’\u003c/h2>\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/t3iETKRp24c'\n title='//www.youtube.com/embed/t3iETKRp24c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Josh Margolin’s debut feature about a 90-something (played by the incomparable June Squibb) on a mission to get $10,000 back from a scammer is so modest in scope and effortlessly enjoyable that it’s easy to undervalue. This independent film feels as sharp and put-together as a yesteryear studio comedy. It’s pure joy and one of those movies you could recommend to anyone. Streaming on Hulu.\u003c/p>\n\u003ch2>4. ‘\u003ca href=\"https://www.kqed.org/arts/13967226/anora-movie-review-sean-baker-mikey-madison\">Anora\u003c/a>’\u003c/h2>\n\u003cp>It takes a special kind of movie to transcend the echo chamber of arthouse cinephelia and become a cultural moment, but Baker’s \u003cem>Anora\u003c/em> did it. A classic in waiting, Baker and his star Mikey Madison, who lifts the streetwise stripper trope, take audiences on an unforgettable ride in this fairy tale that falls apart in spectacular fashion.\u003c/p>\n\u003ch2>5. ‘Nickel Boys’\u003c/h2>\n\u003cp>Ross transforms Whitehead’s Pulitzer-winning novel about the abuses and generational trauma of a reform school in the Jim Crow South for the screen by employing first-person point-of-view. It’s a bold choice that pays off, transporting you into the heartbreaking reality of Elwood and Turner, two characters you won’t soon forget.\u003c/p>\n\u003ch2>6. ‘\u003ca href=\"https://www.kqed.org/arts/13952684/dune-part-two-sustains-the-dystopian-dream-of-part-one\">Dune: Part Two\u003c/a>’\u003c/h2>\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/Way9Dexny3w'\n title='//www.youtube.com/embed/Way9Dexny3w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Decades of dreaming about a film does not always seem to benefit said film, but Denis Villeneuve was able to translate his passion for Frank Herbert’s opus into pure cinematic spectacle, and doom, about the rise of a leader. It’s a grand and thrilling adventure that could make sci-fi nerds out of us all. Streaming on MAX.\u003c/p>\n\u003ch2>7. ‘\u003ca href=\"https://www.kqed.org/arts/13967522/kieran-culkin-shines-in-jesse-eisenbergs-deft-accomplished-a-real-pain\">A Real Pain\u003c/a>’\u003c/h2>\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/b2et8Vpu7Ls'\n title='//www.youtube.com/embed/b2et8Vpu7Ls'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jesse Eisenberg grapples with modern and historical trauma in the disarmingly entertaining road trip film \u003cem>A Real Pain\u003c/em>, which he wrote, directed and stars in alongside Kieran Culkin as cousins on a Holocaust tour in Poland. In theaters.\u003c/p>\n\u003ch2>8. ‘\u003ca href=\"https://www.kqed.org/arts/13965970/the-outrun-movie-review-saoirse-ronan-amy-liptrot-memoir\">The Outrun\u003c/a>’\u003c/h2>\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/pFv-v_wFsK8'\n title='//www.youtube.com/embed/pFv-v_wFsK8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Saoirse Ronan delivered one of the year’s absolute best performances as an alcoholic who goes further and further into seclusion in the Orkney Islands in an attempt to start life anew. Films about addiction are hardly novel, and yet Nora Fingscheidt captures the wild highs, lows and in-betweens of the human condition with unapologetic honesty. Available for digital rental.\u003c/p>\n\u003ch2>9. ‘\u003ca href=\"https://www.kqed.org/arts/13957223/evil-does-not-exist-movie-review-ryusuke-hamaguchi-nature-film\">Evil Does Not Exist\u003c/a>’\u003c/h2>\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/zVY4lWfrbME'\n title='//www.youtube.com/embed/zVY4lWfrbME'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ryûsuke Hamaguchi’s follow-up to \u003ca href=\"https://www.kqed.org/arts/13906968/drive-my-car-may-be-the-most-absorbing-ride-you-take-all-year\">\u003cem>Drive My Car\u003c/em>\u003c/a> takes us to a small mountain village in Japan, where residents are hesitant to welcome a big city company with plans to set up a glamping site. It’s a slow-burn kind of experience, with community debates about mountain streams and septic tanks that might not sound terribly exciting and yet it’s one of the year’s most haunting and effective. Streaming on Criterion Channel, available for digital rental.