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"content": "\u003cp>The United States Postal Service might have found a way to unite a nation bitterly divided after \u003ca href=\"https://www.kqed.org/elections/results\">this month’s election\u003c/a>: It’s releasing a \u003ca href=\"https://www.kqed.org/arts/13907623/betty-white-a-beloved-icon-and-actress-since-the-beginning-of-tv-has-died-at-age-99\">Betty White\u003c/a> stamp.\u003c/p>\n\u003cp>The beloved actor known for roles in \u003ca href=\"https://www.kqed.org/arts/13866589/why-we-need-jane-lynch-and-cyndi-laupers-golden-girls-reboot\">\u003cem>The Golden Girls\u003c/em>\u003c/a>, \u003cem>The Mary Tyler Moore Show\u003c/em>, \u003cem>Boston Legal\u003c/em> and others will be on a 2025 Forever stamp, \u003ca href=\"https://about.usps.com/newsroom/local-releases/ct/2024/1115-usps-provides-sneak-peek-at-2025-stamps.htm\">USPS announced Friday\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13907623']White died in late December 2021, less than three weeks before her 100th birthday. The Postal Service hasn’t announced a release date for the stamp.\u003c/p>\n\u003cp>“An icon of American television, Betty White (1922–2021) shared her wit and warmth with viewers for seven decades,” the Postal Service said in announcing the stamp, which depicts a smiling White based on a 2010 photograph by celebrity photographer Kwaku Alston. “The comedic actor, who gained younger generations of fans as she entered her 90s, was also revered as a compassionate advocate for animals.”\u003c/p>\n\u003cp>Boston-based artist Dale Stephanos created the digital illustration from Alston’s photo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’d love to send a letter back to my 18-year-old self with this stamp on it and tell him that everything is going to be OK,” Stephanos posted on Facebook.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dale-s.png\" alt=\"\" width=\"1375\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dale-s.png 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dale-s-800x1164.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dale-s-1020x1484.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dale-s-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dale-s-768x1117.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dale-s-1056x1536.png 1056w\" sizes=\"(max-width: 1375px) 100vw, 1375px\">\u003c/p>\n\u003cp>Regardless of personal politics, self-proclaimed supporters of President-elect Donald Trump and Vice President Kamala Harris reacted with delight on social media.\u003c/p>\n\u003cp>“Betty White was my hero, all of my life! I actually had a doll when I was a little girl I named Betty White,” \u003ca href=\"https://x.com/JoChandler45859/status/1857550478634000731\">one Trump supporter posted\u003c/a> on X, formerly Twitter.\u003c/p>\n\u003cp>[aside postid='news_11943906']“Something to make this awful week a little better: We’re getting a Betty White stamp,” \u003ca href=\"https://x.com/DisavowTrump20/status/1857576064937066745\">posted a pro-Harris X account\u003c/a>.\u003c/p>\n\u003cp>White combined a wholesome image with a flare for bawdy jokes. Her television career began in the early 1950s and exploded as she aged.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The only \u003cem>SNL\u003c/em> host I ever saw get a standing ovation at the after party,” Seth Meyers posted on Twitter after her death. “A party at which she ordered a vodka and a hotdog and stayed til the bitter end.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’d love to send a letter back to my 18-year-old self with this stamp on it and tell him that everything is going to be OK,” Stephanos posted on Facebook.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dale-s.png\" alt=\"\" width=\"1375\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dale-s.png 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dale-s-800x1164.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dale-s-1020x1484.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dale-s-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dale-s-768x1117.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dale-s-1056x1536.png 1056w\" sizes=\"(max-width: 1375px) 100vw, 1375px\">\u003c/p>\n\u003cp>Regardless of personal politics, self-proclaimed supporters of President-elect Donald Trump and Vice President Kamala Harris reacted with delight on social media.\u003c/p>\n\u003cp>“Betty White was my hero, all of my life! I actually had a doll when I was a little girl I named Betty White,” \u003ca href=\"https://x.com/JoChandler45859/status/1857550478634000731\">one Trump supporter posted\u003c/a> on X, formerly Twitter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It is a rare feat for a documentary series to educate, shatter emotionally, uplift and terrify all at once, but \u003cem>Tsunami: Race Against Time\u003c/em> manages all of the above.\u003c/p>\n\u003cp>Several documentaries (and a 2012 drama, \u003cem>The Impossible\u003c/em>) have attempted to capture the devastation of the 2004 Indian Ocean tsunami that impacted 14 countries and killed more than 225,000 people. But only \u003cem>Race Against Time\u003c/em> has done so on a scale befitting the tragedy. Across four episodes, the ambitious National Geographic series conveys the events of Dec. 26, 2004 from every possible angle, using a wealth of archival footage, often playing more like a dramatic thriller than a documentary series.\u003c/p>\n\u003cp>[aside postid='arts_13965858']In each episode, survivors — tourists and locals alike — describe in gripping detail their experiences in Thailand, Indonesia and Sri Lanka. Heartwarming stories of reunions contrast with devastating recollections of lives lost. There are even love stories of unbreakable bonds, formed by surviving hell on Earth. (“When I found out he saved me,” a woman says at one point, “I knew he was the man I wanted to marry.”)\u003c/p>\n\u003cp>\u003cem>Race Against Time\u003c/em> also honors the children who were forced to fend for themselves in the worst possible circumstances. The filmmakers went to the trouble of tracking down the last survivor found in Banda Aceh, Indonesia — a small boy who had endured, scavenging and alone, for three weeks. When the archival footage of his rescue is juxtaposed with footage of the present day, it is a genuine relief to see him happy and healthy 20 years on.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4V_xX3UDHb8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Acting as an anchor of the piece is seismologist Barry Hirshorn, who was on duty at the Pacific Tsunami Warning Center in Hawaii on the day of the calamity. Hirshorn begins by describing the essential science behind the disaster, vividly and in terms everybody can understand.\u003c/p>\n\u003cp>“An earthquake that occurs under the ocean actually lifts the ocean bottom. Imagine a line of 1,000 kilometers of water being lifted vertically,” Hirshorn says. “When the gravity pulls it down, the wave separates and spreads out in two directions. As you get near a coast, you’re not going to see what we think of as ocean waves. I think of it as more like a steamroller.” In case anyone is left in doubt as to the sheer power he describes, Hirshorn explains that the energy released by the earthquake causing the tsunami was equivalent to 23,000 “Hiroshima-type atomic bombs.”\u003c/p>\n\u003cp>[aside postid='arts_13966836']Hirshorn also agonizingly details how he and his colleagues tried to warn countries in the path of the approaching tsunami. Their efforts were largely unsuccessful, because the endangered locations didn’t have warning systems in place at the time. Hearing Hirshorn relive the experience of knowing carnage was imminent, desperately trying to get thousands of humans out of harm’s way and being foiled by logistics raises the blood pressure again and again.\u003c/p>\n\u003cp>\u003cem>Race Against Time\u003c/em> doesn’t stop there. It also delineates the confusion in the media during the earliest coverage of the disaster. Sri Lanka was first thought to be the country most affected; in reality, Indonesia was hit the hardest (167,000 people died there). That took many hours to fully comprehend because the country’s communications networks had been wiped out. The issue was exacerbated by understaffed, holiday-period newsrooms.\u003c/p>\n\u003cp>\u003cem>Race Against Time\u003c/em> is an often challenging, and harrowing, viewing experience. But there’s just enough hope to get viewers through it. Many of the featured survivors tell of strangers — \u003cem>so many\u003c/em> fearless strangers — who, under pressure, transformed into indefatigable heroes who put their own lives at risk to save others.\u003c/p>\n\u003cp>One young woman’s story of a family trip to an isolated island plays out like a horror movie — until one brave police lieutenant arrives on a Jet Ski. One Sri Lankan bus station security guard returns to violent waters again and again to rescue passengers. A vacationing British doctor springs into improvised action to help the multitude of injured people on an isolated Thai island — even though his girlfriend has been swept away in the disaster and he does not yet know her fate.\u003c/p>\n\u003cp>[aside postid='arts_13966737']All told, \u003cem>Race Against Time \u003c/em>is an extraordinarily thorough documentation of the deadliest tsunami in recorded human history. It is a story of nature’s power and humanity’s fragility — and of human endurance. It is a cautionary tale that seeks to educate viewers about recognizing when a tsunami is imminent.\u003c/p>\n\u003cp>Above all, \u003cem>Race Against Time \u003c/em> is a moving and fitting tribute to mark the 20th anniversary of an almost unfathomable tragedy.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tsunami: Race Against Time’ premieres on Nat Geo on Nov. 24, 2024, and begins streaming the following day on Hulu and Disney+.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hirshorn also agonizingly details how he and his colleagues tried to warn countries in the path of the approaching tsunami. Their efforts were largely unsuccessful, because the endangered locations didn’t have warning systems in place at the time. Hearing Hirshorn relive the experience of knowing carnage was imminent, desperately trying to get thousands of humans out of harm’s way and being foiled by logistics raises the blood pressure again and again.\u003c/p>\n\u003cp>\u003cem>Race Against Time\u003c/em> doesn’t stop there. It also delineates the confusion in the media during the earliest coverage of the disaster. Sri Lanka was first thought to be the country most affected; in reality, Indonesia was hit the hardest (167,000 people died there). That took many hours to fully comprehend because the country’s communications networks had been wiped out. The issue was exacerbated by understaffed, holiday-period newsrooms.\u003c/p>\n\u003cp>\u003cem>Race Against Time\u003c/em> is an often challenging, and harrowing, viewing experience. But there’s just enough hope to get viewers through it. Many of the featured survivors tell of strangers — \u003cem>so many\u003c/em> fearless strangers — who, under pressure, transformed into indefatigable heroes who put their own lives at risk to save others.\u003c/p>\n\u003cp>One young woman’s story of a family trip to an isolated island plays out like a horror movie — until one brave police lieutenant arrives on a Jet Ski. One Sri Lankan bus station security guard returns to violent waters again and again to rescue passengers. A vacationing British doctor springs into improvised action to help the multitude of injured people on an isolated Thai island — even though his girlfriend has been swept away in the disaster and he does not yet know her fate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All told, \u003cem>Race Against Time \u003c/em>is an extraordinarily thorough documentation of the deadliest tsunami in recorded human history. It is a story of nature’s power and humanity’s fragility — and of human endurance. It is a cautionary tale that seeks to educate viewers about recognizing when a tsunami is imminent.