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"content": "\u003cp>For most of its history, Hollywood made its money by putting stars the public liked to watch in stories that wouldn’t be worth watching without them. These days, such star-driven films are falling out of fashion — except on our streamers.\u003c/p>\n\u003cp>That’s where you’ll find \u003cem>Wolfs\u003c/em>, an AppleTV+ vehicle that features \u003ca href=\"https://www.kqed.org/arts/13890684/george-clooney-says-midnight-sky-is-about-our-desperate-need-to-be-with-loved-ones\">George Clooney\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/brad-pitt\">Brad Pitt\u003c/a> skating through a crime plot in glamorously grizzled mode. They play two professional “fixers” — they’ll do \u003cem>anything \u003c/em>to clean up a client’s mess — who collide while working the same job. Written and directed by Jon Watts (who did a popular \u003ca href=\"https://www.kqed.org/pop/91487/origin-al-sin-what-hollywood-must-learn-from-spider-man-homecoming\">Spider-Man\u003c/a> reboot), \u003cem>Wolfs\u003c/em> matters more for its stars than for the characters they play.\u003c/p>\n\u003cp>[aside postid='arts_13966048']The action begins when a New York politico played by Amy Ryan has a casual fling at a posh hotel that goes terribly wrong. She calls Clooney, a seasoned pro who knows how to make trouble disappear. He’s doing just that when they’re interrupted. Enter Pitt who, as it turns out, is working for the hotel, which also wants the problem to go away. Because Clooney and Pitt (their characters don’t use names) always work alone, both bristle at each other’s presence.\u003c/p>\n\u003cp>The two bicker and gibe and question each other’s expertise — Pitt keeps hinting that Clooney’s an old man. And naturally, they discover that their task is more challenging than it looked.\u003c/p>\n\u003cp>All too soon they’re dealing with four bricks of stolen drugs, a goofy college kid and a group of murderous gangsters. Over the course of a long night the two come to a kind of understanding — not only with one another, but about their larger role in the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wLJUPjiRbAM\u003c/p>\n\u003cp>If I’d paid to see \u003cem>Wolfs\u003c/em> in a theater rather than screened it on TV — which has the lowered expectations of in-flight viewing — I’d probably have been bugged by its lack of imagination and urgency. Watts’ script gives you no singing dialogue a la Elmore Leonard or \u003ca href=\"https://www.kqed.org/arts/11191894/tarantino-holes-up-a-few-outlaws-in-the-hateful-eight\">Quentin Tarantino\u003c/a>, none of the stinging emotional force you find in comparable two-hander stories — Elaine May’s \u003cem>Mikey and Nicky\u003c/em>, say, or Martin McDonagh’s \u003cem>In Bruges\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13965877']And yet the movie’s still enjoyable. Clooney and Pitt are such deft, charismatic actors that, even in a lazy, low-key picture like this one, you get a lot of pleasure from their barbed asides and mocking silences. It’s clear why they’ve been stars for three decades.\u003c/p>\n\u003cp>Thirty years ago, one would have wagered that Clooney, a smart man with a wide-ranging mind, would wind up with the weightier resume of the two. And indeed, he’s been in lots of terrific movies, like \u003cem>Out of Sight\u003c/em>, \u003cem>Up in the Air\u003c/em> and his work with the \u003ca href=\"https://www.kqed.org/arts/11762007/coen-brothers-inspired-dark-comedy-with-actors-from-veep-true-blood\">Coen Brothers\u003c/a>. Yet just as he’s drawn to the idea of Frank Sinatra’s Rat Pack — he has one of his own — he often throws himself into projects that feel like throwbacks to the 1950s or ‘60s. He’s an old-fashioned kind of star. And while a lot of his movies are fun — think \u003ca href=\"https://video.kqed.org/video/oceans-11-web-extra-kbfvd7/\">\u003cem>Ocean’s Eleven\u003c/em>\u003c/a> — they rarely resonate in the culture as much as he does off the screen.\u003c/p>\n\u003cp>For all his prettiness and ubiquity in the tabloids, Pitt’s movies do. Maybe because he’s always been running away from his beauty — he’s never happier than when scruffed up — he’s chosen a more adventurous path. From \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a> and \u003cem>Se7en\u003c/em>, to \u003cem>Fight Club\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/56273/the_tree_of_life\">\u003cem>The Tree of Life\u003c/em>\u003c/a>, to \u003ca href=\"https://www.kqed.org/arts/128101/for_a_free_spirit_a_grim_12_years_in_chains\">\u003cem>12 Years a Slave\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/news/tag/moneyball\">\u003cem>Moneyball\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/pop/113016/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in … Hollywood\u003c/em>\u003c/a>, he’s made movies that feel in touch with our present moment.\u003c/p>\n\u003cp>[aside postid='arts_13965858']What Clooney and Pitt share, beyond friendship, is that both achieved stardom by doing the kind of movies that rarely get made anymore. That’s why, even though \u003cem>Wolfs\u003c/em> is slight, I can see how they might find it meaningful.\u003c/p>\n\u003cp>After all, this is a story about two old pros who each start out thinking he’s irreplaceable — the only one who can do this special job. Then each discovers that, far from being unique, there’s somebody else who does exactly what they do. And so far from being indispensable, they’re working for soulless people who have no qualms about getting rid of them and hiring somebody new. Which is to say, \u003cem>Wolfs\u003c/em> isn’t really a film about being a fixer. It’s a film about being an aging movie star.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Wolfs’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For most of its history, Hollywood made its money by putting stars the public liked to watch in stories that wouldn’t be worth watching without them. These days, such star-driven films are falling out of fashion — except on our streamers.\u003c/p>\n\u003cp>That’s where you’ll find \u003cem>Wolfs\u003c/em>, an AppleTV+ vehicle that features \u003ca href=\"https://www.kqed.org/arts/13890684/george-clooney-says-midnight-sky-is-about-our-desperate-need-to-be-with-loved-ones\">George Clooney\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/brad-pitt\">Brad Pitt\u003c/a> skating through a crime plot in glamorously grizzled mode. They play two professional “fixers” — they’ll do \u003cem>anything \u003c/em>to clean up a client’s mess — who collide while working the same job. Written and directed by Jon Watts (who did a popular \u003ca href=\"https://www.kqed.org/pop/91487/origin-al-sin-what-hollywood-must-learn-from-spider-man-homecoming\">Spider-Man\u003c/a> reboot), \u003cem>Wolfs\u003c/em> matters more for its stars than for the characters they play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The action begins when a New York politico played by Amy Ryan has a casual fling at a posh hotel that goes terribly wrong. She calls Clooney, a seasoned pro who knows how to make trouble disappear. He’s doing just that when they’re interrupted. Enter Pitt who, as it turns out, is working for the hotel, which also wants the problem to go away. Because Clooney and Pitt (their characters don’t use names) always work alone, both bristle at each other’s presence.\u003c/p>\n\u003cp>The two bicker and gibe and question each other’s expertise — Pitt keeps hinting that Clooney’s an old man. And naturally, they discover that their task is more challenging than it looked.\u003c/p>\n\u003cp>All too soon they’re dealing with four bricks of stolen drugs, a goofy college kid and a group of murderous gangsters. Over the course of a long night the two come to a kind of understanding — not only with one another, but about their larger role in the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wLJUPjiRbAM'\n title='//www.youtube.com/embed/wLJUPjiRbAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If I’d paid to see \u003cem>Wolfs\u003c/em> in a theater rather than screened it on TV — which has the lowered expectations of in-flight viewing — I’d probably have been bugged by its lack of imagination and urgency. Watts’ script gives you no singing dialogue a la Elmore Leonard or \u003ca href=\"https://www.kqed.org/arts/11191894/tarantino-holes-up-a-few-outlaws-in-the-hateful-eight\">Quentin Tarantino\u003c/a>, none of the stinging emotional force you find in comparable two-hander stories — Elaine May’s \u003cem>Mikey and Nicky\u003c/em>, say, or Martin McDonagh’s \u003cem>In Bruges\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And yet the movie’s still enjoyable. Clooney and Pitt are such deft, charismatic actors that, even in a lazy, low-key picture like this one, you get a lot of pleasure from their barbed asides and mocking silences. It’s clear why they’ve been stars for three decades.\u003c/p>\n\u003cp>Thirty years ago, one would have wagered that Clooney, a smart man with a wide-ranging mind, would wind up with the weightier resume of the two. And indeed, he’s been in lots of terrific movies, like \u003cem>Out of Sight\u003c/em>, \u003cem>Up in the Air\u003c/em> and his work with the \u003ca href=\"https://www.kqed.org/arts/11762007/coen-brothers-inspired-dark-comedy-with-actors-from-veep-true-blood\">Coen Brothers\u003c/a>. Yet just as he’s drawn to the idea of Frank Sinatra’s Rat Pack — he has one of his own — he often throws himself into projects that feel like throwbacks to the 1950s or ‘60s. He’s an old-fashioned kind of star. And while a lot of his movies are fun — think \u003ca href=\"https://video.kqed.org/video/oceans-11-web-extra-kbfvd7/\">\u003cem>Ocean’s Eleven\u003c/em>\u003c/a> — they rarely resonate in the culture as much as he does off the screen.\u003c/p>\n\u003cp>For all his prettiness and ubiquity in the tabloids, Pitt’s movies do. Maybe because he’s always been running away from his beauty — he’s never happier than when scruffed up — he’s chosen a more adventurous path. From \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a> and \u003cem>Se7en\u003c/em>, to \u003cem>Fight Club\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/56273/the_tree_of_life\">\u003cem>The Tree of Life\u003c/em>\u003c/a>, to \u003ca href=\"https://www.kqed.org/arts/128101/for_a_free_spirit_a_grim_12_years_in_chains\">\u003cem>12 Years a Slave\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/news/tag/moneyball\">\u003cem>Moneyball\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/pop/113016/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in … Hollywood\u003c/em>\u003c/a>, he’s made movies that feel in touch with our present moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What Clooney and Pitt share, beyond friendship, is that both achieved stardom by doing the kind of movies that rarely get made anymore. That’s why, even though \u003cem>Wolfs\u003c/em> is slight, I can see how they might find it meaningful.\u003c/p>\n\u003cp>After all, this is a story about two old pros who each start out thinking he’s irreplaceable — the only one who can do this special job. Then each discovers that, far from being unique, there’s somebody else who does exactly what they do. And so far from being indispensable, they’re working for soulless people who have no qualms about getting rid of them and hiring somebody new. Which is to say, \u003cem>Wolfs\u003c/em> isn’t really a film about being a fixer. It’s a film about being an aging movie star.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Wolfs’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Moo Deng the Baby Pygmy Hippo Is No Longer a Source of Joy (Thanks, Humanity)",
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"content": "\u003cp>How could she not become a social media sensation? She looks like a slimy over-inflated football that’s been left out under the sprinklers for too long. She wants to chew on everything including zookeeper limbs and her mom’s butt. Her name is Moo Deng (“Bouncy Pork”), she’s a baby pygmy hippo living in Thailand, and if you’ve so much as glanced at the internet in the last few weeks, you’ll have already seen her dopey little face. Which, in case you need a refresher, looks like this:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@ksxrvq/video/7417288798796533024\" data-video-id=\"7417288798796533024\">\n\u003csection>\u003ca title=\"@ksxrvq\" href=\"https://www.tiktok.com/@ksxrvq?refer=embed\" target=\"_blank\" rel=\"noopener\">@ksxrvq\u003c/a> \u003ca title=\"moodeng\" href=\"https://www.tiktok.com/tag/moodeng?refer=embed\" target=\"_blank\" rel=\"noopener\">#MOODENG\u003c/a> || who is this DIVA 💜 || \u003ca title=\"moodeng\" href=\"https://www.tiktok.com/tag/moodeng?refer=embed\" target=\"_blank\" rel=\"noopener\">#moodeng\u003c/a> \u003ca title=\"babyhippo\" href=\"https://www.tiktok.com/tag/babyhippo?refer=embed\" target=\"_blank\" rel=\"noopener\">#babyhippo\u003c/a> \u003ca title=\"pygmyhippo\" href=\"https://www.tiktok.com/tag/pygmyhippo?refer=embed\" target=\"_blank\" rel=\"noopener\">#pygmyhippo\u003c/a> \u003ca title=\"hippo\" href=\"https://www.tiktok.com/tag/hippo?refer=embed\" target=\"_blank\" rel=\"noopener\">#hippo\u003c/a> \u003ca title=\"cute\" href=\"https://www.tiktok.com/tag/cute?refer=embed\" target=\"_blank\" rel=\"noopener\">#cute\u003c/a> \u003ca title=\"diva\" href=\"https://www.tiktok.com/tag/diva?refer=embed\" target=\"_blank\" rel=\"noopener\">#diva\u003c/a> \u003ca title=\"fancy\" href=\"https://www.tiktok.com/tag/fancy?refer=embed\" target=\"_blank\" rel=\"noopener\">#fancy\u003c/a> \u003ca title=\"iggyazalea\" href=\"https://www.tiktok.com/tag/iggyazalea?refer=embed\" target=\"_blank\" rel=\"noopener\">#iggyazalea\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"foryoupage\" href=\"https://www.tiktok.com/tag/foryoupage?refer=embed\" target=\"_blank\" rel=\"noopener\">#foryoupage\u003c/a> \u003ca title=\"edit\" href=\"https://www.tiktok.com/tag/edit?refer=embed\" target=\"_blank\" rel=\"noopener\">#edit\u003c/a> \u003ca title=\"xyzbca\" href=\"https://www.tiktok.com/tag/xyzbca?refer=embed\" target=\"_blank\" rel=\"noopener\">#xyzbca\u003c/a> \u003ca title=\"dontletthisflop\" href=\"https://www.tiktok.com/tag/dontletthisflop?refer=embed\" target=\"_blank\" rel=\"noopener\">#dontletthisflop\u003c/a> \u003ca title=\"♬ original sound - ksxrvq\" href=\"https://www.tiktok.com/music/original-sound-7417288933387586337?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – ksxrvq\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>A lot of people don’t need a refresher because there’s literally a \u003ca href=\"https://www.zoodio.live/th/live-streaming\">Moo Deng livestream\u003c/a> now, courtesy of the \u003ca href=\"https://khaokheow.zoothailand.org/en/index.php\">Khao Kheow Open Zoo\u003c/a> in Chon Buri province. Moo Deng lives there with her eternally-eating 25-year-old mom Jona, her dad Tony (yes, Tony), and her siblings Moo Wan (“Sweet Pork”) and Moo Tun (“Stewed Pork”). They are just a few of the approximately 350 pygmy hippos currently living in zoos around the world. Originally hailing from West Africa, these little hippos are endangered, with less than 3,000 remaining in the wild.