\u003c/p>\n\u003ch2>10. ‘\u003ca href=\"https://www.kqed.org/arts/13962259/delicate-and-powerful-good-one-is-one-of-the-years-indie-breakouts\">Good One\u003c/a>’\u003c/h2>\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/RGZNT7qgeG4'\n title='//www.youtube.com/embed/RGZNT7qgeG4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It was a great year for first-time directors, including India Donaldson whose quietly brilliant character study of a teenage girl on a camping trip with her dad and his friend resonates even a year later. Streaming on Apple TV+.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also: \u003cem>The Taste of Things, Green Border, Challengers, Beetlejuice Beetlejuice, La Cocina, Will & Harper, Conclave, Maria, Young Woman and the Sea, Tuesday, Lee\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "jay-zs-the-book-of-hov-exhibit-lives-up-to-its-name-and-becomes-a-book",
"title": "Jay-Z’s ‘The Book of Hov’ Exhibit Lives Up to Its Name and Becomes a Book",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/jay-z\">Jay-Z\u003c/a> ’s popular exhibit \u003ca href=\"https://www.thebookofhov.com/\">\u003cem>The Book of Hov\u003c/em>\u003c/a> in New York is about to live up to its name by becoming an actual book.\u003c/p>\n\u003cp>[aside postid='arts_13968608']\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> debuts Wednesday, following the success of Jay-Z’s free immersive exhibit at the Brooklyn Public Library, which drew more than 600,000 visitors in a six-month span last year. The 432-page book, released by Assouline, goes on pre-sale Tuesday.\u003c/p>\n\u003cp>The book serves as both a commemoration and a time capsule of the exhibition that celebrated the life and work of the 24-time Grammy winner, bringing together thousands of archived artifacts from his illustrious career. There are nearly 700 images. In the eight chapters, readers will find everything from iconic stage outfits to rare interviews, awards and never-before-seen photographs.\u003c/p>\n\u003cfigure id=\"attachment_13968981\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV.png\" alt=\"A blue book cover with white lettering on the front.\" width=\"2000\" height=\"1711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-800x684.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1020x873.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-160x137.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-768x657.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1536x1314.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1920x1643.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Book of Hov: A Tribute to Jay-Z.’ \u003ccite>(Assouline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chapter titles are drawn from Jay-Z’s lyrics.\u003c/p>\n\u003cp>\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> unveils Jay-Z’s deep connection with the art world and his rising business ventures, reveals his unique method of composing rhymes mentally and his criminal and social justice activism. It offers a tribute to Baseline Studios where \u003cem>The Blueprint\u003c/em> and \u003cem>The Black Album\u003c/em> were birthed. The book also captures him articulating his vision and manifesting his future through a series of interviews spanning several years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the book’s other highlights include the guitar Jay-Z played at the Glastonbury Festival; Daniel Arsham’s sculpture of the iconic \u003cem>HOV Hands\u003c/em>; his Rock & Roll Hall of Fame award; and hundreds of paper planes, which were created by New York City schoolchildren who wrote their dreams inside.\u003c/p>\n\u003cp>[aside postid='arts_13968679']\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> will be available in three editions: The classic version for $120, the ultimate for $2,000 and price upon request for five special limited- edition copies with a tri-fold each housed in a bronze slipcase artwork by Arsham.\u003c/p>\n\u003cp>A portion of the proceeds from the sale of the special limited edition will be donated to the Brooklyn Public Library.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Book of Hov: A Tribute to Jay-Z’ is released on Dec. 4, 2024 via Assouline. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> debuts Wednesday, following the success of Jay-Z’s free immersive exhibit at the Brooklyn Public Library, which drew more than 600,000 visitors in a six-month span last year. The 432-page book, released by Assouline, goes on pre-sale Tuesday.\u003c/p>\n\u003cp>The book serves as both a commemoration and a time capsule of the exhibition that celebrated the life and work of the 24-time Grammy winner, bringing together thousands of archived artifacts from his illustrious career. There are nearly 700 images. In the eight chapters, readers will find everything from iconic stage outfits to rare interviews, awards and never-before-seen photographs.\u003c/p>\n\u003cfigure id=\"attachment_13968981\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV.png\" alt=\"A blue book cover with white lettering on the front.\" width=\"2000\" height=\"1711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-800x684.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1020x873.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-160x137.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-768x657.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1536x1314.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1920x1643.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Book of Hov: A Tribute to Jay-Z.’ \u003ccite>(Assouline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chapter titles are drawn from Jay-Z’s lyrics.\u003c/p>\n\u003cp>\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> unveils Jay-Z’s deep connection with the art world and his rising business ventures, reveals his unique method of composing rhymes mentally and his criminal and social justice activism. It offers a tribute to Baseline Studios where \u003cem>The Blueprint\u003c/em> and \u003cem>The Black Album\u003c/em> were birthed. The book also captures him articulating his vision and manifesting his future through a series of interviews spanning several years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the book’s other highlights include the guitar Jay-Z played at the Glastonbury Festival; Daniel Arsham’s sculpture of the iconic \u003cem>HOV Hands\u003c/em>; his Rock & Roll Hall of Fame award; and hundreds of paper planes, which were created by New York City schoolchildren who wrote their dreams inside.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> will be available in three editions: The classic version for $120, the ultimate for $2,000 and price upon request for five special limited- edition copies with a tri-fold each housed in a bronze slipcase artwork by Arsham.\u003c/p>\n\u003cp>A portion of the proceeds from the sale of the special limited edition will be donated to the Brooklyn Public Library.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Book of Hov: A Tribute to Jay-Z’ is released on Dec. 4, 2024 via Assouline. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Have you ever bought a \u003ca href=\"https://www.kqed.org/arts/tag/christmas\">Christmas\u003c/a> gift for someone that you know just isn’t right for them? This often happens when we don’t take the time to consider the person’s interests — or are shopping at the last minute.\u003c/p>\n\u003cp>And when that happens, “that’s an awkward feeling” for both you and the recipient, says \u003ca href=\"https://www.rachelwmiller.com/\">Rachel Wilkerson Miller\u003c/a>, editor-in-chief of \u003cem>SELF Magazine\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13968491']This holiday season, let’s give our loved ones gifts they will actually appreciate, shall we? One easy way to do that is to think about their personality type as a guide for your choices, says Miller. People who are more practical, for example, probably won’t want the same kinds of presents as those who are sentimental.\u003c/p>\n\u003cp>The key is to “really think about your relationship with that person,” says \u003ca href=\"https://www.instagram.com/aasian/?hl=en\">Asia Jackson\u003c/a>, an actress and content creator who loves sharing gift ideas — \u003ca href=\"https://www.youtube.com/watch?v=Pd1YOxKbB-U\">especially low-cost ones\u003c/a> — with her nearly half a million YouTube subscribers.