\u003c/p>\n\u003cp>Above all, \u003cem>Race Against Time \u003c/em> is a moving and fitting tribute to mark the 20th anniversary of an almost unfathomable tragedy.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tsunami: Race Against Time’ premieres on Nat Geo on Nov. 24, 2024, and begins streaming the following day on Hulu and Disney+.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On June 13, 1978, Joe Rees, the videographer that ran Mission District live venue/punk rock archive \u003ca href=\"https://www.kqed.org/arts/13938024/old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die\">Target Video\u003c/a>, packed up a portable Sony black-and-white camera and drove to Napa with his cohort, Jill Hoffman-Kowal.\u003c/p>\n\u003cp>The two were hitting the road to film a live show — something they did all the time. As documentarians that saw the importance of capturing every grimy little punk show they could, they were accustomed to making things work under chaotic circumstances.\u003c/p>\n\u003cp>Even by Target Video standards, however, this set would be a little bit different.\u003c/p>\n\u003cp>[aside postid='arts_13967161']That sunny June afternoon, The Cramps would play a free concert at Napa State Hospital, a psychiatric facility that had been around since 1875, and which provided mental health services to resident patients. San Francisco’s The Mutants — easily as anarchic as their New York City stagemates — had agreed to perform too.\u003c/p>\n\u003cp>By the time punk rock got to it, the Napa State Hospital already had quite the reputation. It first opened inside a beautiful brick building, complete with elegant arches and towers, to ease overcrowding at the Stockton State Hospital. But by 1891, Napa State itself housed more than 1,300 psychiatric patients — double the population it was designed for. By 1920, wards meant for 26 people were accommodating as many as 64, and \u003ca href=\"https://www.pbs.org/newshour/health/analysis-californias-forced-sterilization-programs-once-harmed-thousands-especially-latinas\">sterilization procedures became common\u003c/a>. In 1950, the hospital’s gorgeous architecture was demolished to build more practical, utilitarian structures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s what The Cramps and The Mutants encountered in 1978, as they set up their equipment in the courtyard outside the hospital building, next to the gym. How both bands got there was a series of twists masterminded by music impresario Howie Klein. Back then, Klein was best known as the host of punk rock radio show \u003ci>\u003ca href=\"https://radiothrills.com/outcastes.htm\">The Outcastes\u003c/a> \u003c/i>and the founder of \u003ca href=\"https://www.discogs.com/label/16439-415-Records\">415 Records\u003c/a>. When the San Francisco date of their tour fell through, The Cramps approached Klein and asked for advice. He took it upon himself to book the Napa State show and, already a big fan of the local band’s live antics, invited The Mutants along.\u003c/p>\n\u003cfigure id=\"attachment_13968185\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968185\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108.jpg\" alt=\"\" width=\"2000\" height=\"1346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1536x1034.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1920x1292.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Mutants perform live at an outdoor show in the courtyard of Napa State Hospital, a psychiatric hospital in Napa, California, on June 13, 1978. \u003ccite>(Ruby Ray/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>(Remarkably, there was precedence for this in the North Bay: Sebastopol art-punks $27 Snap On Face had \u003ca href=\"https://bohemian.com/what-happened-to-those-guys-1/\">previously played at Sonoma State Hospital for the developmentally disabled\u003c/a>, and included the applause of patients on 1977’s \u003ca href=\"https://www.discogs.com/release/2778143-27-Snap-On-Face-Heterodyne-State-Hospital\">\u003cem>Heterodyne State Hospital\u003c/em>\u003c/a> album.)\u003c/p>\n\u003cp>Sally Webster of The Mutants later stated in 2021 documentary, \u003ca href=\"https://www.youtube.com/watch?v=KwwRQVgW-0g\">\u003cem>We Were There to Be There\u003c/em>\u003c/a>: “We were not thinking of it as ironic or weird or anything like that at the time. This is just an adventure for everyone.” Webster also admitted that she and a number of friends she brought along that day had taken LSD, which gave her a heightened sense of unity with everyone at the show. “It was just an inclusive situation,” she explained, “where the audience and the band were kinda one.”\u003c/p>\n\u003cp>[aside postid='arts_13845645']She may have been intoxicated at the time, but Webster was not exaggerating. During the Cramps’ eight-song set, hospital patients jumped onstage, mimed along, danced with band members and took over the mic and screamed into it. No one seemed at all concerned that some of those patients had come from a special unit at Napa State that housed individuals considered a danger to themselves or others.\u003c/p>\n\u003cp>“It was a beautiful, beautiful thing,” Rees later said of the show. “I mean, you don’t know who’s who in that video. The band members and the mental patients are the same.”\u003c/p>\n\u003cp>“Some people told me you people are crazy,” vocalist Lux Interior stated after The Cramps’ opening song, “Mystery Plane.” “But I’m not so sure about that. You seem to be alright to me…”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-JnkW2JhHJc\u003c/p>\n\u003cp>As can be clearly seen in Rees’ footage above, The Cramps were a hit with the Napa State residents that day.\u003c/p>\n\u003cp>“They were the people that were just discarded,” the filmmaker stated in his \u003cem>We Were There to Be There\u003c/em> interview, “and they were so overwhelmed by someone even caring to put on a show, and they got so into it.”\u003c/p>\n\u003cp>So into it, in fact, that rumors swirled afterward of several successful escape attempts by patients. “I think someone left with us, to be honest,” Webster vaguely recalled.\u003c/p>\n\u003cp>[aside postid='arts_13938024']Klein’s memories of the ride home were more specific. “There was this one woman,” he recalled. “She was basically wearing a nightgown and she was running down the road, and I stopped and she jumped in [the van], and we drove back to San Francisco with her. And she became a stalwart in the San Francisco scene. She became a respected and loved member of the community.”\u003c/p>\n\u003cp>Alan Gill, a psychiatric technician at Napa State throughout the 1970s and ’80s noted that the show was most definitely not a hit with one very specific faction: the administration of the hospital.\u003c/p>\n\u003cp>“There was a lot of pushback,” he remembered. “Administrators obviously are the older folk — the suit-and-tie gang — and they were not at all pleased … I think there might even have been disciplinary action.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Mutants’ set from Napa State is not currently streaming, but can be seen in\u003c/em> ‘\u003cem>\u003ca href=\"https://www.ebay.com/itm/196542461769?chn=ps&norover=1&mkevt=1&mkrid=711-117182-37290-0&mkcid=2&mkscid=101&itemid=196542461769&targetid=2299003535995&device=c&mktype=pla&googleloc=9032200&poi=&campaignid=21203633013&mkgroupid=162035688435&rlsatarget=pla-2299003535995&abcId=9407526&merchantid=101492502&gad_source=1&gclid=Cj0KCQiA_9u5BhCUARIsABbMSPtvlqrnnDOnRx5-MWYhjCC_9kD4bji3zHbAIHVnbFa7k30iRQTNWpcaAqc9EALw_wcB\">The Cramps and the Mutants: The Napa State Tapes\u003c/a>,’ available on DVD.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On June 13, 1978, Joe Rees, the videographer that ran Mission District live venue/punk rock archive \u003ca href=\"https://www.kqed.org/arts/13938024/old-san-francisco-punk-venues-deaf-club-farm-sound-music-tool-die\">Target Video\u003c/a>, packed up a portable Sony black-and-white camera and drove to Napa with his cohort, Jill Hoffman-Kowal.\u003c/p>\n\u003cp>The two were hitting the road to film a live show — something they did all the time. As documentarians that saw the importance of capturing every grimy little punk show they could, they were accustomed to making things work under chaotic circumstances.\u003c/p>\n\u003cp>Even by Target Video standards, however, this set would be a little bit different.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That sunny June afternoon, The Cramps would play a free concert at Napa State Hospital, a psychiatric facility that had been around since 1875, and which provided mental health services to resident patients. San Francisco’s The Mutants — easily as anarchic as their New York City stagemates — had agreed to perform too.\u003c/p>\n\u003cp>By the time punk rock got to it, the Napa State Hospital already had quite the reputation. It first opened inside a beautiful brick building, complete with elegant arches and towers, to ease overcrowding at the Stockton State Hospital. But by 1891, Napa State itself housed more than 1,300 psychiatric patients — double the population it was designed for. By 1920, wards meant for 26 people were accommodating as many as 64, and \u003ca href=\"https://www.pbs.org/newshour/health/analysis-californias-forced-sterilization-programs-once-harmed-thousands-especially-latinas\">sterilization procedures became common\u003c/a>. In 1950, the hospital’s gorgeous architecture was demolished to build more practical, utilitarian structures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s what The Cramps and The Mutants encountered in 1978, as they set up their equipment in the courtyard outside the hospital building, next to the gym. How both bands got there was a series of twists masterminded by music impresario Howie Klein. Back then, Klein was best known as the host of punk rock radio show \u003ci>\u003ca href=\"https://radiothrills.com/outcastes.htm\">The Outcastes\u003c/a> \u003c/i>and the founder of \u003ca href=\"https://www.discogs.com/label/16439-415-Records\">415 Records\u003c/a>. When the San Francisco date of their tour fell through, The Cramps approached Klein and asked for advice. He took it upon himself to book the Napa State show and, already a big fan of the local band’s live antics, invited The Mutants along.\u003c/p>\n\u003cfigure id=\"attachment_13968185\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968185\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108.jpg\" alt=\"\" width=\"2000\" height=\"1346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1536x1034.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1170592108-1920x1292.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Mutants perform live at an outdoor show in the courtyard of Napa State Hospital, a psychiatric hospital in Napa, California, on June 13, 1978. \u003ccite>(Ruby Ray/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>(Remarkably, there was precedence for this in the North Bay: Sebastopol art-punks $27 Snap On Face had \u003ca href=\"https://bohemian.com/what-happened-to-those-guys-1/\">previously played at Sonoma State Hospital for the developmentally disabled\u003c/a>, and included the applause of patients on 1977’s \u003ca href=\"https://www.discogs.com/release/2778143-27-Snap-On-Face-Heterodyne-State-Hospital\">\u003cem>Heterodyne State Hospital\u003c/em>\u003c/a> album.)