\u003c/p>\n\u003cp>Moo Deng has distinguished herself among the other captive pygmys for being both very cute and also full of bitey rage. Which is what prompted so many people on the internet to make videos like this:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@brainblenderboy/video/7418239312606530849\" data-video-id=\"7418239312606530849\">\n\u003csection>\u003ca title=\"@brainblenderboy\" href=\"https://www.tiktok.com/@brainblenderboy?refer=embed\" target=\"_blank\" rel=\"noopener\">@brainblenderboy\u003c/a> \u003ca title=\"moodeng\" href=\"https://www.tiktok.com/tag/moodeng?refer=embed\" target=\"_blank\" rel=\"noopener\">#MOODENG\u003c/a> is disrespecting her surroundings 🤨\u003ca title=\"babyhippo\" href=\"https://www.tiktok.com/tag/babyhippo?refer=embed\" target=\"_blank\" rel=\"noopener\">#babyhippo\u003c/a> \u003ca title=\"pygmyhippo\" href=\"https://www.tiktok.com/tag/pygmyhippo?refer=embed\" target=\"_blank\" rel=\"noopener\">#pygmyhippo\u003c/a> \u003ca title=\"hippo\" href=\"https://www.tiktok.com/tag/hippo?refer=embed\" target=\"_blank\" rel=\"noopener\">#hippo\u003c/a> \u003ca title=\"cute\" href=\"https://www.tiktok.com/tag/cute?refer=embed\" target=\"_blank\" rel=\"noopener\">#cute\u003c/a> \u003ca title=\"diva\" href=\"https://www.tiktok.com/tag/diva?refer=embed\" target=\"_blank\" rel=\"noopener\">#diva\u003c/a> \u003ca title=\"fancy\" href=\"https://www.tiktok.com/tag/fancy?refer=embed\" target=\"_blank\" rel=\"noopener\">#fancy\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"edit\" href=\"https://www.tiktok.com/tag/edit?refer=embed\" target=\"_blank\" rel=\"noopener\">#edit\u003c/a> \u003ca title=\"meme\" href=\"https://www.tiktok.com/tag/meme?refer=embed\" target=\"_blank\" rel=\"noopener\">#meme\u003c/a> \u003ca title=\"disrespectyoursurroundings\" href=\"https://www.tiktok.com/tag/disrespectyoursurroundings?refer=embed\" target=\"_blank\" rel=\"noopener\">#disrespectyoursurroundings\u003c/a> \u003ca title=\"♬ original sound - BrainBlenderBoy\" href=\"https://www.tiktok.com/music/original-sound-7418239319200025377?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – BrainBlenderBoy\u003c/a>\u003c/section>\n\u003cp>[tiktok]\u003c/p>\u003c/blockquote>\n\u003cp>And also whatever the hell this is:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@gentlebl0ke/video/7419311144508329249\" data-video-id=\"7419311144508329249\">\n\u003csection>\u003ca title=\"@gentlebl0ke\" href=\"https://www.tiktok.com/@gentlebl0ke?refer=embed\" target=\"_blank\" rel=\"noopener\">@gentlebl0ke\u003c/a> \u003ca title=\"moodeng\" href=\"https://www.tiktok.com/tag/moodeng?refer=embed\" target=\"_blank\" rel=\"noopener\">#moodeng\u003c/a> \u003ca title=\"babyhippo\" href=\"https://www.tiktok.com/tag/babyhippo?refer=embed\" target=\"_blank\" rel=\"noopener\">#babyhippo\u003c/a> \u003ca title=\"hippo\" href=\"https://www.tiktok.com/tag/hippo?refer=embed\" target=\"_blank\" rel=\"noopener\">#hippo\u003c/a> \u003ca title=\"new\" href=\"https://www.tiktok.com/tag/new?refer=embed\" target=\"_blank\" rel=\"noopener\">#new\u003c/a> \u003ca title=\"♬ original sound - gentlebl0ke\" href=\"https://www.tiktok.com/music/original-sound-7419311140175465248?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – gentlebl0ke\u003c/a>\u003c/section>\n\u003cp>[tiktok]\u003c/p>\u003c/blockquote>\n\u003cp>And also this little slice of Godzilla-inspired madness \u003ca href=\"https://www.kqed.org/arts/13965276/massive-baby-penguin-australian-pesto-videos-melbourne-aquarium\">co-starring Pesto\u003c/a>, the enormous baby penguin currently residing at Sea Life Melbourne Aquarium in Australia:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@gentlebl0ke/video/7418573967826406688\" data-video-id=\"7418573967826406688\">\n\u003csection>\u003ca title=\"@gentlebl0ke\" href=\"https://www.tiktok.com/@gentlebl0ke?refer=embed\" target=\"_blank\" rel=\"noopener\">@gentlebl0ke\u003c/a> Moo Deng vs. Pesto the Penguin \u003ca title=\"moodeng\" href=\"https://www.tiktok.com/tag/moodeng?refer=embed\" target=\"_blank\" rel=\"noopener\">#moodeng\u003c/a> \u003ca title=\"babyhippo\" href=\"https://www.tiktok.com/tag/babyhippo?refer=embed\" target=\"_blank\" rel=\"noopener\">#babyhippo\u003c/a> \u003ca title=\"pesto\" href=\"https://www.tiktok.com/tag/pesto?refer=embed\" target=\"_blank\" rel=\"noopener\">#pesto\u003c/a> \u003ca title=\"penguin\" href=\"https://www.tiktok.com/tag/penguin?refer=embed\" target=\"_blank\" rel=\"noopener\">#penguin\u003c/a> \u003ca title=\"new\" href=\"https://www.tiktok.com/tag/new?refer=embed\" target=\"_blank\" rel=\"noopener\">#new\u003c/a> \u003ca title=\"♬ original sound - gentlebl0ke\" href=\"https://www.tiktok.com/music/original-sound-7418573970731387681?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – gentlebl0ke\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Since finding fame, Moo Deng has been so bombarded with visitors, the zoo had to put a five-minute time limit on people standing at her enclosure. Plus, they had to employ extra security after some dumbass \u003ca href=\"https://twitter.com/iioimioii/status/1833338959511839100?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1833338959511839100%7Ctwgr%5E7ccba4fbe355469049a9f2a906a26d0f5b95bada%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.firstpost.com%2Fexplainers%2Fhow-fame-is-hurting-thailands-viral-baby-pygmy-hippo-moo-deng-13815740.html\">jerks decided to throw water and food at her\u003c/a>. (In case we needed a reminder that humans are the actual worst.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moo Deng’s profile is now so colossal, Bowen Yang just appeared on \u003cem>Saturday Night Live’\u003c/em>s Weekend Update in character as the baby hippo. (And also made comparisons between the sentient potato and Chappell Roan in a way that actually made sense.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vfIbbP3vuwA\u003c/p>\n\u003cp>Moo Deng was all so very fun … for a minute.\u003c/p>\n\u003cp>As with anything gleeful that exists on the internet, the unfiltered joy could only last so long. Moo Deng might have started out as something to lift our spirits during election season and several ongoing wars, but she is now being held up in some corners as a reflection of all that is wrong in the world. (All the old classics are here: capitalism, exploitation, destruction of natural resources, etc.)\u003c/p>\n\u003cp>\u003ca href=\"https://petaasia.com/media/peta-statement-on-moo-deng-the-baby-hippo-born-in-captivity-in-thailand/\">PETA weighed in\u003c/a> soon after everyone’s favorite butterball went viral. “Hippos belong in the wild, but Moo Deng will never live outside a cage,” the animal rights organization said in a deeply depressing statement. “She faces a lifetime of confinement, deprived of her freedom and the opportunity to experience her natural habitat and the social structures of her species. Animals do not exist for our entertainment.”\u003c/p>\n\u003cp>Criticism only increased after the Khao Kheow Open Zoo announced that it would be \u003ca href=\"https://www.tiktok.com/@skynews/video/7416321845147864352?lang=en\">trademarking Moo Deng’s likeness\u003c/a>, with the goal of using all the extra profits to make\u003ca href=\"https://www.ndtv.com/world-news/thai-zoo-that-homes-viral-pygmy-hippo-moo-deng-earns-4-times-more-now-6657099\"> improvements\u003c/a> at the zoo.\u003c/p>\n\u003cp>\u003ca href=\"https://greatergood.com/blogs/news/free-moo-deng/?utm_source=social&utm_medium=facebook&utm_campaign=free-moo-deng&fbclid=IwY2xjawFruqJleHRuA2FlbQIxMQABHZrtYXxY3JVvRi4qVFTMbgOYXulzO03DycmIDwz6c-rUPdGc-c_dtDlauA_aem_HzBgGxlf5IiWuZFn_bCOig\">Greater Good pointed out\u003c/a>: “The story of Moo Deng forces us to ask uncomfortable questions about the relationship between human entertainment and wildlife conservation,” the charitable organization stated in a blog post. “While she has undoubtedly raised awareness about the plight of pygmy hippos, her life in captivity highlights a broader issue: the ethical treatment of endangered animals. Is it right to confine a wild animal for public display, even if it contributes to conservation?”\u003c/p>\n\u003cp>A nonprofit named World Animal Protection US had stronger words, in its own \u003ca href=\"https://www.worldanimalprotection.us/latest/blogs/internet-sensation-moo-deng-belongs-in-the-wild-not-the-zoo/\">blog post about Moo Deng\u003c/a>. “The Khao Kheow Open Zoo is flagged as not meeting TripAdvisor’s animal welfare guidelines,” the organization stated. “Sharing Moo Deng content might seem innocuous, but it promotes cruelty to animals.”\u003c/p>\n\u003cp>One of the biggest discussions on TikTok has indeed concerned the ways in which Moo Deng’s zookeepers poke at her, tap her butt and rub her belly.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@bestofmoodeng/video/7418328722605985055\" data-video-id=\"7418328722605985055\">\n\u003csection>\u003ca title=\"@bestofmoodeng\" href=\"https://www.tiktok.com/@bestofmoodeng?refer=embed\" target=\"_blank\" rel=\"noopener\">@bestofmoodeng\u003c/a> Poor moo deng 😭, maybe this is why she’s always angry \u003ca title=\"moodeng\" href=\"https://www.tiktok.com/tag/moodeng?refer=embed\" target=\"_blank\" rel=\"noopener\">#moodeng\u003c/a> \u003ca title=\"babyhippo\" href=\"https://www.tiktok.com/tag/babyhippo?refer=embed\" target=\"_blank\" rel=\"noopener\">#babyhippo\u003c/a> \u003ca title=\"cuteanimals\" href=\"https://www.tiktok.com/tag/cuteanimals?refer=embed\" target=\"_blank\" rel=\"noopener\">#cuteanimals\u003c/a> \u003ca title=\"xyzabc\" href=\"https://www.tiktok.com/tag/xyzabc?refer=embed\" target=\"_blank\" rel=\"noopener\">#xyzabc\u003c/a> \u003ca title=\"viral\" href=\"https://www.tiktok.com/tag/viral?refer=embed\" target=\"_blank\" rel=\"noopener\">#viral\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"♬ dilemma - Galuh\" href=\"https://www.tiktok.com/music/dilemma-7233743527400770310?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ dilemma – Galuh\u003c/a>\u003c/section>\n\u003cp>[tiktok]\u003c/p>\u003c/blockquote>\n\u003cp>For every TikTok-er concerned for Moo Deng’s mental health, another one pops up with a justification for the ways that the zoo staff interacts with her. “The zoo handler is pushing the baby hippo around as part of its early socialization and training,” \u003ca href=\"https://www.tiktok.com/@forevergreenapp/video/7418959282189765918\">one video by an ecologically-minded start-up\u003c/a> stated. “By handling them in their formative years, zoo staff help the baby hippo get used to human interactions in a safe and controlled way.”\u003c/p>\n\u003cp>Either way you look at all this, any serotonin boosts Moo Deng may have provided your tired brain with a few weeks ago have basically evaporated at this point. Maybe it’s time to check back in with \u003ca href=\"https://cincinnatizoo.org/fiona-the-world-famous-hippo/\">Fiona, the much less controversial baby hippo\u003c/a> who went viral at the Cincinnati Zoo back in 2017. She’s not a baby anymore, but she is a big sister to two-year-old Fritz and very much appears to still be living her best life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, for Moo Deng — and all of us — it’s all feeling a bit more like this…\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@nilston27/video/7421022338164051218\" data-video-id=\"7421022338164051218\">\n\u003csection>\u003ca title=\"@nilston27\" href=\"https://www.tiktok.com/@nilston27?refer=embed\" target=\"_blank\" rel=\"noopener\">@nilston27\u003c/a> ท่านอนพักผ่อนน้องหมูเด้ง….🦛🦛\u003ca title=\"หมูเด้ง\" href=\"https://www.tiktok.com/tag/%E0%B8%AB%E0%B8%A1%E0%B8%B9%E0%B9%80%E0%B8%94%E0%B9%89%E0%B8%87?refer=embed\" target=\"_blank\" rel=\"noopener\">#หมูเด้ง\u003c/a> \u003ca title=\"ฮิปโป\" href=\"https://www.tiktok.com/tag/%E0%B8%AE%E0%B8%B4%E0%B8%9B%E0%B9%82%E0%B8%9B?refer=embed\" target=\"_blank\" rel=\"noopener\">#ฮิปโป\u003c/a> \u003ca title=\"น่ารัก\" href=\"https://www.tiktok.com/tag/%E0%B8%99%E0%B9%88%E0%B8%B2%E0%B8%A3%E0%B8%B1%E0%B8%81?refer=embed\" target=\"_blank\" rel=\"noopener\">#น่ารัก\u003c/a> @NilsShop27 @NilsShop27 @NilsShop27 \u003ca title=\"♬ เสียงต้นฉบับ - NilsShop27\" href=\"https://www.tiktok.com/music/%E0%B9%80%E0%B8%AA%E0%B8%B5%E0%B8%A2%E0%B8%87%E0%B8%95%E0%B9%89%E0%B8%99%E0%B8%89%E0%B8%9A%E0%B8%B1%E0%B8%9A-NilsShop27-7421022366177839889?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ เสียงต้นฉบับ – NilsShop27\u003c/a>\u003c/section>\n\u003cp>[tiktok]\u003c/p>\u003c/blockquote>\n\n",
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"title": "Moo Deng, Viral Pygmy Hippo, Is No Longer a Source of Joy | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How could she not become a social media sensation? She looks like a slimy over-inflated football that’s been left out under the sprinklers for too long. She wants to chew on everything including zookeeper limbs and her mom’s butt. Her name is Moo Deng (“Bouncy Pork”), she’s a baby pygmy hippo living in Thailand, and if you’ve so much as glanced at the internet in the last few weeks, you’ll have already seen her dopey little face. Which, in case you need a refresher, looks like this:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@ksxrvq/video/7417288798796533024\" data-video-id=\"7417288798796533024\">\n\u003csection>\u003ca title=\"@ksxrvq\" href=\"https://www.tiktok.com/@ksxrvq?refer=embed\" target=\"_blank\" rel=\"noopener\">@ksxrvq\u003c/a> \u003ca title=\"moodeng\" href=\"https://www.tiktok.com/tag/moodeng?refer=embed\" target=\"_blank\" rel=\"noopener\">#MOODENG\u003c/a> || who is this DIVA 💜 || \u003ca title=\"moodeng\" href=\"https://www.tiktok.com/tag/moodeng?refer=embed\" target=\"_blank\" rel=\"noopener\">#moodeng\u003c/a> \u003ca title=\"babyhippo\" href=\"https://www.tiktok.com/tag/babyhippo?refer=embed\" target=\"_blank\" rel=\"noopener\">#babyhippo\u003c/a> \u003ca title=\"pygmyhippo\" href=\"https://www.tiktok.com/tag/pygmyhippo?refer=embed\" target=\"_blank\" rel=\"noopener\">#pygmyhippo\u003c/a> \u003ca title=\"hippo\" href=\"https://www.tiktok.com/tag/hippo?refer=embed\" target=\"_blank\" rel=\"noopener\">#hippo\u003c/a> \u003ca title=\"cute\" href=\"https://www.tiktok.com/tag/cute?refer=embed\" target=\"_blank\" rel=\"noopener\">#cute\u003c/a> \u003ca title=\"diva\" href=\"https://www.tiktok.com/tag/diva?refer=embed\" target=\"_blank\" rel=\"noopener\">#diva\u003c/a> \u003ca title=\"fancy\" href=\"https://www.tiktok.com/tag/fancy?refer=embed\" target=\"_blank\" rel=\"noopener\">#fancy\u003c/a> \u003ca title=\"iggyazalea\" href=\"https://www.tiktok.com/tag/iggyazalea?refer=embed\" target=\"_blank\" rel=\"noopener\">#iggyazalea\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"foryoupage\" href=\"https://www.tiktok.com/tag/foryoupage?refer=embed\" target=\"_blank\" rel=\"noopener\">#foryoupage\u003c/a> \u003ca title=\"edit\" href=\"https://www.tiktok.com/tag/edit?refer=embed\" target=\"_blank\" rel=\"noopener\">#edit\u003c/a> \u003ca title=\"xyzbca\" href=\"https://www.tiktok.com/tag/xyzbca?refer=embed\" target=\"_blank\" rel=\"noopener\">#xyzbca\u003c/a> \u003ca title=\"dontletthisflop\" href=\"https://www.tiktok.com/tag/dontletthisflop?refer=embed\" target=\"_blank\" rel=\"noopener\">#dontletthisflop\u003c/a> \u003ca title=\"♬ original sound - ksxrvq\" href=\"https://www.tiktok.com/music/original-sound-7417288933387586337?