\u003c/p>\n\u003cp>“What have you been talking about in your conversations? What have you heard that they liked or disliked?” she says. Those insights can “give you an idea for what you could give to them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Miller and Jackson share advice on how to buy meaningful presents for five different personality types.\u003c/p>\n\u003ch3>The practical one\u003c/h3>\n\u003cp>Got that special someone in your life who gets more excited about a tool kit than a designer purse? You might be dealing with a person who is into practical gifts.\u003c/p>\n\u003cp>Get them something they can use in their daily lives — whether it’s something that helps lower their spending costs or an item that has practical value (like a \u003ca href=\"https://www.foodnetwork.com/how-to/packages/shopping/product-reviews/best-can-openers\">really good can opener\u003c/a>).\u003c/p>\n\u003cp>Miller recommends gift cards for services like oil changes, car washes, house cleaning or dog walking. “[Think] about the pain points in their everyday life. What are they stressed about having to take care of? How can you take care of that for them?” she says.\u003c/p>\n\u003cp>[aside postid='arts_13968478']If you’re on a budget — think about how \u003cem>you\u003c/em> can provide the service. “Give them a booklet of [homemade] coupons,” says Jackson. “Write something like, ‘I’ll babysit your kid so you can have a date night out.’ “You can also make coupons for other errands like delivering meals or picking up groceries.\u003c/p>\n\u003cp>And if your practical gift recipient has a wish list — just get something off it, says Miller. For this personality type,”it’s not a copout. It’s fine to buy them exactly what they asked for” — a sensible solution for your sensible gift-recipient.\u003c/p>\n\u003ch3>The sentimental one\u003c/h3>\n\u003cp>A generic gift card likely won’t cut it for someone who gets misty-eyed at a handmade scrapbook. Gifts for a sentimental loved one should symbolize your relationship, says Miller.\u003c/p>\n\u003cp>Consider giving them a memento that relates to a memory you both share, she says. Let’s say your partner proposed to you this year at the fancy French restaurant where you first met. Miller says reach out to the business and ask for some help. Maybe get a print copy of the menu from that day and put it in a nice frame. Or get “the secret recipe to their amazing pumpkin bread,” says Miller. It shows you went the extra mile to get something special.\u003c/p>\n\u003cp>These gift recipients also love customized objects, says Miller. Think personalized T-shirts, charcuterie boards or jewelry on Etsy. They show how well you know the person and that you value their individuality.\u003c/p>\n\u003cp>Handmade gifts like paintings, ceramics and knitwear are great too, says Jackson. Sentimental types will cherish the time and effort you put into making these items. And don’t be afraid to keep things simple.”It could literally be an origami swan that says ‘I love you’ on it — and the person receiving it would appreciate it,” says Jackson.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://media.npr.org/assets/img/2022/12/14/chart-gift_custom-4924a71e59d060105b87213d15114d5de4682337.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Malaka Gharib/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The one who’s into experiences\u003c/h3>\n\u003cp>Maybe your loved one lights up more at the idea of a scenic hike than another tchotchke for their shelf.\u003c/p>\n\u003cp>For these folks, activity-based gifts are the way to go, says Miller. “You want [to get something with the] implication that we’re going to work on this thing together.” Think Lego sets (this \u003ca href=\"https://www.lego.com/en-us/product/succulents-10309\">one that looks like succulents\u003c/a> doubles as home decor), jigsaw puzzles and board games (like this addictive two-player \u003ca href=\"https://www.amazon.com/Board-Games-Two-Lanterns-MR01/dp/B00CS41TQ0\">mushroom-hunting game\u003c/a>, Morels). You could even get them a membership to a local museum you both enjoy.\u003c/p>\n\u003cp>Cookbooks also make terrific gifts, says Miller. Pick one that has a personal tie — maybe one written by a chef from a cooking show you both enjoy (\u003ca href=\"https://www.npr.org/2022/10/28/1132205161/mexican-cooking-ingredients-expert-tips\">or heard about\u003c/a> on \u003ca href=\"https://www.npr.org/2022/03/28/1089175288/authentic-cooking-korean-american-food\">Life Kit\u003c/a>!) — then suggest future dates to cook from the book together.