\u003c/p>\n\u003cp>Sally Webster of The Mutants later stated in 2021 documentary, \u003ca href=\"https://www.youtube.com/watch?v=KwwRQVgW-0g\">\u003cem>We Were There to Be There\u003c/em>\u003c/a>: “We were not thinking of it as ironic or weird or anything like that at the time. This is just an adventure for everyone.” Webster also admitted that she and a number of friends she brought along that day had taken LSD, which gave her a heightened sense of unity with everyone at the show. “It was just an inclusive situation,” she explained, “where the audience and the band were kinda one.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She may have been intoxicated at the time, but Webster was not exaggerating. During the Cramps’ eight-song set, hospital patients jumped onstage, mimed along, danced with band members and took over the mic and screamed into it. No one seemed at all concerned that some of those patients had come from a special unit at Napa State that housed individuals considered a danger to themselves or others.\u003c/p>\n\u003cp>“It was a beautiful, beautiful thing,” Rees later said of the show. “I mean, you don’t know who’s who in that video. The band members and the mental patients are the same.”\u003c/p>\n\u003cp>“Some people told me you people are crazy,” vocalist Lux Interior stated after The Cramps’ opening song, “Mystery Plane.” “But I’m not so sure about that. You seem to be alright to me…”\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/-JnkW2JhHJc'\n title='//www.youtube.com/embed/-JnkW2JhHJc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As can be clearly seen in Rees’ footage above, The Cramps were a hit with the Napa State residents that day.\u003c/p>\n\u003cp>“They were the people that were just discarded,” the filmmaker stated in his \u003cem>We Were There to Be There\u003c/em> interview, “and they were so overwhelmed by someone even caring to put on a show, and they got so into it.”\u003c/p>\n\u003cp>So into it, in fact, that rumors swirled afterward of several successful escape attempts by patients. “I think someone left with us, to be honest,” Webster vaguely recalled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Klein’s memories of the ride home were more specific. “There was this one woman,” he recalled. “She was basically wearing a nightgown and she was running down the road, and I stopped and she jumped in [the van], and we drove back to San Francisco with her. And she became a stalwart in the San Francisco scene. She became a respected and loved member of the community.”\u003c/p>\n\u003cp>Alan Gill, a psychiatric technician at Napa State throughout the 1970s and ’80s noted that the show was most definitely not a hit with one very specific faction: the administration of the hospital.\u003c/p>\n\u003cp>“There was a lot of pushback,” he remembered. “Administrators obviously are the older folk — the suit-and-tie gang — and they were not at all pleased … I think there might even have been disciplinary action.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Mutants’ set from Napa State is not currently streaming, but can be seen in\u003c/em> ‘\u003cem>\u003ca href=\"https://www.ebay.com/itm/196542461769?chn=ps&norover=1&mkevt=1&mkrid=711-117182-37290-0&mkcid=2&mkscid=101&itemid=196542461769&targetid=2299003535995&device=c&mktype=pla&googleloc=9032200&poi=&campaignid=21203633013&mkgroupid=162035688435&rlsatarget=pla-2299003535995&abcId=9407526&merchantid=101492502&gad_source=1&gclid=Cj0KCQiA_9u5BhCUARIsABbMSPtvlqrnnDOnRx5-MWYhjCC_9kD4bji3zHbAIHVnbFa7k30iRQTNWpcaAqc9EALw_wcB\">The Cramps and the Mutants: The Napa State Tapes\u003c/a>,’ available on DVD.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13968109\" class=\"wp-caption aligncenter\" style=\"max-width: 1383px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lazarus.png\" alt=\"A book cover featuring an illustration of a building on a city block smoldering from a fire.\" width=\"1383\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lazarus.png 1383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lazarus-800x1157.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lazarus-1020x1475.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lazarus-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lazarus-768x1111.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lazarus-1062x1536.png 1062w\" sizes=\"(max-width: 1383px) 100vw, 1383px\">\u003cfigcaption class=\"wp-caption-text\">‘Lazarus Man’ by Richard Price. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is there a better writer of urban American stories than Richard Price? His resume is hard to beat: To episodes of HBO’s \u003cem>The Wire\u003c/em>, and \u003cem>The Night Of\u003c/em>, and novels like \u003cem>Clockers\u003c/em>, \u003cem>Lush Life\u003c/em> and \u003cem>Freedomland\u003c/em>, fans can now add \u003cem>Lazarus Man\u003c/em>.\u003c/p>\n\u003cp>The story opens with a boom, literally. A five-story tenement in East Harlem collapses, killing dozens and leaving survivors milling about in a “mix of hot tar, cement dust and burning trash.” Into that setting step our main characters: Royal Davis, the owner of a funeral home forced to chase after tragedies for bodies; Mary Roe, a city detective working the community affairs beat; Felix Pearl, a 20-something new to the city who’s talented with a camera; and Anthony Carter, middle-aged, unemployed, and six months sober, found in the ruins days after the explosion and who becomes the novel’s title character.\u003c/p>\n\u003cp>[aside postid='arts_13967330']Price’s screenplay writing experience is noticeable as he hops from character to character, sometimes offering just a paragraph or two about their past and what’s happening to them in the present before skipping to the next. It’s jarring at times, but you fall into an easy rhythm as the pages turn. All the characters collide at one point or another following the explosion, and the novel draws you in with its authenticity.\u003c/p>\n\u003cp>Here’s Price inside Felix’s head as he watches the “gigantic neighborhood simpleton, Robert Cornish, aka Green Mile, aka the Rooster” wandering the streets before his 80-year-old aunt comes outside to retrieve him: “Not to say that his neighbors were nonstop hearts and flowers toward each other, but no one ever passed judgment on you for just being who you naturally were.”\u003c/p>\n\u003cp>It’s the details. too, that Price always nails. Mary, reminded of her time working an open-air morgue outside Bellevue Hospital after the 9/11 attacks: “(She’d) been part of an assembly line of detectives set up to collect whatever IDs they could from wallets and phones, jewelry and watches, the constant sharp snap of fingers being broken in order to remove rings still with her after all these years.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book is more of a tapestry than any traditional storytelling structure. There’s no great mystery to solve besides how Anthony survived the explosion, and even when the truth is revealed, most readers will have known it long before. Price’s overarching message is a simple one amid the hard-luck stories: People want someone to root for them. Or as Anthony, aka Lazarus Man, tells a crowd at a community event following another death on the streets outside the projects: “Who here, not just in these houses, but anywhere in the world young hearts need to be nurtured and protected, couldn’t use a helping hand?”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Lazarus Man’ by Richard Price is out now, via Farrar, Straus and Giroux.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Price’s screenplay writing experience is noticeable as he hops from character to character, sometimes offering just a paragraph or two about their past and what’s happening to them in the present before skipping to the next. It’s jarring at times, but you fall into an easy rhythm as the pages turn. All the characters collide at one point or another following the explosion, and the novel draws you in with its authenticity.\u003c/p>\n\u003cp>Here’s Price inside Felix’s head as he watches the “gigantic neighborhood simpleton, Robert Cornish, aka Green Mile, aka the Rooster” wandering the streets before his 80-year-old aunt comes outside to retrieve him: “Not to say that his neighbors were nonstop hearts and flowers toward each other, but no one ever passed judgment on you for just being who you naturally were.”\u003c/p>\n\u003cp>It’s the details. too, that Price always nails. Mary, reminded of her time working an open-air morgue outside Bellevue Hospital after the 9/11 attacks: “(She’d) been part of an assembly line of detectives set up to collect whatever IDs they could from wallets and phones, jewelry and watches, the constant sharp snap of fingers being broken in order to remove rings still with her after all these years.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book is more of a tapestry than any traditional storytelling structure. There’s no great mystery to solve besides how Anthony survived the explosion, and even when the truth is revealed, most readers will have known it long before. Price’s overarching message is a simple one amid the hard-luck stories: People want someone to root for them. Or as Anthony, aka Lazarus Man, tells a crowd at a community event following another death on the streets outside the projects: “Who here, not just in these houses, but anywhere in the world young hearts need to be nurtured and protected, couldn’t use a helping hand?”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Lazarus Man’ by Richard Price is out now, via Farrar, Straus and Giroux.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "FX’s ‘Say Nothing’ Adaptation Is a Haunting Recollection of the Irish Republican Army",
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"content": "\u003cp>Patrick Radden Keefe’s book \u003cem>Say Nothing\u003c/em>, a history of The Troubles in Northern Ireland, is heavy in a few ways. On top of its subject matter, it’s more than 500 pages long — though a quarter of that is notes, a proportion that reflects both the depth of Keefe’s research and the sprawl of the story.\u003c/p>\n\u003cp>The 2018 book begins with the abduction and murder of Jean McConville, a widowed mother of ten who was taken from her home in 1972 by operatives of the Irish Republican Army and never seen alive again. It follows several historical figures through decades of The Troubles: Gerry Adams, a radical who became a politician (who insists to this day that he was never part of the IRA); Brendan Hughes, an IRA member nicknamed The Dark; and many participants in IRA operations, some of whom spent long periods in jail. Some died on hunger strikes.\u003c/p>\n\u003cp>[aside postid='arts_13940076']But Keefe’s most compelling character is the woman who appears with her face half-hidden on the book cover: Dolours Price, who began working with the IRA as a teenager, and who eventually spent years in jail for a series of car bombings in London. And it is Dolours who centers the new FX series that tries to wrestle this perhaps unadaptable book into a nine-episode scripted series.\u003c/p>\n\u003cp>Played as a young woman by Lola Petticrew and as an older one by Maxine Peake, Dolours is raised to be a radical alongside her sister, Marian (Hazel Doupe). Their aunt has already given her hands and eyes to the cause as a bomb-maker, and while the girls start out in nonviolent protest, they soon join the ranks of those whose commitment to the cause of removing the British from Northern Ireland includes using bombs and guns. And that doesn’t extend only to the use of violence against British soldiers and police; it includes attacks on Belfast Catholics who are believed to be traitors or informants. And eventually, as the series tells it, Dolours comes up with the idea to set off the bombs in London that sent the sisters to prison. (According to the book, it was more complicated than that.