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – ksxrvq\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A lot of people don’t need a refresher because there’s literally a \u003ca href=\"https://www.zoodio.live/th/live-streaming\">Moo Deng livestream\u003c/a> now, courtesy of the \u003ca href=\"https://khaokheow.zoothailand.org/en/index.php\">Khao Kheow Open Zoo\u003c/a> in Chon Buri province. Moo Deng lives there with her eternally-eating 25-year-old mom Jona, her dad Tony (yes, Tony), and her siblings Moo Wan (“Sweet Pork”) and Moo Tun (“Stewed Pork”). They are just a few of the approximately 350 pygmy hippos currently living in zoos around the world. Originally hailing from West Africa, these little hippos are endangered, with less than 3,000 remaining in the wild.\u003c/p>\n\u003cp>Moo Deng has distinguished herself among the other captive pygmys for being both very cute and also full of bitey rage. Which is what prompted so many people on the internet to make videos like this:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@brainblenderboy/video/7418239312606530849\" data-video-id=\"7418239312606530849\">\n\u003csection>\u003ca title=\"@brainblenderboy\" href=\"https://www.tiktok.com/@brainblenderboy?refer=embed\" target=\"_blank\" rel=\"noopener\">@brainblenderboy\u003c/a> \u003ca title=\"moodeng\" href=\"https://www.tiktok.com/tag/moodeng?refer=embed\" target=\"_blank\" rel=\"noopener\">#MOODENG\u003c/a> is disrespecting her surroundings 🤨\u003ca title=\"babyhippo\" href=\"https://www.tiktok.com/tag/babyhippo?refer=embed\" target=\"_blank\" rel=\"noopener\">#babyhippo\u003c/a> \u003ca title=\"pygmyhippo\" href=\"https://www.tiktok.com/tag/pygmyhippo?refer=embed\" target=\"_blank\" rel=\"noopener\">#pygmyhippo\u003c/a> \u003ca title=\"hippo\" href=\"https://www.tiktok.com/tag/hippo?refer=embed\" target=\"_blank\" rel=\"noopener\">#hippo\u003c/a> \u003ca title=\"cute\" href=\"https://www.tiktok.com/tag/cute?refer=embed\" target=\"_blank\" rel=\"noopener\">#cute\u003c/a> \u003ca title=\"diva\" href=\"https://www.tiktok.com/tag/diva?refer=embed\" target=\"_blank\" rel=\"noopener\">#diva\u003c/a> \u003ca title=\"fancy\" href=\"https://www.tiktok.com/tag/fancy?refer=embed\" target=\"_blank\" rel=\"noopener\">#fancy\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"edit\" href=\"https://www.tiktok.com/tag/edit?refer=embed\" target=\"_blank\" rel=\"noopener\">#edit\u003c/a> \u003ca title=\"meme\" href=\"https://www.tiktok.com/tag/meme?refer=embed\" target=\"_blank\" rel=\"noopener\">#meme\u003c/a> \u003ca title=\"disrespectyoursurroundings\" href=\"https://www.tiktok.com/tag/disrespectyoursurroundings?refer=embed\" target=\"_blank\" rel=\"noopener\">#disrespectyoursurroundings\u003c/a> \u003ca title=\"♬ original sound - BrainBlenderBoy\" href=\"https://www.tiktok.com/music/original-sound-7418239319200025377?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – BrainBlenderBoy\u003c/a>\u003c/section>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/blockquote>\n\u003cp>And also whatever the hell this is:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@gentlebl0ke/video/7419311144508329249\" data-video-id=\"7419311144508329249\">\n\u003csection>\u003ca title=\"@gentlebl0ke\" href=\"https://www.tiktok.com/@gentlebl0ke?refer=embed\" target=\"_blank\" rel=\"noopener\">@gentlebl0ke\u003c/a> \u003ca title=\"moodeng\" href=\"https://www.tiktok.com/tag/moodeng?refer=embed\" target=\"_blank\" rel=\"noopener\">#moodeng\u003c/a> \u003ca title=\"babyhippo\" href=\"https://www.tiktok.com/tag/babyhippo?refer=embed\" target=\"_blank\" rel=\"noopener\">#babyhippo\u003c/a> \u003ca title=\"hippo\" href=\"https://www.tiktok.com/tag/hippo?refer=embed\" target=\"_blank\" rel=\"noopener\">#hippo\u003c/a> \u003ca title=\"new\" href=\"https://www.tiktok.com/tag/new?refer=embed\" target=\"_blank\" rel=\"noopener\">#new\u003c/a> \u003ca title=\"♬ original sound - gentlebl0ke\" href=\"https://www.tiktok.com/music/original-sound-7419311140175465248?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – gentlebl0ke\u003c/a>\u003c/section>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/blockquote>\n\u003cp>And also this little slice of Godzilla-inspired madness \u003ca href=\"https://www.kqed.org/arts/13965276/massive-baby-penguin-australian-pesto-videos-melbourne-aquarium\">co-starring Pesto\u003c/a>, the enormous baby penguin currently residing at Sea Life Melbourne Aquarium in Australia:\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@gentlebl0ke/video/7418573967826406688\" data-video-id=\"7418573967826406688\">\n\u003csection>\u003ca title=\"@gentlebl0ke\" href=\"https://www.tiktok.com/@gentlebl0ke?refer=embed\" target=\"_blank\" rel=\"noopener\">@gentlebl0ke\u003c/a> Moo Deng vs. Pesto the Penguin \u003ca title=\"moodeng\" href=\"https://www.tiktok.com/tag/moodeng?refer=embed\" target=\"_blank\" rel=\"noopener\">#moodeng\u003c/a> \u003ca title=\"babyhippo\" href=\"https://www.tiktok.com/tag/babyhippo?refer=embed\" target=\"_blank\" rel=\"noopener\">#babyhippo\u003c/a> \u003ca title=\"pesto\" href=\"https://www.tiktok.com/tag/pesto?refer=embed\" target=\"_blank\" rel=\"noopener\">#pesto\u003c/a> \u003ca title=\"penguin\" href=\"https://www.tiktok.com/tag/penguin?refer=embed\" target=\"_blank\" rel=\"noopener\">#penguin\u003c/a> \u003ca title=\"new\" href=\"https://www.tiktok.com/tag/new?refer=embed\" target=\"_blank\" rel=\"noopener\">#new\u003c/a> \u003ca title=\"♬ original sound - gentlebl0ke\" href=\"https://www.tiktok.com/music/original-sound-7418573970731387681?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – gentlebl0ke\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since finding fame, Moo Deng has been so bombarded with visitors, the zoo had to put a five-minute time limit on people standing at her enclosure. Plus, they had to employ extra security after some dumbass \u003ca href=\"https://twitter.com/iioimioii/status/1833338959511839100?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1833338959511839100%7Ctwgr%5E7ccba4fbe355469049a9f2a906a26d0f5b95bada%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fwww.firstpost.com%2Fexplainers%2Fhow-fame-is-hurting-thailands-viral-baby-pygmy-hippo-moo-deng-13815740.html\">jerks decided to throw water and food at her\u003c/a>. (In case we needed a reminder that humans are the actual worst.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moo Deng’s profile is now so colossal, Bowen Yang just appeared on \u003cem>Saturday Night Live’\u003c/em>s Weekend Update in character as the baby hippo. (And also made comparisons between the sentient potato and Chappell Roan in a way that actually made sense.)\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/vfIbbP3vuwA'\n title='//www.youtube.com/embed/vfIbbP3vuwA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Moo Deng was all so very fun … for a minute.\u003c/p>\n\u003cp>As with anything gleeful that exists on the internet, the unfiltered joy could only last so long. Moo Deng might have started out as something to lift our spirits during election season and several ongoing wars, but she is now being held up in some corners as a reflection of all that is wrong in the world. (All the old classics are here: capitalism, exploitation, destruction of natural resources, etc.)\u003c/p>\n\u003cp>\u003ca href=\"https://petaasia.com/media/peta-statement-on-moo-deng-the-baby-hippo-born-in-captivity-in-thailand/\">PETA weighed in\u003c/a> soon after everyone’s favorite butterball went viral. “Hippos belong in the wild, but Moo Deng will never live outside a cage,” the animal rights organization said in a deeply depressing statement. “She faces a lifetime of confinement, deprived of her freedom and the opportunity to experience her natural habitat and the social structures of her species. Animals do not exist for our entertainment.”\u003c/p>\n\u003cp>Criticism only increased after the Khao Kheow Open Zoo announced that it would be \u003ca href=\"https://www.tiktok.com/@skynews/video/7416321845147864352?lang=en\">trademarking Moo Deng’s likeness\u003c/a>, with the goal of using all the extra profits to make\u003ca href=\"https://www.ndtv.com/world-news/thai-zoo-that-homes-viral-pygmy-hippo-moo-deng-earns-4-times-more-now-6657099\"> improvements\u003c/a> at the zoo.\u003c/p>\n\u003cp>\u003ca href=\"https://greatergood.com/blogs/news/free-moo-deng/?utm_source=social&utm_medium=facebook&utm_campaign=free-moo-deng&fbclid=IwY2xjawFruqJleHRuA2FlbQIxMQABHZrtYXxY3JVvRi4qVFTMbgOYXulzO03DycmIDwz6c-rUPdGc-c_dtDlauA_aem_HzBgGxlf5IiWuZFn_bCOig\">Greater Good pointed out\u003c/a>: “The story of Moo Deng forces us to ask uncomfortable questions about the relationship between human entertainment and wildlife conservation,” the charitable organization stated in a blog post. “While she has undoubtedly raised awareness about the plight of pygmy hippos, her life in captivity highlights a broader issue: the ethical treatment of endangered animals. Is it right to confine a wild animal for public display, even if it contributes to conservation?”\u003c/p>\n\u003cp>A nonprofit named World Animal Protection US had stronger words, in its own \u003ca href=\"https://www.worldanimalprotection.us/latest/blogs/internet-sensation-moo-deng-belongs-in-the-wild-not-the-zoo/\">blog post about Moo Deng\u003c/a>. “The Khao Kheow Open Zoo is flagged as not meeting TripAdvisor’s animal welfare guidelines,” the organization stated. “Sharing Moo Deng content might seem innocuous, but it promotes cruelty to animals.”\u003c/p>\n\u003cp>One of the biggest discussions on TikTok has indeed concerned the ways in which Moo Deng’s zookeepers poke at her, tap her butt and rub her belly.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@bestofmoodeng/video/7418328722605985055\" data-video-id=\"7418328722605985055\">\n\u003csection>\u003ca title=\"@bestofmoodeng\" href=\"https://www.tiktok.com/@bestofmoodeng?refer=embed\" target=\"_blank\" rel=\"noopener\">@bestofmoodeng\u003c/a> Poor moo deng 😭, maybe this is why she’s always angry \u003ca title=\"moodeng\" href=\"https://www.tiktok.com/tag/moodeng?refer=embed\" target=\"_blank\" rel=\"noopener\">#moodeng\u003c/a> \u003ca title=\"babyhippo\" href=\"https://www.tiktok.com/tag/babyhippo?refer=embed\" target=\"_blank\" rel=\"noopener\">#babyhippo\u003c/a> \u003ca title=\"cuteanimals\" href=\"https://www.tiktok.com/tag/cuteanimals?refer=embed\" target=\"_blank\" rel=\"noopener\">#cuteanimals\u003c/a> \u003ca title=\"xyzabc\" href=\"https://www.tiktok.com/tag/xyzabc?refer=embed\" target=\"_blank\" rel=\"noopener\">#xyzabc\u003c/a> \u003ca title=\"viral\" href=\"https://www.tiktok.com/tag/viral?refer=embed\" target=\"_blank\" rel=\"noopener\">#viral\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"♬ dilemma - Galuh\" href=\"https://www.tiktok.com/music/dilemma-7233743527400770310?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ dilemma – Galuh\u003c/a>\u003c/section>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/blockquote>\n\u003cp>For every TikTok-er concerned for Moo Deng’s mental health, another one pops up with a justification for the ways that the zoo staff interacts with her. “The zoo handler is pushing the baby hippo around as part of its early socialization and training,” \u003ca href=\"https://www.tiktok.com/@forevergreenapp/video/7418959282189765918\">one video by an ecologically-minded start-up\u003c/a> stated. “By handling them in their formative years, zoo staff help the baby hippo get used to human interactions in a safe and controlled way.”\u003c/p>\n\u003cp>Either way you look at all this, any serotonin boosts Moo Deng may have provided your tired brain with a few weeks ago have basically evaporated at this point. Maybe it’s time to check back in with \u003ca href=\"https://cincinnatizoo.org/fiona-the-world-famous-hippo/\">Fiona, the much less controversial baby hippo\u003c/a> who went viral at the Cincinnati Zoo back in 2017. She’s not a baby anymore, but she is a big sister to two-year-old Fritz and very much appears to still be living her best life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, for Moo Deng — and all of us — it’s all feeling a bit more like this…\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@nilston27/video/7421022338164051218\" data-video-id=\"7421022338164051218\">\n\u003csection>\u003ca title=\"@nilston27\" href=\"https://www.tiktok.com/@nilston27?refer=embed\" target=\"_blank\" rel=\"noopener\">@nilston27\u003c/a> ท่านอนพักผ่อนน้องหมูเด้ง….🦛🦛\u003ca title=\"หมูเด้ง\" href=\"https://www.tiktok.com/tag/%E0%B8%AB%E0%B8%A1%E0%B8%B9%E0%B9%80%E0%B8%94%E0%B9%89%E0%B8%87?refer=embed\" target=\"_blank\" rel=\"noopener\">#หมูเด้ง\u003c/a> \u003ca title=\"ฮิปโป\" href=\"https://www.tiktok.com/tag/%E0%B8%AE%E0%B8%B4%E0%B8%9B%E0%B9%82%E0%B8%9B?refer=embed\" target=\"_blank\" rel=\"noopener\">#ฮิปโป\u003c/a> \u003ca title=\"น่ารัก\" href=\"https://www.tiktok.com/tag/%E0%B8%99%E0%B9%88%E0%B8%B2%E0%B8%A3%E0%B8%B1%E0%B8%81?refer=embed\" target=\"_blank\" rel=\"noopener\">#น่ารัก\u003c/a> @NilsShop27 @NilsShop27 @NilsShop27 \u003ca title=\"♬ เสียงต้นฉบับ - NilsShop27\" href=\"https://www.tiktok.com/music/%E0%B9%80%E0%B8%AA%E0%B8%B5%E0%B8%A2%E0%B8%87%E0%B8%95%E0%B9%89%E0%B8%99%E0%B8%89%E0%B8%9A%E0%B8%B1%E0%B8%9A-NilsShop27-7421022366177839889?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ เสียงต้นฉบับ – NilsShop27\u003c/a>\u003c/section>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Helen Mirren Tells a Story of Evil and Hope During WWII in ‘White Bird’",
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"headTitle": "Helen Mirren Tells a Story of Evil and Hope During WWII in ‘White Bird’ | KQED",