\u003c/p>\n\u003ch3>The cozy one\u003c/h3>\n\u003cp>These gift recipients want something that not only feels good \u003cem>on\u003c/em> their body but helps them “feel good\u003cem> in\u003c/em> their own body,” says Jackson.\u003c/p>\n\u003cp>[aside postid='arts_13968322']Focus your attention on gifts that can help your loved one relax and de-stress, like a massage gun, says Miller. These handheld devices offer targeted vibration to simulate a massage at home.\u003c/p>\n\u003cp>Or get them soft and fuzzy items to get them into the \u003ca href=\"https://www.npr.org/2022/10/14/1128960386/its-hygge-season-how-to-embrace-the-danish-lifestyle-of-rest-and-coziness\">hygge spirit\u003c/a>, like a “lush robe or cozy blanket,” says Miller.\u003c/p>\n\u003cp>Turn your gift into an experience by pairing it with something that you can both do together. For example, if you’re giving a blanket, “give it with a popcorn bowl [and say] ‘this is for us to cuddle up and have movie night,'” says Miller.\u003c/p>\n\u003ch3>The one who has it all\u003c/h3>\n\u003cp>Lastly, there’s that person who just seems impossible to shop for. Whatever they want, they get for themselves. What’s left for you to give them?\u003c/p>\n\u003cp>One possible idea is to give them something totally fun and unexpected, says Miller — like a personalized video message from a celebrity. The app \u003ca href=\"https://www.cameo.com/?g_network=g&g_adid=519422005594&g_keyword=cameo&g_campaign=US_GGLADS_Core_ACQ_Evergreen_EM_CameoKeyword_SB_INT_ENG_110821_%28%29&g_adgroupid=128141006584&g_keywordid=kwd-13259836&utm_source=google&utm_campaign=12810371164&g_adtype=search&g_acctid=899-640-7900&g_campaignid=12810371164&utm_medium=cpc&utm_term=cameo-128141006584&&utm_campaign=12810371164&utm_source=google&utm_campaign=12810371164&utm_medium=cpc&utm_term=cameo-128141006584&gclid=CjwKCAiAheacBhB8EiwAItVO241b2sBVCjSavkFFI4GVfSz-vg_T9iVsLZ0rTMYDfkEgvxsO3395-RoCYjEQAvD_BwE&gclsrc=aw.ds\">Cameo\u003c/a>, for example, allows people to commission these messages from actors like Freddie Prinze, Jr., and musician Mark McGrath. Choose a celeb who your loved one would want to hear words of encouragement from — and “they can replay that whenever they need a little pick-me-up,” says Miller.\u003c/p>\n\u003cp>Another idea is to give them something priceless — like a heartfelt, handwritten letter telling them just how much they mean to you, says Jackson.\u003c/p>\n\u003cp>[aside postid='arts_13939307']She says that’s been one of the best gifts she’s ever given her father. Once, when they were on vacation together, Jackson wrote a note to him using the hotel notepad.\u003c/p>\n\u003cp>“I wrote this long letter and I put it underneath his phone,” says Jackson. The next morning, she heard sniffling. “I turned around and it was my dad reading the letter and he really, really appreciated it.”\u003c/p>\n\u003cp>If you’re still not quite sure what to give, don’t stress. Remember the golden rule of gift giving, says Miller. “It’s the thought that counts. If you get it wrong, there’s always next year.”\u003c/p>\n\u003cp>\u003cem>The digital story was edited by Malaka Gharib with art direction by Beck Harlan. We’d love to hear from you. Leave us a voicemail at \u003c/em>\u003ca href=\"tel:2022169823\">\u003cem>202-216-9823\u003c/em>\u003c/a>\u003cem>, or email us at \u003c/em>\u003ca href=\"mailto:LifeKit@npr.org\">\u003cem>LifeKit@npr.org\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Listen to Life Kit on\u003c/em>\u003ca href=\"http://n.pr/3LdRb0X\">\u003cem> Apple Podcasts\u003c/em>\u003c/a>\u003cem> and\u003c/em>\u003ca href=\"http://n.pr/3K3xVln\">\u003cem> Spotify\u003c/em>\u003c/a>\u003cem>, or sign up for our\u003c/em>\u003ca href=\"http://n.pr/3xN1tB9\">\u003cem> newsletter\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Have you ever bought a \u003ca href=\"https://www.kqed.org/arts/tag/christmas\">Christmas\u003c/a> gift for someone that you know just isn’t right for them? This often happens when we don’t take the time to consider the person’s interests — or are shopping at the last minute.