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FhxvEJV9xos\u003c/p>\n\u003ch3>The challenge of distilling history in a scripted series\u003c/h3>\n\u003cp>As a show, \u003cem>Say Nothing\u003c/em> is well-executed and features excellent performances (Peake’s is perhaps the strongest). Yet the series can’t be expected to do the same work as the book — a scripted show is not a history lesson. There is a patience and thoroughness to Keefe’s explanation of the underlying dynamics that led to the Troubles that the series cannot match. Decades (and more) of history can’t be easily condensed into a scene or an image. So what comes through more clearly are the things that \u003cem>do \u003c/em>translate well to dramatization.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Indeed, in early episodes, \u003cem>Say Nothing\u003c/em> often feels like a caper movie, following Dolours and Marian and their compatriots on missions where they prove they are up to the same jobs that young men they know can do. Those missions turn grim when Dolours begins to drive initially unsuspecting men — some of them people she knows well — to the places where they will be killed by their allies for their believed transgressions. Creator Josh Zetumer has said that one of the things he wanted the series to capture is that radicalism can be romantic and exciting for young people, and \u003cem>Say Nothing\u003c/em> certainly does that.\u003c/p>\n\u003cp>The difficulty is that Dolours’ time as an operative, when she still sees the conflict and her work for the IRA as quite simple, are the least emotionally rich part of the story. But they occupy a great deal of the on-screen real estate across these nine episodes.. For instance: Dolours and Marian’s harrowing hunger strike is one episode out of nine in the show. But it’s one chapter out of 30 in the book.\u003c/p>\n\u003cfigure id=\"attachment_13968086\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968086\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry.png\" alt=\"A white man with dark hair and beard stands with arms folded in front of 1970s-era wallpaper.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-1536x1024.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-1920x1280.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Josh Finan as Gerry Adams. \u003ccite>(Rob Youngston/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Necessarily, when some things take up more space, others will take up less. There is limited attention until late in the series to the McConvilles, who spent the decades after their mother’s death dealing with her absence. Other than Brendan Hughes and Gerry Adams, there’s little about other IRA members (or alleged members), particularly Bobby Sands, an important figure in the book who died while on a hunger strike in prison.\u003c/p>\n\u003ch3>Reckoning with the past\u003c/h3>\n\u003cp>[aside postid='arts_13891175']The book is less about recounting actions than it is about contextualizing choices and consequences, and so perhaps it’s unsurprising that the series is at its best when it does the same. The last two episodes, the most successful ones, are focused on two stories. One is Dolours’ struggle, as an older woman, with her past actions (though she remains a staunch believer in her cause itself). It is only when she’s older, and when she feels that the revolution she hoped to be part of has largely failed, that Dolours can reckon with her own actions — including her role in the murder of Jean McConville. The show is not meant to be a condemnation of Dolours’ radical youth, but only a presentation of it as a choice made out of desperation with outcomes she could not fully anticipate.\u003c/p>\n\u003cp>The other story is about the agony of the McConville children, who are now adults, who long for the barest peace they hope to find in properly burying their mother’s body. This is where the thesis of the book comes through best: This conflict was devastating and intolerable, and for many people, it never ended. People do awful things in war, they take orders, they commit and do not look back. But that doesn’t mean that, many years later, they are not haunted. And the twin hauntings of Dolours Price and Helen McConville, who was 15 when her mother died, are the most tragic and piercing chapters of this story.\u003c/p>\n\u003cfigure id=\"attachment_13968085\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968085\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours.png\" alt=\"A red headed woman rests her head on her left hand while reclining on a couch. She looks concerned.\" width=\"2000\" height=\"1324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-1536x1017.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-1920x1271.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maxine Peake as older Dolours Price. \u003ccite>(Rob Youngston/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the primary reasons this series exists — and one of the reasons Keefe’s book exists — is that Dolours chose to participate in a Boston College oral history project that interviewed people about The Troubles with the promise that nothing they said would be revealed until after they were dead. As both book and series tell it, she did this to face her demons. She did it to share the truth.\u003c/p>\n\u003cp>[aside postid='arts_13967594']But she also did it because she was bitterly angry at Gerry Adams — for claiming never to have been part of the IRA, for enriching himself through politics, for refusing to accept his part of the responsibility for anything, and for, as she saw it, for capitulating to the British during the peace process that made him famous in a new and “respectable” way.\u003c/p>\n\u003cp>It is in telling the story of this older Dolours, who is proud, stubborn and defiant as well as conflicted about her legacy, where \u003cem>Say Nothing\u003c/em> is most effective. While it may fall short as a history of the conflict, as a biography of one woman, it leaves a powerful impression.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>All episodes of ‘Say Nothing’ are available to stream on Hulu, starting Nov. 14, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Patrick Radden Keefe’s book \u003cem>Say Nothing\u003c/em>, a history of The Troubles in Northern Ireland, is heavy in a few ways. On top of its subject matter, it’s more than 500 pages long — though a quarter of that is notes, a proportion that reflects both the depth of Keefe’s research and the sprawl of the story.\u003c/p>\n\u003cp>The 2018 book begins with the abduction and murder of Jean McConville, a widowed mother of ten who was taken from her home in 1972 by operatives of the Irish Republican Army and never seen alive again. It follows several historical figures through decades of The Troubles: Gerry Adams, a radical who became a politician (who insists to this day that he was never part of the IRA); Brendan Hughes, an IRA member nicknamed The Dark; and many participants in IRA operations, some of whom spent long periods in jail. Some died on hunger strikes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Keefe’s most compelling character is the woman who appears with her face half-hidden on the book cover: Dolours Price, who began working with the IRA as a teenager, and who eventually spent years in jail for a series of car bombings in London. And it is Dolours who centers the new FX series that tries to wrestle this perhaps unadaptable book into a nine-episode scripted series.\u003c/p>\n\u003cp>Played as a young woman by Lola Petticrew and as an older one by Maxine Peake, Dolours is raised to be a radical alongside her sister, Marian (Hazel Doupe). Their aunt has already given her hands and eyes to the cause as a bomb-maker, and while the girls start out in nonviolent protest, they soon join the ranks of those whose commitment to the cause of removing the British from Northern Ireland includes using bombs and guns. And that doesn’t extend only to the use of violence against British soldiers and police; it includes attacks on Belfast Catholics who are believed to be traitors or informants. And eventually, as the series tells it, Dolours comes up with the idea to set off the bombs in London that sent the sisters to prison. (According to the book, it was more complicated than that.)\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/FhxvEJV9xos'\n title='//www.youtube.com/embed/FhxvEJV9xos'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The challenge of distilling history in a scripted series\u003c/h3>\n\u003cp>As a show, \u003cem>Say Nothing\u003c/em> is well-executed and features excellent performances (Peake’s is perhaps the strongest). Yet the series can’t be expected to do the same work as the book — a scripted show is not a history lesson. There is a patience and thoroughness to Keefe’s explanation of the underlying dynamics that led to the Troubles that the series cannot match. Decades (and more) of history can’t be easily condensed into a scene or an image. So what comes through more clearly are the things that \u003cem>do \u003c/em>translate well to dramatization.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, in early episodes, \u003cem>Say Nothing\u003c/em> often feels like a caper movie, following Dolours and Marian and their compatriots on missions where they prove they are up to the same jobs that young men they know can do. Those missions turn grim when Dolours begins to drive initially unsuspecting men — some of them people she knows well — to the places where they will be killed by their allies for their believed transgressions. Creator Josh Zetumer has said that one of the things he wanted the series to capture is that radicalism can be romantic and exciting for young people, and \u003cem>Say Nothing\u003c/em> certainly does that.\u003c/p>\n\u003cp>The difficulty is that Dolours’ time as an operative, when she still sees the conflict and her work for the IRA as quite simple, are the least emotionally rich part of the story. But they occupy a great deal of the on-screen real estate across these nine episodes.. For instance: Dolours and Marian’s harrowing hunger strike is one episode out of nine in the show. But it’s one chapter out of 30 in the book.\u003c/p>\n\u003cfigure id=\"attachment_13968086\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968086\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry.png\" alt=\"A white man with dark hair and beard stands with arms folded in front of 1970s-era wallpaper.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-1536x1024.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-1920x1280.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Josh Finan as Gerry Adams. \u003ccite>(Rob Youngston/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Necessarily, when some things take up more space, others will take up less. There is limited attention until late in the series to the McConvilles, who spent the decades after their mother’s death dealing with her absence. Other than Brendan Hughes and Gerry Adams, there’s little about other IRA members (or alleged members), particularly Bobby Sands, an important figure in the book who died while on a hunger strike in prison.\u003c/p>\n\u003ch3>Reckoning with the past\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The book is less about recounting actions than it is about contextualizing choices and consequences, and so perhaps it’s unsurprising that the series is at its best when it does the same. The last two episodes, the most successful ones, are focused on two stories. One is Dolours’ struggle, as an older woman, with her past actions (though she remains a staunch believer in her cause itself). It is only when she’s older, and when she feels that the revolution she hoped to be part of has largely failed, that Dolours can reckon with her own actions — including her role in the murder of Jean McConville. The show is not meant to be a condemnation of Dolours’ radical youth, but only a presentation of it as a choice made out of desperation with outcomes she could not fully anticipate.