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"content": "\u003cp>It’s never a bad time for stories celebrating acts of kindness, but the current news cycle makes it ever so more appreciated. In the new film \u003cem>White Bird\u003c/em>, in theaters Friday, the act is quite significant: A family in Nazi-occupied France shelters a young Jewish girl, whose friends and family have all been taken away.\u003c/p>\n\u003cp>From German director Marc Forster (\u003cem>Finding Neverland\u003c/em>, \u003cem>The Kite Runner\u003c/em>) \u003cem>White Bird\u003c/em> is a handsome adaptation of R.J. Palacio’s graphic novel aimed at young adults. This, too, is perfectly suited to that audience — a story within a story with all the drama of war and young romance wrapped up in it. Let’s just not overplay the idea that it’s part of some shared cinematic kindness universe with the Julia Roberts and Owen Wilson film \u003cem>Wonder\u003c/em>, also based on Palacio’s work.\u003c/p>\n\u003cp>[aside postid='arts_13965970']It’s framed as something a grandmother is telling her grandson, who seems to be going down the wrong path. Helen Mirren is said Grandmère, or Sara Blum, a famous artist who opens up to young Julian (Bryce Gheisar) one evening over dinner about what she went through during the war. For being a neglected rich kid who is prone to getting kicked out of fancy private schools, Julian’s immediate, earnest interest in what his Grandmère has to say is perhaps the most unbelievable part of this story, which includes some deus ex machina wolves. It’s a way in, I suppose, and Mirren makes for a lovely narrator.\u003c/p>\n\u003cp>Ariella Glaser plays young Sara Blum, who leads a nice life in her small French town with educated, professional parents Max (Ishai Golan) and Rose (Olivia Ross). She barely notices the changing tides as the war ramps up, more concerned with her friends and the cute boy in school. The story takes care to note that she barely noticed the classmate that would end up saving her life: Julien (Orlando Schwerdt), who walks with a crutch and whose father works in the sewers. Not, in other words, a popular kid. In an awkward moment, the audience, and Julien, realize that she doesn’t even know his name.\u003c/p>\n\u003cp>But when the Nazis come to round up the Jewish students in the school, he’s there to help get her to his family’s property. Gillian Anderson plays Julien’s mother, Vivienne, a grounding presence but very much a side character until a devastating sequence late in the film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aTTPea6gHh4\u003c/p>\n\u003cp>The young actors are very good and well-cast in their journey to friendship and then first love. They get to know one another and spend time dreaming up a world in which they’re not confined to a barn, their imaginations brought to life through dreamy projected images.\u003c/p>\n\u003cp>[aside postid='arts_13965966']\u003cem>White Bird\u003c/em>, which was shot in early 2021, was delayed several times over the past two years. Often, that signals some sort of quality issue and an obligation to begrudgingly release in spite of it. But that’s not the case here: This is a very finely made movie that seemed to have just gotten caught in a sort of release limbo that’s only partially related to the strikes.\u003c/p>\n\u003cp>It’s a little by-the-book — exactly, perhaps, what you might expect from elevated historical fiction aimed at young adults. Being a good-hearted, straightforward film that might even have you shedding a few tears is no crime against cinema.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘White Bird’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s never a bad time for stories celebrating acts of kindness, but the current news cycle makes it ever so more appreciated. In the new film \u003cem>White Bird\u003c/em>, in theaters Friday, the act is quite significant: A family in Nazi-occupied France shelters a young Jewish girl, whose friends and family have all been taken away.\u003c/p>\n\u003cp>From German director Marc Forster (\u003cem>Finding Neverland\u003c/em>, \u003cem>The Kite Runner\u003c/em>) \u003cem>White Bird\u003c/em> is a handsome adaptation of R.J. Palacio’s graphic novel aimed at young adults. This, too, is perfectly suited to that audience — a story within a story with all the drama of war and young romance wrapped up in it. Let’s just not overplay the idea that it’s part of some shared cinematic kindness universe with the Julia Roberts and Owen Wilson film \u003cem>Wonder\u003c/em>, also based on Palacio’s work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s framed as something a grandmother is telling her grandson, who seems to be going down the wrong path. Helen Mirren is said Grandmère, or Sara Blum, a famous artist who opens up to young Julian (Bryce Gheisar) one evening over dinner about what she went through during the war. For being a neglected rich kid who is prone to getting kicked out of fancy private schools, Julian’s immediate, earnest interest in what his Grandmère has to say is perhaps the most unbelievable part of this story, which includes some deus ex machina wolves. It’s a way in, I suppose, and Mirren makes for a lovely narrator.\u003c/p>\n\u003cp>Ariella Glaser plays young Sara Blum, who leads a nice life in her small French town with educated, professional parents Max (Ishai Golan) and Rose (Olivia Ross). She barely notices the changing tides as the war ramps up, more concerned with her friends and the cute boy in school. The story takes care to note that she barely noticed the classmate that would end up saving her life: Julien (Orlando Schwerdt), who walks with a crutch and whose father works in the sewers. Not, in other words, a popular kid. In an awkward moment, the audience, and Julien, realize that she doesn’t even know his name.\u003c/p>\n\u003cp>But when the Nazis come to round up the Jewish students in the school, he’s there to help get her to his family’s property. Gillian Anderson plays Julien’s mother, Vivienne, a grounding presence but very much a side character until a devastating sequence late in the film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aTTPea6gHh4'\n title='//www.youtube.com/embed/aTTPea6gHh4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The young actors are very good and well-cast in their journey to friendship and then first love. They get to know one another and spend time dreaming up a world in which they’re not confined to a barn, their imaginations brought to life through dreamy projected images.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>White Bird\u003c/em>, which was shot in early 2021, was delayed several times over the past two years. Often, that signals some sort of quality issue and an obligation to begrudgingly release in spite of it. But that’s not the case here: This is a very finely made movie that seemed to have just gotten caught in a sort of release limbo that’s only partially related to the strikes.\u003c/p>\n\u003cp>It’s a little by-the-book — exactly, perhaps, what you might expect from elevated historical fiction aimed at young adults. Being a good-hearted, straightforward film that might even have you shedding a few tears is no crime against cinema.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘White Bird’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Let’s put on a happy face, at least to start, for \u003cem>Joker: Folie à Deux\u003c/em>.\u003c/p>\n\u003cp>If there’s one undeniably compelling thing about both \u003ca href=\"https://www.kqed.org/arts/13867607/joker-is-wild-ly-dull\">Todd Phillips’ divisive 2019 original\u003c/a> and his new follow-up, it’s that these movies are best when they dance. The first movie might have been a muddled attempt to retrofit a \u003cem>Taxi Driver\u003c/em>-styled ’70s realism into a Joker origin story, but, man, when Joaquin Phoenix is on his toes, it’s hard to look away.\u003c/p>\n\u003cp>Just the image of a gaunt Phoenix decked out in the red suit, with his green-streaked hair slicked back, was enough to give \u003cem>Joker\u003c/em> a kick. The role gave Phoenix, a full-bodied actor, a day-glo canvas on which to unleash torrents of movement, cycling between wounded restraint and flamboyant release, in a comic-book genre that usually leaves performers paralyzed by spandex.\u003c/p>\n\u003cp>[aside postid='arts_13965555']He’s nearly as captivating in \u003cem>Joker: Folie à Deux\u003c/em>, a musical that closely follows the events of the first film as an imprisoned Arthur Fleck (Phoenix) goes on trial for the murders that occurred at the culmination of \u003cem>Joker\u003c/em>. Even the way Phoenix theatrically smokes as Arthur — which he does quite a lot in \u003cem>Folie à Deux\u003c/em> — shows you how much he’s luxuriating in the limber physicality of the character.\u003c/p>\n\u003cp>But any sense of forward momentum has gone out the window in \u003cem>Joker: Folie à Deux\u003c/em>, which opens in theaters Thursday. Phillips has followed his very anti-hero take on the Joker with an a very anti-sequel. It combines prison drama, courthouse thriller and musical, and yet turns out remarkably inert given how combustible the original was. If \u003cem>Joker\u003c/em> — which some claimed sympathized the kind of lone gunmen that populate our real world — stirred debate, \u003cem>Folie à Deux\u003c/em> is a self-conscious rejoinder to all that discussion, spending much of its time interrogating Arthur’s actions from the last movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That makes it a theoretically interesting film but a curiously dull one, particularly given that it stars two such incredibly watchable performers in Phoenix and Lady Gaga, who plays a fellow inmate, Lee Quinzel, infatuated with the Joker. Phillips deserves credit for subverting expectations. Most directors would turn Arthur loose for a sequel chock-full of violence and mayhem, not Burt Bacharach song-and-dance sequences. But laudable as the intentions of \u003cem>Folie à Deux\u003c/em> may be, it feels thoughtfully but tiresomely stuck in the past.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_OKAwz2MsJs&t=101s\u003c/p>\n\u003cp>“You gotta joke for us today?” asks an Arkham State Hospital guard (Brendan Gleeson, back inside a jail post-\u003cem>Paddington 2\u003c/em>) as they pull Arthur from his cell. He is seemingly even thinner now, his shoulder blades sticking out. A wan look shows he’s jokeless, too, having clearly reverted back to the depression that Arthur earlier stewed in.\u003c/p>\n\u003cp>[aside postid='arts_13965970']That interaction, and others that follow, carries on some of the themes of \u003cem>Joker\u003c/em>, which imagined Arthur and the mania that springs from him as the warped product of a cruel urban world and failed social safety net. Arthur is now heading for either the death penalty or life in prison, it’s just a matter of whether his attorney (Catherine Keener) can convince a jury that he suffers from split personality syndrome.\u003c/p>\n\u003cp>We are again asked to consider and weigh how Arthur is treated by those around him, including the guards who at turns mock him, ask him for his autograph or show him a little compassion. Gotham City district attorney, Harvey Dent (Harry Lawtey), believes he should die for killing five, including the late-night talk-show host Murray Franklin live on air. Does Arthur deserve our sympathy? \u003cem>Folie à Deux\u003c/em> is a little like the \u003cem>Seinfeld\u003c/em> finale: a moral, courtroom rehashing.\u003c/p>\n\u003cp>The throngs outside the courthouse clamor not for Arthur but the Joker, who they regard as an anarchist martyr. They crave entertainment, and Arthur, or the Joker, is tempted to give it to them. One psychology expert claims Arthur’s mental illness is “just a show.” In many ways — including a mock Looney Tunes cartoon that opens the movie — \u003cem>Folie à Deux\u003c/em> continues the first movie’s interest in considering, and satirizing, what it is we crave in entertainment. Do we want the “real” story of Arthur or the fantasy of the Joker?\u003c/p>\n\u003cp>I’m not sure \u003cem>Folie à Deux\u003c/em> always successfully pegs audience desire, though. What I most wanted in \u003cem>Folie à Deux\u003c/em> was for it to stop playing with the concepts of its characters and instead let them breathe a little more on their own. It’s not surprising that the movie works best when Arthur and Lee lock into one other. This is Arthur’s first blush with the love he’s lacked (“She gets me,” he says), but their connection may also have more to do with fantasy. Their time together is actually somewhat limited but, in Arthur’s imagination, their emotions soar in songs, mostly old standards (“Get Happy,” “For Once in My Life,” “That’s Life”), they sing tenderly to one another.\u003c/p>\n\u003cp>[aside postid='arts_13965877']These musical interludes break free of an otherwise fairly bleak and belabored narrative, as a legal and penal system that doesn’t know how to handle Arthur’s pain — or that he’s a reflection of their failure — help twist him back into the Joker. Once the Joker does fully emerge, Phoenix’s Fleck is visibly aghast at what he’s wrought.\u003c/p>\n\u003cp>All of this wrestling with \u003cem>The Joker\u003c/em> makes \u003cem>Folie à Deux\u003c/em> impressively un-superhero-movie-like, and a deliberate denial of audience expectation. But it’s also spinning its wheels. It’s not surprising that \u003cem>Folie à Deux\u003c/em> originated in concept as a stage show. It’s stuck in place, with only Phoenix’s dazzling contortions to marvel at.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joker: Folie à Deux’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s put on a happy face, at least to start, for \u003cem>Joker: Folie à Deux\u003c/em>.\u003c/p>\n\u003cp>If there’s one undeniably compelling thing about both \u003ca href=\"https://www.kqed.org/arts/13867607/joker-is-wild-ly-dull\">Todd Phillips’ divisive 2019 original\u003c/a> and his new follow-up, it’s that these movies are best when they dance. The first movie might have been a muddled attempt to retrofit a \u003cem>Taxi Driver\u003c/em>-styled ’70s realism into a Joker origin story, but, man, when Joaquin Phoenix is on his toes, it’s hard to look away.\u003c/p>\n\u003cp>Just the image of a gaunt Phoenix decked out in the red suit, with his green-streaked hair slicked back, was enough to give \u003cem>Joker\u003c/em> a kick. The role gave Phoenix, a full-bodied actor, a day-glo canvas on which to unleash torrents of movement, cycling between wounded restraint and flamboyant release, in a comic-book genre that usually leaves performers paralyzed by spandex.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He’s nearly as captivating in \u003cem>Joker: Folie à Deux\u003c/em>, a musical that closely follows the events of the first film as an imprisoned Arthur Fleck (Phoenix) goes on trial for the murders that occurred at the culmination of \u003cem>Joker\u003c/em>. Even the way Phoenix theatrically smokes as Arthur — which he does quite a lot in \u003cem>Folie à Deux\u003c/em> — shows you how much he’s luxuriating in the limber physicality of the character.