\u003c/p>\n\u003cp>And when that happens, “that’s an awkward feeling” for both you and the recipient, says \u003ca href=\"https://www.rachelwmiller.com/\">Rachel Wilkerson Miller\u003c/a>, editor-in-chief of \u003cem>SELF Magazine\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This holiday season, let’s give our loved ones gifts they will actually appreciate, shall we? One easy way to do that is to think about their personality type as a guide for your choices, says Miller. People who are more practical, for example, probably won’t want the same kinds of presents as those who are sentimental.\u003c/p>\n\u003cp>The key is to “really think about your relationship with that person,” says \u003ca href=\"https://www.instagram.com/aasian/?hl=en\">Asia Jackson\u003c/a>, an actress and content creator who loves sharing gift ideas — \u003ca href=\"https://www.youtube.com/watch?v=Pd1YOxKbB-U\">especially low-cost ones\u003c/a> — with her nearly half a million YouTube subscribers.\u003c/p>\n\u003cp>“What have you been talking about in your conversations? What have you heard that they liked or disliked?” she says. Those insights can “give you an idea for what you could give to them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Miller and Jackson share advice on how to buy meaningful presents for five different personality types.\u003c/p>\n\u003ch3>The practical one\u003c/h3>\n\u003cp>Got that special someone in your life who gets more excited about a tool kit than a designer purse? You might be dealing with a person who is into practical gifts.\u003c/p>\n\u003cp>Get them something they can use in their daily lives — whether it’s something that helps lower their spending costs or an item that has practical value (like a \u003ca href=\"https://www.foodnetwork.com/how-to/packages/shopping/product-reviews/best-can-openers\">really good can opener\u003c/a>).\u003c/p>\n\u003cp>Miller recommends gift cards for services like oil changes, car washes, house cleaning or dog walking. “[Think] about the pain points in their everyday life. What are they stressed about having to take care of? How can you take care of that for them?” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If you’re on a budget — think about how \u003cem>you\u003c/em> can provide the service. “Give them a booklet of [homemade] coupons,” says Jackson. “Write something like, ‘I’ll babysit your kid so you can have a date night out.’ “You can also make coupons for other errands like delivering meals or picking up groceries.\u003c/p>\n\u003cp>And if your practical gift recipient has a wish list — just get something off it, says Miller. For this personality type,”it’s not a copout. It’s fine to buy them exactly what they asked for” — a sensible solution for your sensible gift-recipient.\u003c/p>\n\u003ch3>The sentimental one\u003c/h3>\n\u003cp>A generic gift card likely won’t cut it for someone who gets misty-eyed at a handmade scrapbook. Gifts for a sentimental loved one should symbolize your relationship, says Miller.\u003c/p>\n\u003cp>Consider giving them a memento that relates to a memory you both share, she says. Let’s say your partner proposed to you this year at the fancy French restaurant where you first met. Miller says reach out to the business and ask for some help. Maybe get a print copy of the menu from that day and put it in a nice frame. Or get “the secret recipe to their amazing pumpkin bread,” says Miller. It shows you went the extra mile to get something special.\u003c/p>\n\u003cp>These gift recipients also love customized objects, says Miller. Think personalized T-shirts, charcuterie boards or jewelry on Etsy. They show how well you know the person and that you value their individuality.\u003c/p>\n\u003cp>Handmade gifts like paintings, ceramics and knitwear are great too, says Jackson. Sentimental types will cherish the time and effort you put into making these items. And don’t be afraid to keep things simple.”It could literally be an origami swan that says ‘I love you’ on it — and the person receiving it would appreciate it,” says Jackson.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://media.npr.org/assets/img/2022/12/14/chart-gift_custom-4924a71e59d060105b87213d15114d5de4682337.