\u003c/p>\n\u003cp>The other story is about the agony of the McConville children, who are now adults, who long for the barest peace they hope to find in properly burying their mother’s body. This is where the thesis of the book comes through best: This conflict was devastating and intolerable, and for many people, it never ended. People do awful things in war, they take orders, they commit and do not look back. But that doesn’t mean that, many years later, they are not haunted. And the twin hauntings of Dolours Price and Helen McConville, who was 15 when her mother died, are the most tragic and piercing chapters of this story.\u003c/p>\n\u003cfigure id=\"attachment_13968085\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968085\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours.png\" alt=\"A red headed woman rests her head on her left hand while reclining on a couch. She looks concerned.\" width=\"2000\" height=\"1324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-1536x1017.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-1920x1271.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maxine Peake as older Dolours Price. \u003ccite>(Rob Youngston/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the primary reasons this series exists — and one of the reasons Keefe’s book exists — is that Dolours chose to participate in a Boston College oral history project that interviewed people about The Troubles with the promise that nothing they said would be revealed until after they were dead. As both book and series tell it, she did this to face her demons. She did it to share the truth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But she also did it because she was bitterly angry at Gerry Adams — for claiming never to have been part of the IRA, for enriching himself through politics, for refusing to accept his part of the responsibility for anything, and for, as she saw it, for capitulating to the British during the peace process that made him famous in a new and “respectable” way.\u003c/p>\n\u003cp>It is in telling the story of this older Dolours, who is proud, stubborn and defiant as well as conflicted about her legacy, where \u003cem>Say Nothing\u003c/em> is most effective. While it may fall short as a history of the conflict, as a biography of one woman, it leaves a powerful impression.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>All episodes of ‘Say Nothing’ are available to stream on Hulu, starting Nov. 14, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A new music streaming app has entered the market.\u003c/p>\n\u003cp>It’s called Nintendo Music — and on it, you can listen to dozens of hours of music from games like \u003cem>Mario\u003c/em>, \u003cem>Zelda\u003c/em> and \u003cem>Donkey Kong\u003c/em>.\u003c/p>\n\u003cp>The app has had more than a million downloads since it launched on Oct. 30.\u003c/p>\n\u003cp>The early success, and the enthusiasm it’s received from fans, speaks to the unique history and appeal of Nintendo’s music.\u003c/p>\n\u003ch2>Nintendo: a melodic history\u003c/h2>\n\u003cp>Ben Kidd analyzes video game music on his YouTube channel, 8-bit Music Theory, with videos like “Why Animal Crossing Music Sounds Nostalgic” and “Why Does Mario Music Sound ‘Fun’?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vVwEeiyPfFg\u003c/p>\n\u003cp>Kidd says the popularity of his videos speaks to how much people care about video game music. But he says there’s also a number of things about Nintendo music specifically that resonates with people.\u003c/p>\n\u003cp>“I think the strength of Nintendo’s music really has to do with the strength of their early composers,” he says.\u003c/p>\n\u003cp>[aside postid='arts_13826120']Composers like Koji Kondo, who helped pioneer video game music and crafted the ear-worming melodies you find in games like Super Mario Bros. or The Legend of Zelda.\u003c/p>\n\u003cp>Over the years, these same melodies have been remixed and re-interpreted across new games, creating a sense of nostalgia for players.\u003c/p>\n\u003cp>“It’s a bit of a chicken and egg situation,” Kidd says. “The melodies are so strong, that they’re easy to reuse, and very effective to reuse. And the more you reuse them across games, the stronger they get.”\u003c/p>\n\u003cp>Kidd also says that throughout the years, Nintendo has positioned its new, young composers to work alongside veterans of the industry. He points to composer Toru Minegishi, who contributed tracks to \u003cem>The Legend of Zelda: Majora’s Mask\u003c/em> alongside Koji Kondo in 2000, and then served as lead composer for \u003cem>The Legend Of Zelda: Twilight Princess\u003c/em> in 2006.\u003c/p>\n\u003cp>https://youtu.be/WXJiltJDlq4?si=hxeviNFmNYlzGyKa\u003c/p>\n\u003ch2>The broad appeal of video game music\u003c/h2>\n\u003cp>The Nintendo Music app owes its early success to more than just Nintendo music itself.\u003c/p>\n\u003cp>For years, people have been listening to video game music on other platforms, like YouTube. Playlists are all over the site, often organized around different tasks or feelings, like sleeping or studying.\u003c/p>\n\u003cp>[aside postid='arts_13952796']“Video game music is often designed to fill a background space without taking too much of the listener’s attention away,” says Harvey Jones, a musician who makes music inspired by video games under the moniker Pizza Hotline.\u003c/p>\n\u003cp>Jones is also part of the community on YouTube that shares and archives video game music.\u003c/p>\n\u003cp>“Around 2022, I began digging deep into ’90s and naughties video game soundtracks from consoles like the N64, the GameCube, the PS1 and the Dreamcast, and I found so many hidden bangers,” he says.\u003c/p>\n\u003cp>https://youtu.be/pgdwbJ9XIzk?si=4qZF30kJ7f-NLBvM\u003c/p>\n\u003cp>Video game playlists like this can garner millions of views. Jones says he sees Nintendo responding to this kind of demand.\u003c/p>\n\u003cp>“They’ve legitimized the video game music listening experience with this app,” he says.\u003c/p>\n\u003cp>Still, the app has garnered some criticisms. Kidd says one is that composers are not credited.\u003c/p>\n\u003cp>[aside postid='arts_13940293']“It would be nicer for them, I think, if people associated these soundtracks they love with the people who wrote them, rather than just the company they work for,” he says.\u003c/p>\n\u003cp>It’s the kind of information that he argues would also be useful for users of the app. In the same way a jazz fan might recognize the stylistic differences between John Coltrane or Hank Mobley, Kidd argues close listeners could draw their own observations about various Nintendo composers.\u003c/p>\n\u003cp>NPR reached out to Nintendo for comment about whether this feature would make its way onto the app, and has not yet received a response.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The company has already added additional music to the app since its launch, including songs from the \u003cem>Donkey Kong Country 2\u003c/em> soundtrack.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new music streaming app has entered the market.\u003c/p>\n\u003cp>It’s called Nintendo Music — and on it, you can listen to dozens of hours of music from games like \u003cem>Mario\u003c/em>, \u003cem>Zelda\u003c/em> and \u003cem>Donkey Kong\u003c/em>.\u003c/p>\n\u003cp>The app has had more than a million downloads since it launched on Oct. 30.\u003c/p>\n\u003cp>The early success, and the enthusiasm it’s received from fans, speaks to the unique history and appeal of Nintendo’s music.\u003c/p>\n\u003ch2>Nintendo: a melodic history\u003c/h2>\n\u003cp>Ben Kidd analyzes video game music on his YouTube channel, 8-bit Music Theory, with videos like “Why Animal Crossing Music Sounds Nostalgic” and “Why Does Mario Music Sound ‘Fun’?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Composers like Koji Kondo, who helped pioneer video game music and crafted the ear-worming melodies you find in games like Super Mario Bros. or The Legend of Zelda.\u003c/p>\n\u003cp>Over the years, these same melodies have been remixed and re-interpreted across new games, creating a sense of nostalgia for players.\u003c/p>\n\u003cp>“It’s a bit of a chicken and egg situation,” Kidd says. “The melodies are so strong, that they’re easy to reuse, and very effective to reuse. And the more you reuse them across games, the stronger they get.”\u003c/p>\n\u003cp>Kidd also says that throughout the years, Nintendo has positioned its new, young composers to work alongside veterans of the industry. He points to composer Toru Minegishi, who contributed tracks to \u003cem>The Legend of Zelda: Majora’s Mask\u003c/em> alongside Koji Kondo in 2000, and then served as lead composer for \u003cem>The Legend Of Zelda: Twilight Princess\u003c/em> in 2006.\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/WXJiltJDlq4'\n title='//www.youtube.com/embed/WXJiltJDlq4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>The broad appeal of video game music\u003c/h2>\n\u003cp>The Nintendo Music app owes its early success to more than just Nintendo music itself.\u003c/p>\n\u003cp>For years, people have been listening to video game music on other platforms, like YouTube. Playlists are all over the site, often organized around different tasks or feelings, like sleeping or studying.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Video game music is often designed to fill a background space without taking too much of the listener’s attention away,” says Harvey Jones, a musician who makes music inspired by video games under the moniker Pizza Hotline.\u003c/p>\n\u003cp>Jones is also part of the community on YouTube that shares and archives video game music.\u003c/p>\n\u003cp>“Around 2022, I began digging deep into ’90s and naughties video game soundtracks from consoles like the N64, the GameCube, the PS1 and the Dreamcast, and I found so many hidden bangers,” he says.\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/pgdwbJ9XIzk'\n title='//www.youtube.com/embed/pgdwbJ9XIzk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Video game playlists like this can garner millions of views. Jones says he sees Nintendo responding to this kind of demand.\u003c/p>\n\u003cp>“They’ve legitimized the video game music listening experience with this app,” he says.\u003c/p>\n\u003cp>Still, the app has garnered some criticisms. Kidd says one is that composers are not credited.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It would be nicer for them, I think, if people associated these soundtracks they love with the people who wrote them, rather than just the company they work for,” he says.\u003c/p>\n\u003cp>It’s the kind of information that he argues would also be useful for users of the app. In the same way a jazz fan might recognize the stylistic differences between John Coltrane or Hank Mobley, Kidd argues close listeners could draw their own observations about various Nintendo composers.\u003c/p>\n\u003cp>NPR reached out to Nintendo for comment about whether this feature would make its way onto the app, and has not yet received a response.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The company has already added additional music to the app since its launch, including songs from the \u003cem>Donkey Kong Country 2\u003c/em> soundtrack.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ah, the Christmas movie. That old chestnut. That cozy perennial pastime where — let’s just pick one scene from \u003cem>Red One\u003c/em> — Dwayne Johnson, playing Santa’s body guard, faces off with a witch-possessed mercenary (Nick Kroll) and ice-sword-wielding CGI snowmen on the sandy beaches of Aruba. Can’t you just taste the eggnog?