\u003c/p>\n\u003cp>But any sense of forward momentum has gone out the window in \u003cem>Joker: Folie à Deux\u003c/em>, which opens in theaters Thursday. Phillips has followed his very anti-hero take on the Joker with an a very anti-sequel. It combines prison drama, courthouse thriller and musical, and yet turns out remarkably inert given how combustible the original was. If \u003cem>Joker\u003c/em> — which some claimed sympathized the kind of lone gunmen that populate our real world — stirred debate, \u003cem>Folie à Deux\u003c/em> is a self-conscious rejoinder to all that discussion, spending much of its time interrogating Arthur’s actions from the last movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That makes it a theoretically interesting film but a curiously dull one, particularly given that it stars two such incredibly watchable performers in Phoenix and Lady Gaga, who plays a fellow inmate, Lee Quinzel, infatuated with the Joker. Phillips deserves credit for subverting expectations. Most directors would turn Arthur loose for a sequel chock-full of violence and mayhem, not Burt Bacharach song-and-dance sequences. But laudable as the intentions of \u003cem>Folie à Deux\u003c/em> may be, it feels thoughtfully but tiresomely stuck in the past.\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/_OKAwz2MsJs'\n title='//www.youtube.com/embed/_OKAwz2MsJs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“You gotta joke for us today?” asks an Arkham State Hospital guard (Brendan Gleeson, back inside a jail post-\u003cem>Paddington 2\u003c/em>) as they pull Arthur from his cell. He is seemingly even thinner now, his shoulder blades sticking out. A wan look shows he’s jokeless, too, having clearly reverted back to the depression that Arthur earlier stewed in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That interaction, and others that follow, carries on some of the themes of \u003cem>Joker\u003c/em>, which imagined Arthur and the mania that springs from him as the warped product of a cruel urban world and failed social safety net. Arthur is now heading for either the death penalty or life in prison, it’s just a matter of whether his attorney (Catherine Keener) can convince a jury that he suffers from split personality syndrome.\u003c/p>\n\u003cp>We are again asked to consider and weigh how Arthur is treated by those around him, including the guards who at turns mock him, ask him for his autograph or show him a little compassion. Gotham City district attorney, Harvey Dent (Harry Lawtey), believes he should die for killing five, including the late-night talk-show host Murray Franklin live on air. Does Arthur deserve our sympathy? \u003cem>Folie à Deux\u003c/em> is a little like the \u003cem>Seinfeld\u003c/em> finale: a moral, courtroom rehashing.\u003c/p>\n\u003cp>The throngs outside the courthouse clamor not for Arthur but the Joker, who they regard as an anarchist martyr. They crave entertainment, and Arthur, or the Joker, is tempted to give it to them. One psychology expert claims Arthur’s mental illness is “just a show.” In many ways — including a mock Looney Tunes cartoon that opens the movie — \u003cem>Folie à Deux\u003c/em> continues the first movie’s interest in considering, and satirizing, what it is we crave in entertainment. Do we want the “real” story of Arthur or the fantasy of the Joker?\u003c/p>\n\u003cp>I’m not sure \u003cem>Folie à Deux\u003c/em> always successfully pegs audience desire, though. What I most wanted in \u003cem>Folie à Deux\u003c/em> was for it to stop playing with the concepts of its characters and instead let them breathe a little more on their own. It’s not surprising that the movie works best when Arthur and Lee lock into one other. This is Arthur’s first blush with the love he’s lacked (“She gets me,” he says), but their connection may also have more to do with fantasy. Their time together is actually somewhat limited but, in Arthur’s imagination, their emotions soar in songs, mostly old standards (“Get Happy,” “For Once in My Life,” “That’s Life”), they sing tenderly to one another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These musical interludes break free of an otherwise fairly bleak and belabored narrative, as a legal and penal system that doesn’t know how to handle Arthur’s pain — or that he’s a reflection of their failure — help twist him back into the Joker. Once the Joker does fully emerge, Phoenix’s Fleck is visibly aghast at what he’s wrought.\u003c/p>\n\u003cp>All of this wrestling with \u003cem>The Joker\u003c/em> makes \u003cem>Folie à Deux\u003c/em> impressively un-superhero-movie-like, and a deliberate denial of audience expectation. But it’s also spinning its wheels. It’s not surprising that \u003cem>Folie à Deux\u003c/em> originated in concept as a stage show. It’s stuck in place, with only Phoenix’s dazzling contortions to marvel at.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joker: Folie à Deux’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At some point during \u003cem>The Outrun\u003c/em>, it occurred to me that watching Saoirse Ronan act is a bit like looking into a magnifying glass: Everything somehow feels a bit clearer, sharper, more precise.\u003c/p>\n\u003cp>This singular actor gives one of her finest performances in a two-hour study of addiction that is poignant, sometimes beautiful but always painful to watch — and would likely be too draining if not for the luminous presence at its core. Would it even work — at all — if Ronan, who also makes her producing debut here, weren’t onscreen virtually every second?\u003c/p>\n\u003cp>[aside postid='arts_13964034']Luckily, we don’t need to imagine that. Ronan, who plays a 29-year-old biology student named Rona (the name comes from a tiny island off Scotland) serves as both star and narrator, speaking the words — sometimes poetic — of the addiction memoir by Amy Liptrot. The script, adapted by Liptrot and director Nora Fingscheidt, makes frequent use of fantasy and whimsy, even veering into animation. Some may find these deviations a distraction from the plot, but they are frequently mesmerizing.\u003c/p>\n\u003cp>Besides, plot is a loosely defined thing here. We go back and forth in time so frequently that sometimes only the changing color of Rona’s hair indicates where we are on the timeline. It takes a while to get used to this, but the uncertainty starts to make sense. We are, in a way, inside Rona’s mind, experiencing the fits and starts of her journey. And recovery is hardly a linear process.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Orxdn0Q67j0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a fine supporting cast, but the true second star is nature itself. The film is based mainly in the Orkney Islands off Scotland, a windswept landscape that can be both punishing and restorative. It can also be stunning, especially the sea. And the sea is where we start, learning that Orkney lore holds that when someone drowns, they turn into a seal, but at night they return ashore in human form and dance until dawn.\u003c/p>\n\u003cp>[aside postid='arts_13965555']We see a seal underwater, and then we see Ronan herself dancing — bathed in red light on a dance floor — and then falling down, blind drunk.\u003c/p>\n\u003cp>After this flashback, we learn Rona has come back home to her childhood home for an extended visit, after a decade in London, where addiction took hold and ruined her relationships — especially with thoughtful boyfriend Daynin (Paapa Essiedu), who achieved success as she disintegrated.\u003c/p>\n\u003cp>From nightlife in Hackney, London, to a sheep farm in Scotland, where the days of sobriety are ticked off for us — 30, 90, 117. The challenges here are different. Rona’s father, Andrew (Stephen Dillane), is loving but suffers bipolar episodes. Due to his debilitating illness he lives away from his wife, Annie (Saskia Reeves), who has turned to religion to cope — and that’s the only solution she can offer Rona.\u003c/p>\n\u003cp>Deeply lonely and always on the precipice of relapse, Rona sees a crack of light in the darkness when she takes on volunteer work with the Royal Society for the Protection of Birds, given the job of surveying the Orkney Islands for the disappearing corncrake. This bird needs help to survive, and soon it seems to represent Rona herself.\u003c/p>\n\u003cp>But Rona’s troubles follow her no matter how deep into the countryside she goes. As she tells fellow addicts in a devastating flashback from her alcohol recovery group, what she misses most is how good alcohol made her feel. At another point, she tells someone she’ll never be happy if she’s sober — and you believe her. In yet another harrowing scene, a relapse has her howling to her mother: “All that praying didn’t help me, Mum!”\u003c/p>\n\u003cp>[aside postid='arts_13965877']Eventually, Rona, aiming to get even farther from civilization than mainland Orkney, repairs to the tiny island of Papay — an island, as she notes, that is off an island, off another island, off another island, and off another. Here, during a brutal winter in a tiny bird warden’s house, interacting only with the town’s sparse population, Rona starts to heal. (Liptrot spent two winters here, writing her memoir.)\u003c/p>\n\u003cp>Perhaps Ronan’s most impressive accomplishment is how she delineates the stages of Rona’s journey with such clarity — even down to the physical movement of being drunk, first a bit, then a lot (she worked with the talented choreographer Wayne McGregor) and how one changes physically during recovery.\u003c/p>\n\u003cp>And then there’s her face. We see a translucent quality in it as Rona begins to embrace nature — her own, and that around her — and look to a new future. A future that may even include laughter.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Outrun’ is released nationwide on Oct. 4, 2024.\u003c/em>\u003c/p>\n\n",
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"title": "‘Bop Spotter’ Is a Secret Phone Eavesdropping on the Mission’s Music Tastes",
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"content": "\u003cp>Anyone who’s ever spent any time in San Francisco’s Mission District can tell you of its noisy, eclectic joys. I’ve lived in the neighborhood for two decades. While the sounds of Norteño, hip-hop and reggaeton dominate my block on the weekends, there’s also never a shortage of pop tunes sung by drunk ladies at high volumes, ’90s nu-metal choruses being yelled from cars, and — my personal favorite — the guy who regularly drives up 26th Street blasting Phil Collins.\u003c/p>\n\u003cp>Now, a 22-year-old New York City transplant named Riley Walz is using Shazam and a strategically placed, solar-powered Android phone to create an archive of the neighborhood’s musical selections. He calls the project \u003ca href=\"https://walzr.com/bop-spotter\">Bop Spotter\u003c/a> — a play on words inspired by \u003ca href=\"https://www.sf.gov/sites/default/files/2021-02/SFPD%20ShotSpotter%20Surveillance%20Impact%20Report.pdf\">ShotSpotter\u003c/a>, surveillance technology used by law enforcement (including SFPD) to capture gunshots.\u003c/p>\n\u003cp>“I just thought it was kind of a funny little joke to pick up songs instead of gunshots,” Walz tells KQED Arts.\u003c/p>\n\u003cp>https://twitter.com/rtwlz/status/1840800316004188382\u003c/p>\n\u003cp>Walz, who lives somewhere between the Castro and Twin Peaks, dropped out of college and moved to San Francisco in January 2023 to co-found an AI-related start-up with his best friend. He immediately fell in love with the Mission District.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s such a unique neighborhood with so many cultures and so much depth,” Walz says. “And as far as I can tell, most of the music [you hear in the Mission] is being played on the street. I use Shazam all the time — at parties, on the street, in stores. Most of my music comes from Shazam. So I thought it would be cool to Shazam from one fixed place and just see the results over time. I honestly just thought it would be cool to hear what people are playing.”\u003c/p>\n\u003cp>[aside postid='arts_13965719']If we ever needed quantifiable evidence of Mission residents’ marriage to blasting tunes around the clock, Bop Spotter is already providing it. On the first day, Sept. 29, 34 tracks were captured between 2:02 p.m. and 9:24 p.m. On day two that number rose to 101, the first track — “\u003ca href=\"https://www.youtube.com/watch?v=Ak5WTb-mgeA\">Worthy\u003c/a>” by Elevation Worship, a Christian North Carolina band — being picked up at 3:12 a.m. Despite this being the very earliest days of the project, Walz says he’s already been surprised a few times by people’s musical choices and the times they play them.\u003c/p>\n\u003cp>“Yesterday morning, someone played ‘Me So Horny’ at like, 9 a.m.,” he laughs. “That was pretty funny. Then at 1 o’clock this morning, I guess some guy found the box and played ‘Never Gonna Give You Up’ by the Rickroll guy, Rick Astley.”\u003c/p>\n\u003cp>“Ass Like That” by Eminem also showed up at 6:14 a.m., sandwiched between Dr. Dre and Kendrick Lamar. Bay Area hip-hop has been captured too, via rappers like J. Stalin, Keak da Sneak and G-Eazy. If there is a favorite genre of the Mission, however, it might just be reggaeton, with entire blocks showing up by artists like Zion & Lennox, Bad Gyal, Tony Dize, Eddie Dee, Peso Pluma and La Factoria.\u003c/p>\n\u003cp>Walz is hoping Bop Spotter will run for long enough to capture a true reflection of Mission tastes.\u003c/p>\n\u003cp>“Hopefully, this will be up for years and we can log some trends,” he says. “There’s not much that could go wrong. The solar panel that powers [the phone] is pretty stable, it’s high up so people can’t really grab it. The only thing that could maybe jeopardize it is if the phone crashes or if the WiFi I’m using goes out or changes. Or if someone decides to go and take it down.”\u003c/p>\n\u003cp>That, Walz says, is a possibility because of clues to the box’s location that live on Bop Spotter. Twenty second previews of street noise can be heard by hovering over each track listed on the website. Muni, street sounds and small hangouts of various groups are clearly audible — which is probably how he got Rickrolled.\u003c/p>\n\u003cp>“How many places could that be?” Walz asks. “I think if you’re determined enough, you could probably find it.”\u003c/p>\n\u003cp>[aside postid='arts_13965624']If Walz sounds like he doesn’t have much of an agenda, it’s because he doesn’t. Bop Spotter isn’t the first public project he’s done purely out of a sense of curiosity and a desire for fun. He’s the kind of guy who does things just to see if he can. Which is why in 2020, he created a \u003ca href=\"https://www.cnn.com/2020/02/28/tech/fake-twitter-candidate-2020/index.html\">fake political candidate\u003c/a> and managed to get him verified on Twitter. And why, last year, he and a couple of friends \u003ca href=\"https://www.sfgate.com/tech/article/fake-nyc-restaurant-techies-google-18397837.php\">opened and ran a high-end (and completely ludicrous) steakhouse in Manhattan\u003c/a> for one night only, after cultivating a waiting list of 900 people via Google reviews. Walz enjoys the absurd but also takes on projects that are useful to the public — like \u003ca href=\"https://routeshuffle.com/\">Routeshuffle\u003c/a>, a random route generator he made for runners and cyclists.