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Malaka Gharib/ NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The one who’s into experiences\u003c/h3>\n\u003cp>Maybe your loved one lights up more at the idea of a scenic hike than another tchotchke for their shelf.\u003c/p>\n\u003cp>For these folks, activity-based gifts are the way to go, says Miller. “You want [to get something with the] implication that we’re going to work on this thing together.” Think Lego sets (this \u003ca href=\"https://www.lego.com/en-us/product/succulents-10309\">one that looks like succulents\u003c/a> doubles as home decor), jigsaw puzzles and board games (like this addictive two-player \u003ca href=\"https://www.amazon.com/Board-Games-Two-Lanterns-MR01/dp/B00CS41TQ0\">mushroom-hunting game\u003c/a>, Morels). You could even get them a membership to a local museum you both enjoy.\u003c/p>\n\u003cp>Cookbooks also make terrific gifts, says Miller. Pick one that has a personal tie — maybe one written by a chef from a cooking show you both enjoy (\u003ca href=\"https://www.npr.org/2022/10/28/1132205161/mexican-cooking-ingredients-expert-tips\">or heard about\u003c/a> on \u003ca href=\"https://www.npr.org/2022/03/28/1089175288/authentic-cooking-korean-american-food\">Life Kit\u003c/a>!) — then suggest future dates to cook from the book together.\u003c/p>\n\u003ch3>The cozy one\u003c/h3>\n\u003cp>These gift recipients want something that not only feels good \u003cem>on\u003c/em> their body but helps them “feel good\u003cem> in\u003c/em> their own body,” says Jackson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Focus your attention on gifts that can help your loved one relax and de-stress, like a massage gun, says Miller. These handheld devices offer targeted vibration to simulate a massage at home.\u003c/p>\n\u003cp>Or get them soft and fuzzy items to get them into the \u003ca href=\"https://www.npr.org/2022/10/14/1128960386/its-hygge-season-how-to-embrace-the-danish-lifestyle-of-rest-and-coziness\">hygge spirit\u003c/a>, like a “lush robe or cozy blanket,” says Miller.\u003c/p>\n\u003cp>Turn your gift into an experience by pairing it with something that you can both do together. For example, if you’re giving a blanket, “give it with a popcorn bowl [and say] ‘this is for us to cuddle up and have movie night,'” says Miller.\u003c/p>\n\u003ch3>The one who has it all\u003c/h3>\n\u003cp>Lastly, there’s that person who just seems impossible to shop for. Whatever they want, they get for themselves. What’s left for you to give them?\u003c/p>\n\u003cp>One possible idea is to give them something totally fun and unexpected, says Miller — like a personalized video message from a celebrity. The app \u003ca href=\"https://www.cameo.com/?g_network=g&g_adid=519422005594&g_keyword=cameo&g_campaign=US_GGLADS_Core_ACQ_Evergreen_EM_CameoKeyword_SB_INT_ENG_110821_%28%29&g_adgroupid=128141006584&g_keywordid=kwd-13259836&utm_source=google&utm_campaign=12810371164&g_adtype=search&g_acctid=899-640-7900&g_campaignid=12810371164&utm_medium=cpc&utm_term=cameo-128141006584&&utm_campaign=12810371164&utm_source=google&utm_campaign=12810371164&utm_medium=cpc&utm_term=cameo-128141006584&gclid=CjwKCAiAheacBhB8EiwAItVO241b2sBVCjSavkFFI4GVfSz-vg_T9iVsLZ0rTMYDfkEgvxsO3395-RoCYjEQAvD_BwE&gclsrc=aw.ds\">Cameo\u003c/a>, for example, allows people to commission these messages from actors like Freddie Prinze, Jr., and musician Mark McGrath. Choose a celeb who your loved one would want to hear words of encouragement from — and “they can replay that whenever they need a little pick-me-up,” says Miller.\u003c/p>\n\u003cp>Another idea is to give them something priceless — like a heartfelt, handwritten letter telling them just how much they mean to you, says Jackson.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She says that’s been one of the best gifts she’s ever given her father. Once, when they were on vacation together, Jackson wrote a note to him using the hotel notepad.\u003c/p>\n\u003cp>“I wrote this long letter and I put it underneath his phone,” says Jackson. The next morning, she heard sniffling. “I turned around and it was my dad reading the letter and he really, really appreciated it.”\u003c/p>\n\u003cp>If you’re still not quite sure what to give, don’t stress. Remember the golden rule of gift giving, says Miller. “It’s the thought that counts. If you get it wrong, there’s always next year.”