\u003c/p>\n\u003cp>Such are the ugly-sweater clashes of \u003cem>Red One\u003c/em>, a big-budget gambit to supersize the Christmas movie. Countless movies before have wrestled with who Santa is. Does he really exist? But \u003cem>Red One\u003c/em> is the first one to answer doubters with a superhero-like St. Nick who runs his North Pole operation like the army, who bench presses and counts carbs and who, given that he’s played by J.K. Simmons, looks like he could teach one heck of a jazz class.\u003c/p>\n\u003cp>[aside postid='arts_13967953']There is ample time during \u003cem>Red One\u003c/em>, which opens in theaters Thursday, to ponder who, exactly, put a Marvel-ized Santa on their wish list. The movie, directed by the \u003cem>Jumanji\u003c/em> reboot filmmaker Jake Kasdan and scripted by the veteran \u003cem>Fast & Furious\u003c/em> screenwriter Chris Morgan, was conceived by producer Hiram Garcia as the start of a holiday franchise for Amazon MGM Studios — presumably to satisfy those who have pined for a Christmas movie but with, you, know, more military industrial complex.\u003c/p>\n\u003cp>\u003cem>Red One\u003c/em>, which is brightened by its other A-list star, Chris Evans, is a little self-aware about its own inherent silliness. But not nearly enough. There is a better, funnier movie underneath all the CGI gloss. But overwhelmed by effects and overelaborate world building (there are trolls, ogres and a headless horsemen here, all loosely connected as mythical creatures), \u003cem>Red One\u003c/em> feels like an unwanted high-priced Christmas present.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U8XH3W0cMss\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I love the kids. It’s the grown-ups that are killing me.”\u003c/p>\n\u003cp>So announces Callum Drift (Johnson), a long-serving security operative for Santa. He’s not an elf but a member of ELF, Enforcement Logistics and Fortification. (Don’t you just feel the holiday cheer welling up inside?) But after years, even centuries on the job, Callum’s faith in Christmas traditions is waning. For the first time, those on the naughty list outnumber the nice. On a mall visit two days before Christmas, he looks despondently at adults bickering over presents, if not outright stealing them.\u003c/p>\n\u003cp>Callum and other operatives with earpieces shuttle Santa (\u003cem>Red One\u003c/em> in their secret service-styled lingo) in a fleet of Suburbans to his sleigh, which, while pulled by reindeer, moves more like a spaceship. Back at the North Pole — picture a sort of wintery Abu Dhabi — Santa is kidnapped. The culprits leave only spilt milk behind. The ensuing hunt, overseen by the chief of a special ops group protecting mystical beings (Lucy Liu), leads immediately to a hacker who helped an anonymous client geolocate Santa.\u003c/p>\n\u003cp>[aside postid='arts_13922351']The for-hire hacker, Jack O’Malley (Evans) is a deadbeat dad to his son (Wesley Kimmel), and, we’re informed, a “level-four naughty-lister.” Evans might be most famous for his Captain America, but smarmy smart-aleck (like in \u003cem>Knives Out\u003c/em>) is really his wheelhouse. And he gives \u003cem>Red One\u003c/em> some comic energy as it transitions into a sort of buddy comedy with him and Johnson.\u003c/p>\n\u003cp>But \u003cem>Red One\u003c/em> keeps overdoing it. As they race to rescue Santa before Christmas Eve, the hunt brings in the villainous Christmas Witch, Gryla (Kiernan Shipka) and Krampus (Kristofer Hivju), here defined as Santa’s brother. The sensation, with these characters and others, is of stuffing too much into an already gaudy stocking, and yet somehow forgetting to add any charm.\u003c/p>\n\u003cp>\u003cem>Red One\u003c/em> comes off a little like the holiday version of \u003cem>Cowboys and Aliens\u003c/em> — enough so to make you nostalgic for leaner tales about folkloric figures starring Johnson, like \u003cem>The Tooth Fairy\u003c/em>. But if we’re to have every possible brand of Christmas movie, it seems a shame that when the phrase “The North Pole has been taken!” Gerard Butler is nowhere to be seen.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Red One’ is released nationwide on Nov. 15, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The for-hire hacker, Jack O’Malley (Evans) is a deadbeat dad to his son (Wesley Kimmel), and, we’re informed, a “level-four naughty-lister.” Evans might be most famous for his Captain America, but smarmy smart-aleck (like in \u003cem>Knives Out\u003c/em>) is really his wheelhouse. And he gives \u003cem>Red One\u003c/em> some comic energy as it transitions into a sort of buddy comedy with him and Johnson.\u003c/p>\n\u003cp>But \u003cem>Red One\u003c/em> keeps overdoing it. As they race to rescue Santa before Christmas Eve, the hunt brings in the villainous Christmas Witch, Gryla (Kiernan Shipka) and Krampus (Kristofer Hivju), here defined as Santa’s brother. The sensation, with these characters and others, is of stuffing too much into an already gaudy stocking, and yet somehow forgetting to add any charm.\u003c/p>\n\u003cp>\u003cem>Red One\u003c/em> comes off a little like the holiday version of \u003cem>Cowboys and Aliens\u003c/em> — enough so to make you nostalgic for leaner tales about folkloric figures starring Johnson, like \u003cem>The Tooth Fairy\u003c/em>. But if we’re to have every possible brand of Christmas movie, it seems a shame that when the phrase “The North Pole has been taken!” Gerard Butler is nowhere to be seen.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Red One’ is released nationwide on Nov. 15, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13967963\" class=\"wp-caption aligncenter\" style=\"max-width: 1322px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967963\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe.png\" alt=\"A book cover featuring aviator sunglasses colored like the British Union Jack flag.\" width=\"1322\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe.png 1322w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-800x1210.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1020x1543.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-768x1162.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1015x1536.png 1015w\" sizes=\"(max-width: 1322px) 100vw, 1322px\">\u003cfigcaption class=\"wp-caption-text\">‘Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts,’ by Jeremy Egner. \u003ccite>(Dutton via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to believe that a TV show based on a series of commercials with the same punchline — an American football coach confused by the rules of soccer — could have lasted beyond an episode or two. It’s even harder to believe that it became an Emmy-winning hit with a cast invited to the White House to talk about mental health.\u003c/p>\n\u003cp>[aside postid='arts_13967856']There’s a lot to learn from the unlikely success of \u003cem>Ted Lasso\u003c/em>, the hit Apple TV+ show featuring Jason Sudekis as its mustachioed, wholesome namesake. Jeremy Egner’s \u003cem>Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts\u003c/em> is the best place to learn it.\u003c/p>\n\u003cp>As television editor for \u003cem>The New York Times\u003c/em>, Egner had a front-row seat to the show and the cultural phenomenon it became. That background offers readers an enlightening and entertaining guide, though it’s definitely geared toward fans of the show.\u003c/p>\n\u003cp>Written half as an oral history and half as a guide to key episodes, \u003cem>Believe\u003c/em> offers plenty of interesting tidbits about the making of the show and provides inspiration for fans to give \u003cem>Ted Lasso\u003c/em> another viewing.\u003c/p>\n\u003cp>Egner leaves no detail uncovered, including the taste of Ted’s famous biscuits (dry, at least in the first season) and arguments over what the \u003cem>Believe\u003c/em> sign hanging in the locker room should look like.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book avoids becoming too laudatory of the show and notes the criticism it faced, especially during the third — and final? — season.\u003c/p>\n\u003cp>[aside postid='arts_13967831']Egner adeptly explains how all the right factors, including an audience overwhelmed by negative news and divisive times, worked together to ensure the show’s success. It’s an audience that was hungry for a show that, as he puts it, is about personal transformation.\u003c/p>\n\u003cp>The book may not necessarily transform anyone into a new fan of \u003cem>Ted Lasso\u003c/em>, but it may at least give those who like the show a reason to give it another watch.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts’ by Jeremy Egner is out on Nov. 12, 2024, via Dutton. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>Rome teeters on the brink in Ridley Scott’s \u003cem>Gladiator II\u003c/em>. Its fall is said to be imminent. The dream it once symbolized is dead. The once high-minded ideals of the Roman Empire have deteriorated across a venal land now ruled by a pale-faced emperor.\u003c/p>\n\u003cp>[aside postid='arts_13967891']On the throne is Geta (Joseph Quinn), who sits alongside his sniveling brother, Caracalla (Fred Hechinger). The heart of this Rome, of course, is the Coliseum, where throngs cheer for the gladiators who fight and die. There, the ageless Scott remains remarkably at home. The arena, with its eruptions of spectacle and violence, is a stand in for the director’s own vision of the big screen: Go big or go home.\u003c/p>\n\u003cp>This dichotomy — a fallen society and its insatiable need for entertainment — is the clever and not altogether flattering backdrop of the \u003cem>Gladiator\u003c/em> films. Part two, set 20 years after the events of the first movie, brings a new combatant to the Coliseum — a mysterious outsider named Lucius Verus, played by Paul Mescal. And to answer the inevitable question, yes. Yes, I was quite entertained.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ts0N8swyWFI\u003c/p>\n\u003cp>\u003cem>Gladiator II\u003c/em> isn’t quite the prestige film the first one, a best-picture winner, was in 2001. It’s more a swaggering, sword-and-sandal epic that prizes the need to entertain above all else. No one in \u003cem>Gladiator II\u003c/em> understands that more than Denzel Washington. His performance as the Machiavellian power broker Macrinus is a delicious blur of robes and grins — so compellingly over-the-top that he nearly reaches 1990s Al Pacino standards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Inside this Rome are scattered interests in toppling it, including Marcus Acacius, a decorated general who has just returned from a successful campaign taking Numidia in northwest Africa. (That siege makes the movie’s blistering opening, with an armada racing at almost NASCAR speed toward the walled city, with towers on the bows of the boats to scale the parapets.)\u003c/p>\n\u003cp>[aside postid='arts_13967848']Acacius is a loyal Roman but, when he learns that the emperors have only more bloodlust for further territory and more war, he and his wife, Lucilla (Connie Nielsen) begin plotting to overthrow the brothers.\u003c/p>\n\u003cp>In a movie where everyone nurtures some secret, few stay hidden long. Foremost among them is Lucius Verus, a warrior in Numidia who’s taken prisoner and forced to fight as a gladiator. He’s the son of Lucilla and Maximus (Crowe in \u003cem>Gladiator\u003c/em>). Following the events of that film, Lucilla sent him, an heir to the empire, to Numidia to grow up outside of the empire’s power struggles.