\u003c/p>\n\u003cp>In the end, Walz is mostly motivated in all of his endeavors by a boundless sense of curiosity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m just a normal guy who knows something about technology and likes seeing amusing things,” Walz says. “I had an idea for Bop Spotter and just wanted to see what would happen.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anyone who’s ever spent any time in San Francisco’s Mission District can tell you of its noisy, eclectic joys. I’ve lived in the neighborhood for two decades. While the sounds of Norteño, hip-hop and reggaeton dominate my block on the weekends, there’s also never a shortage of pop tunes sung by drunk ladies at high volumes, ’90s nu-metal choruses being yelled from cars, and — my personal favorite — the guy who regularly drives up 26th Street blasting Phil Collins.\u003c/p>\n\u003cp>Now, a 22-year-old New York City transplant named Riley Walz is using Shazam and a strategically placed, solar-powered Android phone to create an archive of the neighborhood’s musical selections. He calls the project \u003ca href=\"https://walzr.com/bop-spotter\">Bop Spotter\u003c/a> — a play on words inspired by \u003ca href=\"https://www.sf.gov/sites/default/files/2021-02/SFPD%20ShotSpotter%20Surveillance%20Impact%20Report.pdf\">ShotSpotter\u003c/a>, surveillance technology used by law enforcement (including SFPD) to capture gunshots.\u003c/p>\n\u003cp>“I just thought it was kind of a funny little joke to pick up songs instead of gunshots,” Walz tells KQED Arts.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s such a unique neighborhood with so many cultures and so much depth,” Walz says. “And as far as I can tell, most of the music [you hear in the Mission] is being played on the street. I use Shazam all the time — at parties, on the street, in stores. Most of my music comes from Shazam. So I thought it would be cool to Shazam from one fixed place and just see the results over time. I honestly just thought it would be cool to hear what people are playing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If we ever needed quantifiable evidence of Mission residents’ marriage to blasting tunes around the clock, Bop Spotter is already providing it. On the first day, Sept. 29, 34 tracks were captured between 2:02 p.m. and 9:24 p.m. On day two that number rose to 101, the first track — “\u003ca href=\"https://www.youtube.com/watch?v=Ak5WTb-mgeA\">Worthy\u003c/a>” by Elevation Worship, a Christian North Carolina band — being picked up at 3:12 a.m. Despite this being the very earliest days of the project, Walz says he’s already been surprised a few times by people’s musical choices and the times they play them.\u003c/p>\n\u003cp>“Yesterday morning, someone played ‘Me So Horny’ at like, 9 a.m.,” he laughs. “That was pretty funny. Then at 1 o’clock this morning, I guess some guy found the box and played ‘Never Gonna Give You Up’ by the Rickroll guy, Rick Astley.”\u003c/p>\n\u003cp>“Ass Like That” by Eminem also showed up at 6:14 a.m., sandwiched between Dr. Dre and Kendrick Lamar. Bay Area hip-hop has been captured too, via rappers like J. Stalin, Keak da Sneak and G-Eazy. If there is a favorite genre of the Mission, however, it might just be reggaeton, with entire blocks showing up by artists like Zion & Lennox, Bad Gyal, Tony Dize, Eddie Dee, Peso Pluma and La Factoria.\u003c/p>\n\u003cp>Walz is hoping Bop Spotter will run for long enough to capture a true reflection of Mission tastes.\u003c/p>\n\u003cp>“Hopefully, this will be up for years and we can log some trends,” he says. “There’s not much that could go wrong. The solar panel that powers [the phone] is pretty stable, it’s high up so people can’t really grab it. The only thing that could maybe jeopardize it is if the phone crashes or if the WiFi I’m using goes out or changes. Or if someone decides to go and take it down.”\u003c/p>\n\u003cp>That, Walz says, is a possibility because of clues to the box’s location that live on Bop Spotter. Twenty second previews of street noise can be heard by hovering over each track listed on the website. Muni, street sounds and small hangouts of various groups are clearly audible — which is probably how he got Rickrolled.\u003c/p>\n\u003cp>“How many places could that be?” Walz asks. “I think if you’re determined enough, you could probably find it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If Walz sounds like he doesn’t have much of an agenda, it’s because he doesn’t. Bop Spotter isn’t the first public project he’s done purely out of a sense of curiosity and a desire for fun. He’s the kind of guy who does things just to see if he can. Which is why in 2020, he created a \u003ca href=\"https://www.cnn.com/2020/02/28/tech/fake-twitter-candidate-2020/index.html\">fake political candidate\u003c/a> and managed to get him verified on Twitter. And why, last year, he and a couple of friends \u003ca href=\"https://www.sfgate.com/tech/article/fake-nyc-restaurant-techies-google-18397837.php\">opened and ran a high-end (and completely ludicrous) steakhouse in Manhattan\u003c/a> for one night only, after cultivating a waiting list of 900 people via Google reviews. Walz enjoys the absurd but also takes on projects that are useful to the public — like \u003ca href=\"https://routeshuffle.com/\">Routeshuffle\u003c/a>, a random route generator he made for runners and cyclists.\u003c/p>\n\u003cp>In the end, Walz is mostly motivated in all of his endeavors by a boundless sense of curiosity.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m just a normal guy who knows something about technology and likes seeing amusing things,” Walz says. “I had an idea for Bop Spotter and just wanted to see what would happen.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Industry’ Got Pulpier, Nastier and Better in Season 3",
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"content": "\u003cp>\u003cem>This piece contains spoilers for \u003c/em>Industry \u003cem>Season 3\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>Even by the standards of an inherently stressful show like \u003ca href=\"https://www.npr.org/2024/08/07/nx-s1-5064320/hbo-industry-season-3\">HBO’s \u003cem>Industry\u003c/em>\u003c/a>, Sunday night’s Season 3 finale was an absolutely diabolical doozy, the kind of conclusion that makes you sit up in your seat and yell at the screen, \u003cem>“Holy ****!!!”\u003c/em>\u003c/p>\n\u003cp>Scrappy and utterly ruthless trader \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now/\">Harper\u003c/a> (Myha’la) managed to claw her way into a partnership with a mega-powerful and equally unscrupulous financier while scratching everyone in her path. Try as she might’ve to avoid it, socialite Yasmin (Marisa Abela) stepped fully into her fate by getting engaged to the man-child tech billionaire Sir Henry Muck (Kit Harington, aka \u003ca href=\"https://www.npr.org/2016/04/22/475261626/we-know-nothing-about-jon-snow-as-game-of-thrones-returns\">Jon Snow\u003c/a>), breaking Robert’s heart in the process. And time was finally up for managing director Eric (Ken Leung), as he was told by Pierpoint & Co.’s CFO that “there’s no business need” for him now that the company’s been bought by Egyptian investment firm Al-Mi’raj.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fV6BGl2YA04\u003c/p>\n\u003cp>From the beginning, Mickey Down and Konrad Kay’s \u003cem>Industry \u003c/em>has explored familiar — though no less enticing — prestige-TV themes around survival in a cutthroat workplace and ever-compromised morals among the filthy rich and those aspiring to be filthy rich. It’s often somewhat lazily compared to \u003cem>Succession\u003c/em>, and has sometimes courted or at least acknowledged the comparison. (Eric to Rishi in Season 2: “\u003ca href=\"https://www.tiktok.com/@hbo/video/7146623348439649578?lang=en\">Any particular reason you’re dressed as Kendall Roy?\u003c/a>”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But \u003cem>Industry \u003c/em>is in its own lane, pulpier and seedier than the classical overtures of the Roy family, and Season 3 really leaned into the muck for the better. In the sixth episode, frenemies Harper and Yas engaged in a scathing war of words which climaxed in a ferocious exchange of slaps; it was a long time coming, and the daggers they hurled at one another were top-notch, \u003cem>Dynasty\u003c/em>-esque, worthy of a primetime Shonda Rhimes melodrama.\u003c/p>\n\u003cp>[aside postid='arts_13965835']And in the finale, Rishi (Sagar Radia), the uncouth Alpha-male trader who’s emerged from the show’s periphery, suffered the bleakest of consequences, for an out-of-control gambling addiction: His estranged wife was murdered right in front of him by the loan shark he’s indebted to.\u003c/p>\n\u003cp>In fact, death loomed over this season in several ways. The most protracted and melodramatic among them was the ripped-from-the-headlines plot concerning Yas’s repulsive dad Charles, whose character appears to be drawn from the bios of both \u003ca href=\"https://www.kqed.org/arts/13882981/epstein-confidante-ghislaine-maxwell-is-unlike-any-enabler-weve-seen-before\">Jeffrey Epstein and Ghislaine Maxwell\u003c/a>’s media magnate father Robert Maxwell. The series cultivated an air of suspicion surrounding Charles’ disappearance from the party yacht, doling out the details of what occurred in piecemeal flashbacks over the course of several episodes.\u003c/p>\n\u003cfigure id=\"attachment_13965849\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965849\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas.png\" alt=\"A white man and woman walk the grounds of a stately home.\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-1536x1022.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-1920x1278.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Robert (Harry Lawtey) and Yasmin (Marisa Abela). \u003ccite>(Simon Ridgway/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yas was on the yacht with him that day, despite claiming to want “nothing to do with him” at the end of Season 2 once she learned about his pattern of inappropriate affairs with younger women. (Including her childhood nanny, a teen at the time.) Maybe, as she very guiltily “joked” to Robert at one point, she killed him; or maybe, like the British tabloids suggested, she’d helped him hide out to avoid dealing with the consequences of his embezzlement. In the end, Yas didn’t push Charles overboard that yacht, but she did watch him drown without trying to save him. That’s \u003cem>dark\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13964217']This is the kind of sweeps-week storyline (remember those?) that could elicit groans for seeming cheaply manipulative, but \u003cem>Industry \u003c/em>is a show where everyone and everything is connected and no relationship, no matter how unhinged, is superfluous. Harper’s presence aboard the yacht and her knowledge of what went down adds color to their rocky history as former adversaries at Pierpoint and on-and-off again friends; it’s meaningful that one of the show’s most \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now/\">unabashedly opportunistic characters\u003c/a> cared enough to keep Yas’ secret.\u003c/p>\n\u003cp>Which is why it’s poetic (and disappointing) that Yas ultimately wound up getting engaged to a version of her father – Henry, like Charles, was accused of sleeping with his employees. The continuous comforts of material luxury and guaranteed financial security proved too alluring to relinquish. One of \u003cem>Industry\u003c/em>’s most engrossing recurring subjects is generational divides — and their limits. The show is an early depiction of Gen Z in the corporate space, and characters’ actions show that for all the relatively progressive ideals of youth, the influence of elders (and capitalism) is strong.\u003c/p>\n\u003cfigure id=\"attachment_13965850\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965850\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken.png\" alt=\"A middle aged Asian man stands in the lobby of a glass office building.\" width=\"2000\" height=\"1327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-1536x1019.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-1920x1274.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ken Leung as Eric. \u003ccite>(Simon Ridgway/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Eric spent much of this season lecturing the younger cohort in his orbit — former mentee Harper, Yas, and even millennial Rishi — about “ethics” and the very dangerous risks they were taking in the business. Yet this is the same guy who intimidatingly carries a baseball bat around the sales floor, does coke with his direct reports (he hooked up with Yas’ lawyer!), and on more than one occasion has exploited and sabotaged his colleagues to stay afloat at Pierpoint.\u003c/p>\n\u003cp>[aside postid='arts_13963775']When he admonished Harper for treating everyone, including Yas, as collateral on her road to domination, it was refreshing to hear Harper make plain \u003cem>Industry\u003c/em>’s M.O.: “Everything you do on the floor communicates an ideology that people are a means to an end! I enact \u003cem>your\u003c/em> philosophy and you have the nerve to come into my office and call \u003cem>me\u003c/em> a bad person?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They’re both right, of course. And that’s the beauty of \u003cem>Industry\u003c/em>, which has been mercifully renewed for a fourth season. It’s a show less concerned with characters who are easily “likable” or “despicable.” What matters is they are individuals with clear ambitions and unique strategies for getting what they aim for — and this makes them endlessly watchable.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This piece contains spoilers for \u003c/em>Industry \u003cem>Season 3\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>Even by the standards of an inherently stressful show like \u003ca href=\"https://www.npr.org/2024/08/07/nx-s1-5064320/hbo-industry-season-3\">HBO’s \u003cem>Industry\u003c/em>\u003c/a>, Sunday night’s Season 3 finale was an absolutely diabolical doozy, the kind of conclusion that makes you sit up in your seat and yell at the screen, \u003cem>“Holy ****!!!”\u003c/em>\u003c/p>\n\u003cp>Scrappy and utterly ruthless trader \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now/\">Harper\u003c/a> (Myha’la) managed to claw her way into a partnership with a mega-powerful and equally unscrupulous financier while scratching everyone in her path. Try as she might’ve to avoid it, socialite Yasmin (Marisa Abela) stepped fully into her fate by getting engaged to the man-child tech billionaire Sir Henry Muck (Kit Harington, aka \u003ca href=\"https://www.npr.org/2016/04/22/475261626/we-know-nothing-about-jon-snow-as-game-of-thrones-returns\">Jon Snow\u003c/a>), breaking Robert’s heart in the process. And time was finally up for managing director Eric (Ken Leung), as he was told by Pierpoint & Co.’s CFO that “there’s no business need” for him now that the company’s been bought by Egyptian investment firm Al-Mi’raj.