\u003c/p>\n\u003cp>\u003cem>The digital story was edited by Malaka Gharib with art direction by Beck Harlan. We’d love to hear from you. Leave us a voicemail at \u003c/em>\u003ca href=\"tel:2022169823\">\u003cem>202-216-9823\u003c/em>\u003c/a>\u003cem>, or email us at \u003c/em>\u003ca href=\"mailto:LifeKit@npr.org\">\u003cem>LifeKit@npr.org\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Life Kit on\u003c/em>\u003ca href=\"http://n.pr/3LdRb0X\">\u003cem> Apple Podcasts\u003c/em>\u003c/a>\u003cem> and\u003c/em>\u003ca href=\"http://n.pr/3K3xVln\">\u003cem> Spotify\u003c/em>\u003c/a>\u003cem>, or sign up for our\u003c/em>\u003ca href=\"http://n.pr/3xN1tB9\">\u003cem> newsletter\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13968937\" class=\"wp-caption aligncenter\" style=\"max-width: 1370px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968937\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue.png\" alt=\"A book cover depicting iron gates with the word 'Bellvue' on them. Cloudy skies hang low overhead.\" width=\"1370\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue.png 1370w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1020x1489.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-768x1121.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1052x1536.png 1052w\" sizes=\"(max-width: 1370px) 100vw, 1370px\">\u003cfigcaption class=\"wp-caption-text\">‘Bellevue’ by Robin Cook. \u003ccite>(G.P. Putnam's Sons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The building on New York’s East Side that used to house Bellevue Psychiatric Hospital has inspired tales of horror from the likes of H.P. Lovecraft and served as the model for Arkham Asylum in fictional Gotham City. For novelist Robin Cook, who interned there in the 1960s, it’s the perfect setting for his latest medical thriller.\u003c/p>\n\u003cp>\u003cem>Bellevue\u003c/em> is set in the present day, but hearkens often to the hospital’s controversial and storied past. The plot centers around 23-year-old Mitt Fuller, embarking on his surgical residency at the iconic hospital. Mitt’s “long and impressive medical pedigree” goes back more than 400 years and includes three previous surgeons and a psychiatrist. It’s always been Mitt’s dream to follow in his forefathers’ footsteps.\u003c/p>\n\u003cp>[aside postid='arts_13968593']But this is a Robin Cook novel, so readers shouldn’t be surprised that Mitt’s dream slowly becomes a nightmare. Cook does a nice job of drawing readers into the tale, not horrifying them all at once. Mitt possesses a little precognitive power and can sometimes see things before they happen or sense when he’s in danger. So when forceps start moving of their own accord during a procedure or sutures untie themselves, readers and Mitt get a serious case of the heebie-jeebies.\u003c/p>\n\u003cp>Readers learn early in the story why the hospital is haunted, but dramatic irony is at play for more than a hundred pages as Mitt assembles the puzzle and unearths his family’s buried secrets. Mitt’s medical training and belief in science don’t exactly square with a haunted hospital, but when he meets another hospital employee whose family has a history at the institution, together they put together the rest of the pieces.\u003c/p>\n\u003cp>The denouement is jarring, but feels earned. Cook has told a tale that delivers a measure of justice for some patients, while preserving the dreadful mystique spelled out on top of the “decorative rusty wrought iron fence” at the southeastern corner of First Avenue and 30th Street: B-E-L-L-E-V-U-E.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Bellevue’ by Robin Cook is out on Dec. 3, 2024, via G.P. Putnam’s Sons.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"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.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
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"source": "Commonwealth Club of California"
},
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"title": "Forum",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"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"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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