\u003c/p>\n\u003cp>Mescal, the terrific Irish actor of \u003cem>Aftersun\u003c/em> and \u003cem>All of Us Strangers\u003c/em>, smoothly steps into a blockbuster arena for the first time. “This one is interesting,” says Macrinus, eyeing him for the first time. Mescal’s Lucius is vengeful — the Roman army kills his warrior wife in the Numidia battle. “Rage pours out of you like milk,” Macrinus says, admiringly. The glint of mischief in Mescal’s eyes gives Lucius a little more character than your average revenge-seeking gladiator.\u003c/p>\n\u003cp>We watch as Lucius cunningly survives arena after arena. Meanwhile, Macrinus manipulates him to steer the public’s routing interest away from the emperor. It’s a rich if slightly cartoonish tapestry of palace intrigue, with Macrinus deftly pulling all the strings.\u003c/p>\n\u003cfigure id=\"attachment_13967957\" class=\"wp-caption aligncenter\" style=\"max-width: 1529px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz.png\" alt=\"A Black man, regally dressed in old Roman attire sits within an elaborate gold balcony.\" width=\"1529\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz.png 1529w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-800x1046.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-1020x1334.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-160x209.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-768x1005.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-1174x1536.png 1174w\" sizes=\"(max-width: 1529px) 100vw, 1529px\">\u003cfigcaption class=\"wp-caption-text\">Denzel Washington steals scenes in ‘Gladiator II.’ \u003ccite>(Aidan Monaghan/Paramount Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But, really, none of the power machinations are as compelling as the increasingly carnivalesque scenes of the Coliseum. In the gladiators’ first trip there, they’re greeted by man-eating monkeys. Next, it’s a rider atop a giant, charging rhinoceros. Then, the piece de resistance: a flooded Coliseum festering with sharks. There are even little mock islands with palm trees spread about.\u003c/p>\n\u003cp>Now, \u003cem>Gladiator II\u003c/em> may not stand up to much inquiry from historians. (Some issues were also taken with Scott’s last historical epic, \u003cem>Napoleon\u003c/em>, which likewise was scripted by David Scarpa). But this is not a movie built for accuracy. It’s made for taking a few bits of history and inflating them into a feast and the charms of watching Washington’s Macrinus brandish a head recently relieved of its body.\u003c/p>\n\u003cp>[aside postid='arts_13967805']Yes, heads do roll in Scott’s \u003cem>Gladiator\u003c/em> sequel. Macrinus succeeds in whipping Rome into a frenzy. In fact, he does it so easily and guilefully that, once things begin unraveling for him, the air leaves \u003cem>Gladiator II\u003c/em>. You don’t quite believe his recklessness after he so patiently and artfully turned the screws.\u003c/p>\n\u003cp>Nevertheless, two possible successors emerge — Lucius, who has a birthright to the throne, and Macrinus, who comes to within its grasp purely by his own wit. Is it any wonder that I was rooting for Macrinus, all the way? How could you not, with Washington chewing scenery like this and making zestful (and rather apt) pronouncements like: “That, my friend, is politics!”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Gladiator II’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On the throne is Geta (Joseph Quinn), who sits alongside his sniveling brother, Caracalla (Fred Hechinger). The heart of this Rome, of course, is the Coliseum, where throngs cheer for the gladiators who fight and die. There, the ageless Scott remains remarkably at home. The arena, with its eruptions of spectacle and violence, is a stand in for the director’s own vision of the big screen: Go big or go home.\u003c/p>\n\u003cp>This dichotomy — a fallen society and its insatiable need for entertainment — is the clever and not altogether flattering backdrop of the \u003cem>Gladiator\u003c/em> films. Part two, set 20 years after the events of the first movie, brings a new combatant to the Coliseum — a mysterious outsider named Lucius Verus, played by Paul Mescal. And to answer the inevitable question, yes. Yes, I was quite entertained.\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/Ts0N8swyWFI'\n title='//www.youtube.com/embed/Ts0N8swyWFI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Gladiator II\u003c/em> isn’t quite the prestige film the first one, a best-picture winner, was in 2001. It’s more a swaggering, sword-and-sandal epic that prizes the need to entertain above all else. No one in \u003cem>Gladiator II\u003c/em> understands that more than Denzel Washington. His performance as the Machiavellian power broker Macrinus is a delicious blur of robes and grins — so compellingly over-the-top that he nearly reaches 1990s Al Pacino standards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Acacius is a loyal Roman but, when he learns that the emperors have only more bloodlust for further territory and more war, he and his wife, Lucilla (Connie Nielsen) begin plotting to overthrow the brothers.\u003c/p>\n\u003cp>In a movie where everyone nurtures some secret, few stay hidden long. Foremost among them is Lucius Verus, a warrior in Numidia who’s taken prisoner and forced to fight as a gladiator. He’s the son of Lucilla and Maximus (Crowe in \u003cem>Gladiator\u003c/em>). Following the events of that film, Lucilla sent him, an heir to the empire, to Numidia to grow up outside of the empire’s power struggles.\u003c/p>\n\u003cp>Mescal, the terrific Irish actor of \u003cem>Aftersun\u003c/em> and \u003cem>All of Us Strangers\u003c/em>, smoothly steps into a blockbuster arena for the first time. “This one is interesting,” says Macrinus, eyeing him for the first time. Mescal’s Lucius is vengeful — the Roman army kills his warrior wife in the Numidia battle. “Rage pours out of you like milk,” Macrinus says, admiringly. The glint of mischief in Mescal’s eyes gives Lucius a little more character than your average revenge-seeking gladiator.\u003c/p>\n\u003cp>We watch as Lucius cunningly survives arena after arena. Meanwhile, Macrinus manipulates him to steer the public’s routing interest away from the emperor. It’s a rich if slightly cartoonish tapestry of palace intrigue, with Macrinus deftly pulling all the strings.\u003c/p>\n\u003cfigure id=\"attachment_13967957\" class=\"wp-caption aligncenter\" style=\"max-width: 1529px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz.png\" alt=\"A Black man, regally dressed in old Roman attire sits within an elaborate gold balcony.\" width=\"1529\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz.png 1529w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-800x1046.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-1020x1334.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-160x209.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-768x1005.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-1174x1536.png 1174w\" sizes=\"(max-width: 1529px) 100vw, 1529px\">\u003cfigcaption class=\"wp-caption-text\">Denzel Washington steals scenes in ‘Gladiator II.’ \u003ccite>(Aidan Monaghan/Paramount Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But, really, none of the power machinations are as compelling as the increasingly carnivalesque scenes of the Coliseum. In the gladiators’ first trip there, they’re greeted by man-eating monkeys. Next, it’s a rider atop a giant, charging rhinoceros. Then, the piece de resistance: a flooded Coliseum festering with sharks. There are even little mock islands with palm trees spread about.\u003c/p>\n\u003cp>Now, \u003cem>Gladiator II\u003c/em> may not stand up to much inquiry from historians. (Some issues were also taken with Scott’s last historical epic, \u003cem>Napoleon\u003c/em>, which likewise was scripted by David Scarpa). But this is not a movie built for accuracy. It’s made for taking a few bits of history and inflating them into a feast and the charms of watching Washington’s Macrinus brandish a head recently relieved of its body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yes, heads do roll in Scott’s \u003cem>Gladiator\u003c/em> sequel. Macrinus succeeds in whipping Rome into a frenzy. In fact, he does it so easily and guilefully that, once things begin unraveling for him, the air leaves \u003cem>Gladiator II\u003c/em>. You don’t quite believe his recklessness after he so patiently and artfully turned the screws.\u003c/p>\n\u003cp>Nevertheless, two possible successors emerge — Lucius, who has a birthright to the throne, and Macrinus, who comes to within its grasp purely by his own wit. Is it any wonder that I was rooting for Macrinus, all the way? How could you not, with Washington chewing scenery like this and making zestful (and rather apt) pronouncements like: “That, my friend, is politics!”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Gladiator II’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A few years ago my dad mentioned an up-and-coming artist by the name of LaRussell. “No, seriously,” he said. “This dude is \u003cem>different! \u003c/em>You gotta check him out.” So I gave him a listen and I’ve been a fan ever since.\u003c/p>\n\u003cp>[aside postid='arts_13966525']Vallejo’s LaRussell has infiltrated the hip-hop industry in a way so many artists only dream of doing. Determined to stay “majorly independent,” the rapper built his own musical infrastructure right in his Bay Area home. LaRussell’s popular “Backyard Residency” concerts are quite literally held in his backyard, and the artist and his homies bring his backyard vibes to the Tiny Desk for what feels like a party with your most fun friends.\u003c/p>\n\u003cp>LaRussell makes sure to please both day one fans and new listeners with a jam-packed setlist that melds some of his best tracks together. He smiles and dances his way through a high-energy performance that solidifies his spot as one of the most memorable Tiny Desk Concerts I’ve attended thus far.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w40XbPyotj8\u003c/p>\n\u003cp>\u003cstrong>SET LIST\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>“Glory”/“Do That Lil Dance You Be Doing”\u003c/li>\n\u003cli>“GIVE ME A BEAT!”\u003c/li>\n\u003cli>“Caught Up in My Head”\u003c/li>\n\u003cli>“Hood Cry”/“Perfect”\u003c/li>\n\u003cli>“10s, 20s, 50s, 100s”/“Test Ya Nuts”/“Once Upon a Time”/“WHAT WE DOIN!?”\u003c/li>\n\u003cli>“When I Come Home”/“GT Coupe”\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>MUSICIANS\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>LaRussell: vocals\u003c/li>\n\u003cli>Hokage Simon: piano, keys\u003c/li>\n\u003cli>ClayDough: keys\u003c/li>\n\u003cli>MadeByHarry: guitar\u003c/li>\n\u003cli>Michael Prince: violin\u003c/li>\n\u003cli>Tione: saxophone\u003c/li>\n\u003cli>Jimmy Toor: flute\u003c/li>\n\u003cli>Shante: vocals\u003c/li>\n\u003cli>Malachi: vocals\u003c/li>\n\u003cli>Tietta: vocals\u003c/li>\n\u003cli>Splash: vocals\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>TINY DESK TEAM\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Producer: Alanté Serene\u003c/li>\n\u003cli>Director/Editor: Joshua Bryant\u003c/li>\n\u003cli>Audio Technical Director: Josh Newell\u003c/li>\n\u003cli>Host/Series Producer: Bobby Carter\u003c/li>\n\u003cli>Videographers: Joshua Bryant, Kara Frame, Estefania Mitre, Michael Zamora\u003c/li>\n\u003cli>Audio Engineer: Tiffany Viera Castro\u003c/li>\n\u003cli>Production Assistant: Ashley Pointer\u003c/li>\n\u003cli>Tiny Desk Team: Hazel Chills, Maia Stern\u003c/li>\n\u003cli>Executive Producer: Suraya Mohamed\u003c/li>\n\u003cli>Series Creators: Bob Boilen, Stephen Thompson\u003c/li>\n\u003cli>VP, Visuals and Music: Keith Jenkins\u003c/li>\n\u003c/ul>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Vallejo’s LaRussell has infiltrated the hip-hop industry in a way so many artists only dream of doing. Determined to stay “majorly independent,” the rapper built his own musical infrastructure right in his Bay Area home. LaRussell’s popular “Backyard Residency” concerts are quite literally held in his backyard, and the artist and his homies bring his backyard vibes to the Tiny Desk for what feels like a party with your most fun friends.