\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/fV6BGl2YA04'\n title='//www.youtube.com/embed/fV6BGl2YA04'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From the beginning, Mickey Down and Konrad Kay’s \u003cem>Industry \u003c/em>has explored familiar — though no less enticing — prestige-TV themes around survival in a cutthroat workplace and ever-compromised morals among the filthy rich and those aspiring to be filthy rich. It’s often somewhat lazily compared to \u003cem>Succession\u003c/em>, and has sometimes courted or at least acknowledged the comparison. (Eric to Rishi in Season 2: “\u003ca href=\"https://www.tiktok.com/@hbo/video/7146623348439649578?lang=en\">Any particular reason you’re dressed as Kendall Roy?\u003c/a>”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But \u003cem>Industry \u003c/em>is in its own lane, pulpier and seedier than the classical overtures of the Roy family, and Season 3 really leaned into the muck for the better. In the sixth episode, frenemies Harper and Yas engaged in a scathing war of words which climaxed in a ferocious exchange of slaps; it was a long time coming, and the daggers they hurled at one another were top-notch, \u003cem>Dynasty\u003c/em>-esque, worthy of a primetime Shonda Rhimes melodrama.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And in the finale, Rishi (Sagar Radia), the uncouth Alpha-male trader who’s emerged from the show’s periphery, suffered the bleakest of consequences, for an out-of-control gambling addiction: His estranged wife was murdered right in front of him by the loan shark he’s indebted to.\u003c/p>\n\u003cp>In fact, death loomed over this season in several ways. The most protracted and melodramatic among them was the ripped-from-the-headlines plot concerning Yas’s repulsive dad Charles, whose character appears to be drawn from the bios of both \u003ca href=\"https://www.kqed.org/arts/13882981/epstein-confidante-ghislaine-maxwell-is-unlike-any-enabler-weve-seen-before\">Jeffrey Epstein and Ghislaine Maxwell\u003c/a>’s media magnate father Robert Maxwell. The series cultivated an air of suspicion surrounding Charles’ disappearance from the party yacht, doling out the details of what occurred in piecemeal flashbacks over the course of several episodes.\u003c/p>\n\u003cfigure id=\"attachment_13965849\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965849\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas.png\" alt=\"A white man and woman walk the grounds of a stately home.\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-1536x1022.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-1920x1278.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Robert (Harry Lawtey) and Yasmin (Marisa Abela). \u003ccite>(Simon Ridgway/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yas was on the yacht with him that day, despite claiming to want “nothing to do with him” at the end of Season 2 once she learned about his pattern of inappropriate affairs with younger women. (Including her childhood nanny, a teen at the time.) Maybe, as she very guiltily “joked” to Robert at one point, she killed him; or maybe, like the British tabloids suggested, she’d helped him hide out to avoid dealing with the consequences of his embezzlement. In the end, Yas didn’t push Charles overboard that yacht, but she did watch him drown without trying to save him. That’s \u003cem>dark\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is the kind of sweeps-week storyline (remember those?) that could elicit groans for seeming cheaply manipulative, but \u003cem>Industry \u003c/em>is a show where everyone and everything is connected and no relationship, no matter how unhinged, is superfluous. Harper’s presence aboard the yacht and her knowledge of what went down adds color to their rocky history as former adversaries at Pierpoint and on-and-off again friends; it’s meaningful that one of the show’s most \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now/\">unabashedly opportunistic characters\u003c/a> cared enough to keep Yas’ secret.\u003c/p>\n\u003cp>Which is why it’s poetic (and disappointing) that Yas ultimately wound up getting engaged to a version of her father – Henry, like Charles, was accused of sleeping with his employees. The continuous comforts of material luxury and guaranteed financial security proved too alluring to relinquish. One of \u003cem>Industry\u003c/em>’s most engrossing recurring subjects is generational divides — and their limits. The show is an early depiction of Gen Z in the corporate space, and characters’ actions show that for all the relatively progressive ideals of youth, the influence of elders (and capitalism) is strong.\u003c/p>\n\u003cfigure id=\"attachment_13965850\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965850\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken.png\" alt=\"A middle aged Asian man stands in the lobby of a glass office building.\" width=\"2000\" height=\"1327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-1536x1019.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-1920x1274.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ken Leung as Eric. \u003ccite>(Simon Ridgway/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Eric spent much of this season lecturing the younger cohort in his orbit — former mentee Harper, Yas, and even millennial Rishi — about “ethics” and the very dangerous risks they were taking in the business. Yet this is the same guy who intimidatingly carries a baseball bat around the sales floor, does coke with his direct reports (he hooked up with Yas’ lawyer!), and on more than one occasion has exploited and sabotaged his colleagues to stay afloat at Pierpoint.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When he admonished Harper for treating everyone, including Yas, as collateral on her road to domination, it was refreshing to hear Harper make plain \u003cem>Industry\u003c/em>’s M.O.: “Everything you do on the floor communicates an ideology that people are a means to an end! I enact \u003cem>your\u003c/em> philosophy and you have the nerve to come into my office and call \u003cem>me\u003c/em> a bad person?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They’re both right, of course. And that’s the beauty of \u003cem>Industry\u003c/em>, which has been mercifully renewed for a fourth season. It’s a show less concerned with characters who are easily “likable” or “despicable.” What matters is they are individuals with clear ambitions and unique strategies for getting what they aim for — and this makes them endlessly watchable.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘SNL’ Has Always Taken on Politics. Here’s What Works – and Why",
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"content": "\u003cp>As a comedy nerd who has watched \u003cem>Saturday Night Live\u003c/em> since I stumbled on a rerun of the debut episode back in the mid-1970s, I’m convinced \u003cem>SNL\u003c/em> has had a profound impact on how America views politics.\u003c/p>\n\u003cp>But the show has seemingly struggled in recent years, as the absurdity of modern politics has caught up to satire. Former president Donald Trump’s references to myths about Haitian immigrants eating pets, his running mate JD Vance’s comments about women without children, Vice President Kamala Harris having to defend stories about working at McDonald’s as a youth — it all seems like stuff which would have been in sketches years ago, instead of real life.\u003c/p>\n\u003cp>[aside postid='arts_13965683']As a historic election looms, and the show begins its landmark 50th season this week, \u003cem>SNL\u003c/em> faces an ongoing challenge: to make America laugh — and think differently — about a political world which has gotten stranger than anyone could have predicted when the show debuted back in 1975.\u003c/p>\n\u003cp>Already, the show’s been on summer hiatus for the year’s three most seismic political events: President Joe Biden’s terrible debate performance against former president Donald Trump, Biden’s eventual decision to step aside for Vice President Kamala Harris and Harris’ domineering debate performance against Trump. So they’ll need to hit the ground running from the very start of the new season.\u003c/p>\n\u003ch3>A political impact from the beginning\u003c/h3>\n\u003cp>I decided to bounce some of my harebrained theories about \u003cem>SNL\u003c/em>’s impact over time off Al Franken, who wrote some of the show’s earliest political skits and worked there for many years as a writer and performer, before serving nearly ten years as a U.S. senator from Minnesota.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(Franken \u003ca href=\"https://www.npr.org/2017/12/07/568909860/sen-al-franken-to-make-announcement-amid-calls-for-him-to-resign\">\u003cu>resigned from the Senate in 2018\u003c/u>\u003c/a> amid allegations of misconduct from several women who accused him of touching or kissing them in inappropriate ways. He has denied some allegations, said he remembers others differently, apologized for making some women feel uncomfortable and \u003ca href=\"https://www.newyorker.com/magazine/2019/07/29/the-case-of-al-franken\">\u003cu>said he regrets resigning the office\u003c/u>\u003c/a>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nEIpAIqzbTg\u003c/p>\n\u003cp>When it came to political satire, Franken says he and his fellow \u003cem>SNL\u003c/em> writers had a pretty simple goal: Craft stuff that would be funny for people who knew both a little — and a lot — about politics.\u003c/p>\n\u003cp>“We didn’t try to be liberal or conservative,” says Franken, who worked on the show in various stints from 1975, during its very first season, to 1995, helping write classic sketches featuring Dan Aykroyd as President Richard Nixon during his last days in office and Dana Carvey as both George H.W. Bush and Ross Perot in a debate.\u003c/p>\n\u003cp>[aside postid='arts_13965548']Quoting another legendary \u003cem>SNL\u003c/em> writer, Jim Downey, he adds, “We just tried to do stuff … that would reward people for knowing stuff, but not punish them for not … Sketches that would be funny to everyone, but we were also trying to put in things that, really, really, smart people could go, ‘Oh I see. They put that in there for me.’”\u003c/p>\n\u003ch3>‘SNL’ shapes our view of politicians through impressions\u003c/h3>\n\u003cp>When \u003cem>Saturday Night Live\u003c/em> nails an impression of a politician, it manages a unique alchemy — elevating the thing about that person that is so funny it can pretty much define them in the public’s mind. Often, it is something people already suspected about the politician, crystallizing how the public feels about their policies or candidacies.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vSOLz1YBFG0&t=77s\u003c/p>\n\u003cp>When John McCain announced Sarah Palin as his running mate in 2008, Tina Fey produced a devastating take on the vice-presidential candidate as a superficial dimwit given to folksy-sounding word salads in speeches and interviews. Some people even assumed the politician actually said “I can see Russia from my house” — one of the jokes Fey’s Palin announces during a speech that the real Palin never said.\u003c/p>\n\u003cp>Think Gerald Ford was a clumsy dolt? That might be because that’s how Chevy Chase \u003ca href=\"https://youtu.be/nEIpAIqzbTg?si=RV7AOhoy6NgmFPK3\">\u003cu>played him\u003c/u>\u003c/a> in the show’s first season, even though Ford was a former champion athlete. Aykroyd handled Nixon and Jimmy Carter — nailing Nixon’s shifty villany and Carter’s wide smile and youth appeal, despite wearing a mustache neither politician had. Dana Carvey’s take on George H.W. Bush as a stiff patrician given to flailing his arms widely also led people to confuse Carvey’s jokes with things the real-life president said and did.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-Ooq_j89WOw\u003c/p>\n\u003cp>And there was Darrell Hammond’s take on Al Gore during a debate sketch in 2000, playing Gore as an oblivious technocrat obsessed with the word “lockbox” to a crushing effect. “I think [that sketch] elected Bush,” says Franken, recalling how Gore’s team reportedly used the sketch to coach the vice president on future debate performances.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zDgRRVpemLo\u003c/p>\n\u003ch3>But sometimes impressions aren’t enough\u003c/h3>\n\u003cp>Because so much of the show’s political insight comes from impressions, it creates problems when SNL can’t find the right approach. The show never really found a great caricature of Joe Biden, despite having everyone from Jason Sudeikis to Woody Harrelson and Jim Carrey play him.\u003c/p>\n\u003cp>When I say they had similar problems with Barack Obama, Franken agrees. “[It] was like trying to climb a smooth, vertical wall,” he says of lampooning Obama. “He had nothing to really grab onto. You could do an impression of his voice … but there [weren’t] really a lot of footholds there.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FEH9iqWm_xQ\u003c/p>\n\u003cp>The problem with Donald Trump may be the opposite: too many footholds. Alec Baldwin nailed Trump’s scowling self-obsession, while James Austin Johnson captures the former president’s \u003ca href=\"https://youtu.be/R3N6Iqp8QIk?si=SbMxBNUjiMuCthQo\">\u003cu>stream of consciousness patter\u003c/u>\u003c/a>, though finding things funnier or more absurd than what he’s actually done in real life remains a challenge.\u003c/p>\n\u003cp>This weekend at least, Maya Rudolph was ready to nail Harris’ coolly efficient power.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pg4Z1M_GjhQ\u003c/p>\n\u003ch3>Helping the audience process political ideas beyond impressions\u003c/h3>\n\u003cp>There have been impactful \u003cem>SNL\u003c/em> sketches which speak to political ideas beyond lampooning politicians, often in the name of helping the audience process potent ideas.\u003c/p>\n\u003cp>One of my favorites is a bit from 2016, where Dave Chappelle and Chris Rock are sitting in an election watch party surrounded by white people. As Trump’s election is confirmed, the white folks are shocked that America elected a candidate with such obvious race and sexism issues, while Rock and Chappelle — as Black men familiar with America’s hypocrisies — are not.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SHG0ezLiVGc&t=158s\u003c/p>\n\u003ch3>When politicians appear as themselves\u003c/h3>\n\u003cp>Particularly before the rise of social media, the best way a politician could try to get ahead of how \u003cem>SNL\u003c/em> portrayed them was to appear as themselves in the show’s sketches. Obama, Palin, Hillary Clinton, and even Nikki Haley used this tactic, popping up to look like good sports while pushing back subtly against the most insulting parts of the parodies.\u003c/p>\n\u003cp>McCain, who called \u003cem>Saturday Night Live\u003c/em> creator and showrunner Lorne Michaels\u003ca href=\"https://x.com/senjohnmccain/status/402184925756928000\">\u003cu> a friend\u003c/u>\u003c/a>, delivered one of the most notable cameos. He kicked off the \u003cem>SNL\u003c/em> episode right before the presidential election in November 2008 with an appearance where the senator — flanked by Fey as Palin and his actual wife, Cindy — hawked fake merchandise on the QVC home shopping channel, deftly presaging when Trump would \u003ca href=\"https://www.newsweek.com/donald-trump-watches-bibles-coins-1960247\">\u003cu>do it for real\u003c/u>\u003c/a> with his own Bibles and luxury watches.\u003c/p>\n\u003cp>https://youtu.be/pix6pJUW5-s?si=P1V3MCCJ7xgALbqp\u003c/p>\n\u003cp>But one of the most infamous political cameos is also the show’s earliest, when Ron Nessen, then press secretary for Ford, hosted the show in 1976 and got his boss to pre-tape saying the show’s legendary opening phrase, “Live from New York, It’s Saturday Night.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Franken says he impulsively asked Nessen to host the show at an event for Ford — later, he says, Michaels reminded him that handing out host invites was not his job — but they didn’t really ease up on the president for the episode. “We had way too much fun with them and the Ford family was not appreciative,” Franken adds. “And I think right after that he lost in South Carolina to Reagan … They hated it.”\u003c/p>\n\n",