\u003c/p>\n\u003cp>LaRussell makes sure to please both day one fans and new listeners with a jam-packed setlist that melds some of his best tracks together. He smiles and dances his way through a high-energy performance that solidifies his spot as one of the most memorable Tiny Desk Concerts I’ve attended thus far.\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/w40XbPyotj8'\n title='//www.youtube.com/embed/w40XbPyotj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>SET LIST\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>“Glory”/“Do That Lil Dance You Be Doing”\u003c/li>\n\u003cli>“GIVE ME A BEAT!”\u003c/li>\n\u003cli>“Caught Up in My Head”\u003c/li>\n\u003cli>“Hood Cry”/“Perfect”\u003c/li>\n\u003cli>“10s, 20s, 50s, 100s”/“Test Ya Nuts”/“Once Upon a Time”/“WHAT WE DOIN!?”\u003c/li>\n\u003cli>“When I Come Home”/“GT Coupe”\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>MUSICIANS\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>LaRussell: vocals\u003c/li>\n\u003cli>Hokage Simon: piano, keys\u003c/li>\n\u003cli>ClayDough: keys\u003c/li>\n\u003cli>MadeByHarry: guitar\u003c/li>\n\u003cli>Michael Prince: violin\u003c/li>\n\u003cli>Tione: saxophone\u003c/li>\n\u003cli>Jimmy Toor: flute\u003c/li>\n\u003cli>Shante: vocals\u003c/li>\n\u003cli>Malachi: vocals\u003c/li>\n\u003cli>Tietta: vocals\u003c/li>\n\u003cli>Splash: vocals\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>TINY DESK TEAM\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Producer: Alanté Serene\u003c/li>\n\u003cli>Director/Editor: Joshua Bryant\u003c/li>\n\u003cli>Audio Technical Director: Josh Newell\u003c/li>\n\u003cli>Host/Series Producer: Bobby Carter\u003c/li>\n\u003cli>Videographers: Joshua Bryant, Kara Frame, Estefania Mitre, Michael Zamora\u003c/li>\n\u003cli>Audio Engineer: Tiffany Viera Castro\u003c/li>\n\u003cli>Production Assistant: Ashley Pointer\u003c/li>\n\u003cli>Tiny Desk Team: Hazel Chills, Maia Stern\u003c/li>\n\u003cli>Executive Producer: Suraya Mohamed\u003c/li>\n\u003cli>Series Creators: Bob Boilen, Stephen Thompson\u003c/li>\n\u003cli>VP, Visuals and Music: Keith Jenkins\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Juror #2’ Is a Thorny Legal Thriller — and Possibly Clint Eastwood’s Last Film",
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"content": "\u003cp>Last week, Warner Bros. opened \u003cem>Juror #2 \u003c/em>in limited release, with minimal fanfare, and no plans to report the film’s domestic box office. It’s not the typical treatment for a Clint Eastwood movie, especially one that some think might be the \u003cem>last \u003c/em>Clint Eastwood movie. I hope they’re wrong.\u003c/p>\n\u003cp>Either way, the fact that Eastwood’s longtime studio would bury his latest speaks to the various crises that have befallen the industry in general and Warner Bros. in particular. At 94, Eastwood seems ever more like an anomaly in American filmmaking: a Hollywood legend with nothing left to prove, still cranking out his unfussy, mid-budget dramas for a grown-up audience that the major studios have all but abandoned.\u003c/p>\n\u003cp>[aside postid='arts_13967805']\u003cem>Juror #2\u003c/em> is actually one of his better-directed efforts of late, certainly compared with recent disappointments like \u003cem>Cry Macho\u003c/em> and \u003ca href=\"https://video.kqed.org/video/clint-eastwood-for-the-mule-ejnwjt/\">\u003cem>The Mule\u003c/em>\u003c/a>. There’s a little old-school \u003ca href=\"https://www.kqed.org/arts/13966911/john-grisham-dan-slepian-books-wrongfully-convicted-us-prison-injustice-sing-sing\">John Grisham\u003c/a> in this movie’s legal-thriller DNA, even though it features an original screenplay, by Jonathan Abrams.\u003c/p>\n\u003cp>Nicholas Hoult stars as Justin Kemp, a Georgia-based magazine writer who’s expecting a baby with his wife, played by Zoey Deutch. It’s a high-risk pregnancy, and so the timing isn’t ideal when Justin gets selected as a juror in a major murder trial.\u003c/p>\n\u003cp>The defendant, James Sythe, stands accused of killing his girlfriend, Kendall Carter, after the two had a heated argument in a bar one night. As the facts of the case emerge, Justin, who is recovering from alcoholism, realizes that he was at that same bar on the very night in question — and that he hit something he had assumed was a deer while driving home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Suddenly alarmed that he could be more involved in Kendall’s death than he thought, Justin seeks advice from his AA sponsor, Larry, who also happens to be a lawyer. Larry, played by Kiefer Sutherland, advises Justin to keep quiet, lest he face serious prison time. But Justin, worried that his silence could send an innocent man to prison, tries to plead Sythe’s case during deliberations, which quickly turn contentious.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=viA35xH5KO8\u003c/p>\n\u003cp>There’s a creakiness to the writing here; the bickering sounds forced, and some of the jurors veer toward cultural stereotypes. But others are more sharply drawn: \u003ca href=\"https://www.kqed.org/arts/10144000/bang-the-drum-ever-faster-in-the-different-sports-arena-of-whiplash\">J.K. Simmons\u003c/a> brings his hard-nosed intelligence to the role of one of Justin’s few allies, while Cedric Yarbrough finds the simmering tension in every line as a juror convinced of the defendant’s guilt.\u003c/p>\n\u003cp>It all plays like a barbed riff on \u003cem>12 Angry Men\u003c/em>, where one man seeks to sway his fellow jurors, not to bring about justice so much as assuage his own conscience. But Justin isn’t the only character held up for moral scrutiny. The courtroom’s most compelling figure is the prosecutor, Faith, played with terrific nuance by \u003ca href=\"https://www.kqed.org/arts/13834624/with-cunning-casting-hereditary-dials-up-the-horror\">Toni Collette\u003c/a>. Faith does her job with skill, integrity and a great deal of ambition; she’s running for district attorney, and she knows that securing a conviction could help her chances.\u003c/p>\n\u003cp>[aside postid='arts_13967869']Collette and Hoult played a mother and son in the 2002 comedy \u003cem>About a Boy\u003c/em>. And while the actors don’t share too much screen time in \u003cem>Juror #2\u003c/em>, beyond one doozy of a late scene, it’s still a pleasure to see them reunited more than 20 years later. Hoult is especially strong as a man wrestling quietly with past demons and present dilemmas, and whose response is to rationalize like crazy. After all, maybe Sythe, a man known for his rough past, really did kill his girlfriend. And even if he didn’t, how can Justin turn himself in, just as he and his wife are about to start a family?\u003c/p>\n\u003cp>Eastwood may take his characters to task, but he also sees the bigger picture. He’s long had a skeptical view of institutions and their failings, whether it’s a corrupt police force in \u003ca href=\"https://www.kqed.org/arts/23586/changeling\">\u003cem>Changeling\u003c/em>\u003c/a> or the manipulations of the media in movies like \u003cem>Sully\u003c/em> and \u003cem>Richard Jewell\u003c/em>\u003cem>.\u003c/em> In \u003cem>Juror #2\u003c/em>, he takes measured aim at the American justice system, from the dogged attorneys muddling their way through the evidence to the exhausted jurors who just want to deliver a quick verdict to the procedural fault lines and blind spots that can make the truth seem so elusive.\u003c/p>\n\u003cp>It’s a thorny, thoughtful film, and I wish its own studio had more confidence in it. If Eastwood does make another one, I wouldn’t mind seeing him take on another broken American system rife with cynicism, self-interest and compromise — and that, of course, is Hollywood itself.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Juror #2’ is out, nationwide, now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Suddenly alarmed that he could be more involved in Kendall’s death than he thought, Justin seeks advice from his AA sponsor, Larry, who also happens to be a lawyer. Larry, played by Kiefer Sutherland, advises Justin to keep quiet, lest he face serious prison time. But Justin, worried that his silence could send an innocent man to prison, tries to plead Sythe’s case during deliberations, which quickly turn contentious.\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/viA35xH5KO8'\n title='//www.youtube.com/embed/viA35xH5KO8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s a creakiness to the writing here; the bickering sounds forced, and some of the jurors veer toward cultural stereotypes. But others are more sharply drawn: \u003ca href=\"https://www.kqed.org/arts/10144000/bang-the-drum-ever-faster-in-the-different-sports-arena-of-whiplash\">J.K. Simmons\u003c/a> brings his hard-nosed intelligence to the role of one of Justin’s few allies, while Cedric Yarbrough finds the simmering tension in every line as a juror convinced of the defendant’s guilt.\u003c/p>\n\u003cp>It all plays like a barbed riff on \u003cem>12 Angry Men\u003c/em>, where one man seeks to sway his fellow jurors, not to bring about justice so much as assuage his own conscience. But Justin isn’t the only character held up for moral scrutiny. The courtroom’s most compelling figure is the prosecutor, Faith, played with terrific nuance by \u003ca href=\"https://www.kqed.org/arts/13834624/with-cunning-casting-hereditary-dials-up-the-horror\">Toni Collette\u003c/a>. Faith does her job with skill, integrity and a great deal of ambition; she’s running for district attorney, and she knows that securing a conviction could help her chances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Collette and Hoult played a mother and son in the 2002 comedy \u003cem>About a Boy\u003c/em>. And while the actors don’t share too much screen time in \u003cem>Juror #2\u003c/em>, beyond one doozy of a late scene, it’s still a pleasure to see them reunited more than 20 years later. Hoult is especially strong as a man wrestling quietly with past demons and present dilemmas, and whose response is to rationalize like crazy. After all, maybe Sythe, a man known for his rough past, really did kill his girlfriend. And even if he didn’t, how can Justin turn himself in, just as he and his wife are about to start a family?\u003c/p>\n\u003cp>Eastwood may take his characters to task, but he also sees the bigger picture. He’s long had a skeptical view of institutions and their failings, whether it’s a corrupt police force in \u003ca href=\"https://www.kqed.org/arts/23586/changeling\">\u003cem>Changeling\u003c/em>\u003c/a> or the manipulations of the media in movies like \u003cem>Sully\u003c/em> and \u003cem>Richard Jewell\u003c/em>\u003cem>.\u003c/em> In \u003cem>Juror #2\u003c/em>, he takes measured aim at the American justice system, from the dogged attorneys muddling their way through the evidence to the exhausted jurors who just want to deliver a quick verdict to the procedural fault lines and blind spots that can make the truth seem so elusive.\u003c/p>\n\u003cp>It’s a thorny, thoughtful film, and I wish its own studio had more confidence in it. If Eastwood does make another one, I wouldn’t mind seeing him take on another broken American system rife with cynicism, self-interest and compromise — and that, of course, is Hollywood itself.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Juror #2’ is out, nationwide, now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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.",
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"masters-of-scale": {
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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