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"headline": "‘SNL’ Has Always Taken on Politics. Here’s What Works – and Why",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a comedy nerd who has watched \u003cem>Saturday Night Live\u003c/em> since I stumbled on a rerun of the debut episode back in the mid-1970s, I’m convinced \u003cem>SNL\u003c/em> has had a profound impact on how America views politics.\u003c/p>\n\u003cp>But the show has seemingly struggled in recent years, as the absurdity of modern politics has caught up to satire. Former president Donald Trump’s references to myths about Haitian immigrants eating pets, his running mate JD Vance’s comments about women without children, Vice President Kamala Harris having to defend stories about working at McDonald’s as a youth — it all seems like stuff which would have been in sketches years ago, instead of real life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a historic election looms, and the show begins its landmark 50th season this week, \u003cem>SNL\u003c/em> faces an ongoing challenge: to make America laugh — and think differently — about a political world which has gotten stranger than anyone could have predicted when the show debuted back in 1975.\u003c/p>\n\u003cp>Already, the show’s been on summer hiatus for the year’s three most seismic political events: President Joe Biden’s terrible debate performance against former president Donald Trump, Biden’s eventual decision to step aside for Vice President Kamala Harris and Harris’ domineering debate performance against Trump. So they’ll need to hit the ground running from the very start of the new season.\u003c/p>\n\u003ch3>A political impact from the beginning\u003c/h3>\n\u003cp>I decided to bounce some of my harebrained theories about \u003cem>SNL\u003c/em>’s impact over time off Al Franken, who wrote some of the show’s earliest political skits and worked there for many years as a writer and performer, before serving nearly ten years as a U.S. senator from Minnesota.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(Franken \u003ca href=\"https://www.npr.org/2017/12/07/568909860/sen-al-franken-to-make-announcement-amid-calls-for-him-to-resign\">\u003cu>resigned from the Senate in 2018\u003c/u>\u003c/a> amid allegations of misconduct from several women who accused him of touching or kissing them in inappropriate ways. He has denied some allegations, said he remembers others differently, apologized for making some women feel uncomfortable and \u003ca href=\"https://www.newyorker.com/magazine/2019/07/29/the-case-of-al-franken\">\u003cu>said he regrets resigning the office\u003c/u>\u003c/a>.)\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/nEIpAIqzbTg'\n title='//www.youtube.com/embed/nEIpAIqzbTg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When it came to political satire, Franken says he and his fellow \u003cem>SNL\u003c/em> writers had a pretty simple goal: Craft stuff that would be funny for people who knew both a little — and a lot — about politics.\u003c/p>\n\u003cp>“We didn’t try to be liberal or conservative,” says Franken, who worked on the show in various stints from 1975, during its very first season, to 1995, helping write classic sketches featuring Dan Aykroyd as President Richard Nixon during his last days in office and Dana Carvey as both George H.W. Bush and Ross Perot in a debate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Quoting another legendary \u003cem>SNL\u003c/em> writer, Jim Downey, he adds, “We just tried to do stuff … that would reward people for knowing stuff, but not punish them for not … Sketches that would be funny to everyone, but we were also trying to put in things that, really, really, smart people could go, ‘Oh I see. They put that in there for me.’”\u003c/p>\n\u003ch3>‘SNL’ shapes our view of politicians through impressions\u003c/h3>\n\u003cp>When \u003cem>Saturday Night Live\u003c/em> nails an impression of a politician, it manages a unique alchemy — elevating the thing about that person that is so funny it can pretty much define them in the public’s mind. Often, it is something people already suspected about the politician, crystallizing how the public feels about their policies or candidacies.\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/vSOLz1YBFG0'\n title='//www.youtube.com/embed/vSOLz1YBFG0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When John McCain announced Sarah Palin as his running mate in 2008, Tina Fey produced a devastating take on the vice-presidential candidate as a superficial dimwit given to folksy-sounding word salads in speeches and interviews. Some people even assumed the politician actually said “I can see Russia from my house” — one of the jokes Fey’s Palin announces during a speech that the real Palin never said.\u003c/p>\n\u003cp>Think Gerald Ford was a clumsy dolt? That might be because that’s how Chevy Chase \u003ca href=\"https://youtu.be/nEIpAIqzbTg?si=RV7AOhoy6NgmFPK3\">\u003cu>played him\u003c/u>\u003c/a> in the show’s first season, even though Ford was a former champion athlete. Aykroyd handled Nixon and Jimmy Carter — nailing Nixon’s shifty villany and Carter’s wide smile and youth appeal, despite wearing a mustache neither politician had. Dana Carvey’s take on George H.W. Bush as a stiff patrician given to flailing his arms widely also led people to confuse Carvey’s jokes with things the real-life president said and did.\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/-Ooq_j89WOw'\n title='//www.youtube.com/embed/-Ooq_j89WOw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And there was Darrell Hammond’s take on Al Gore during a debate sketch in 2000, playing Gore as an oblivious technocrat obsessed with the word “lockbox” to a crushing effect. “I think [that sketch] elected Bush,” says Franken, recalling how Gore’s team reportedly used the sketch to coach the vice president on future debate performances.\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/zDgRRVpemLo'\n title='//www.youtube.com/embed/zDgRRVpemLo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>But sometimes impressions aren’t enough\u003c/h3>\n\u003cp>Because so much of the show’s political insight comes from impressions, it creates problems when SNL can’t find the right approach. The show never really found a great caricature of Joe Biden, despite having everyone from Jason Sudeikis to Woody Harrelson and Jim Carrey play him.\u003c/p>\n\u003cp>When I say they had similar problems with Barack Obama, Franken agrees. “[It] was like trying to climb a smooth, vertical wall,” he says of lampooning Obama. “He had nothing to really grab onto. You could do an impression of his voice … but there [weren’t] really a lot of footholds there.”\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/FEH9iqWm_xQ'\n title='//www.youtube.com/embed/FEH9iqWm_xQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The problem with Donald Trump may be the opposite: too many footholds. Alec Baldwin nailed Trump’s scowling self-obsession, while James Austin Johnson captures the former president’s \u003ca href=\"https://youtu.be/R3N6Iqp8QIk?si=SbMxBNUjiMuCthQo\">\u003cu>stream of consciousness patter\u003c/u>\u003c/a>, though finding things funnier or more absurd than what he’s actually done in real life remains a challenge.\u003c/p>\n\u003cp>This weekend at least, Maya Rudolph was ready to nail Harris’ coolly efficient power.\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/pg4Z1M_GjhQ'\n title='//www.youtube.com/embed/pg4Z1M_GjhQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Helping the audience process political ideas beyond impressions\u003c/h3>\n\u003cp>There have been impactful \u003cem>SNL\u003c/em> sketches which speak to political ideas beyond lampooning politicians, often in the name of helping the audience process potent ideas.\u003c/p>\n\u003cp>One of my favorites is a bit from 2016, where Dave Chappelle and Chris Rock are sitting in an election watch party surrounded by white people. As Trump’s election is confirmed, the white folks are shocked that America elected a candidate with such obvious race and sexism issues, while Rock and Chappelle — as Black men familiar with America’s hypocrisies — are not.\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/SHG0ezLiVGc'\n title='//www.youtube.com/embed/SHG0ezLiVGc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>When politicians appear as themselves\u003c/h3>\n\u003cp>Particularly before the rise of social media, the best way a politician could try to get ahead of how \u003cem>SNL\u003c/em> portrayed them was to appear as themselves in the show’s sketches. Obama, Palin, Hillary Clinton, and even Nikki Haley used this tactic, popping up to look like good sports while pushing back subtly against the most insulting parts of the parodies.\u003c/p>\n\u003cp>McCain, who called \u003cem>Saturday Night Live\u003c/em> creator and showrunner Lorne Michaels\u003ca href=\"https://x.com/senjohnmccain/status/402184925756928000\">\u003cu> a friend\u003c/u>\u003c/a>, delivered one of the most notable cameos. He kicked off the \u003cem>SNL\u003c/em> episode right before the presidential election in November 2008 with an appearance where the senator — flanked by Fey as Palin and his actual wife, Cindy — hawked fake merchandise on the QVC home shopping channel, deftly presaging when Trump would \u003ca href=\"https://www.newsweek.com/donald-trump-watches-bibles-coins-1960247\">\u003cu>do it for real\u003c/u>\u003c/a> with his own Bibles and luxury watches.\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/pix6pJUW5-s'\n title='//www.youtube.com/embed/pix6pJUW5-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But one of the most infamous political cameos is also the show’s earliest, when Ron Nessen, then press secretary for Ford, hosted the show in 1976 and got his boss to pre-tape saying the show’s legendary opening phrase, “Live from New York, It’s Saturday Night.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Franken says he impulsively asked Nessen to host the show at an event for Ford — later, he says, Michaels reminded him that handing out host invites was not his job — but they didn’t really ease up on the president for the episode. “We had way too much fun with them and the Ford family was not appreciative,” Franken adds. “And I think right after that he lost in South Carolina to Reagan … They hated it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Intermezzo’ Is Sally Rooney’s Most Moving Novel Yet",
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"content": "\u003cfigure id=\"attachment_13965685\" class=\"wp-caption aligncenter\" style=\"max-width: 978px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo.jpeg\" alt=\"A book cover showing chess pieces on a board viewed from above. The shadows each piece creates resembles the outline of a person.\" width=\"978\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo.jpeg 978w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-800x1227.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-160x245.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-768x1178.jpeg 768w\" sizes=\"(max-width: 978px) 100vw, 978px\">\u003cfigcaption class=\"wp-caption-text\">‘Intermezzo’ by Sally Rooney. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sally Rooney, who made such a splash with her first novel, \u003cem>Conversations with Friends, \u003c/em>back in 2017, has made it clear with each succeeding book that she is no flash in the pan. \u003cem>Intermezzo\u003c/em>, her fourth novel, is her most fully developed and moving yet.\u003c/p>\n\u003cp>It’s about two Irish brothers, 32-year-old Peter Koubek, a Dublin lawyer, and 22-year-old Ivan, a chess prodigy, and their troubled relationships with each other and the women in their lives. After their mother moved in with another man when Ivan was small, they were raised mainly by their father, an engineer who immigrated to Ireland in the 1980s from Slovakia. We meet them soon after their father’s death following years battling cancer. Both brothers, at loose ends, are struggling with the question, “Under what conditions is life endurable?”\u003c/p>\n\u003cp>[aside postid='arts_13965284']The simple answer, consistent throughout Rooney’s work, is that what makes life not just endurable but rich and meaningful is connecting with others, romantically and platonically, through deep conversations and love, which is easier said than done\u003cstrong>.\u003c/strong> Her novels take us down long and winding roads in search of often elusive fulfillment.\u003c/p>\n\u003cp>\u003cem>Intermezzo, \u003c/em>although filled with plenty of grief and strife, is less disturbing (and ultimately happier, if never exactly sunny) than the early novels, including \u003ca href=\"https://www.npr.org/2019/04/09/711377704/personal-demons-and-class-differences-complicate-love-in-normal-people\">\u003cem>Normal People\u003c/em>\u003c/a> (2018) and \u003ca href=\"https://www.npr.org/2021/09/02/1031904202/sally-rooney-review-beautiful-world-where-are-you\">\u003cem>Beautiful World, Where Are You\u003c/em>\u003c/a> (2021). The ever-resonant conversations, often about delicate subjects, are still alternately soul-baring and couched, plaintive and meandering. The sex scenes — physical expressions of her characters’ emotional communions — are as beautiful as ever. But \u003cem>Intermezzo \u003c/em>is focused less on topical questions about how to live in a troubled, increasingly unviable world and more on the psychological ramifications of love, loss and heartache.\u003c/p>\n\u003cp>About the title: The word intermezzo, meaning an interlude in a drama, opera, or musical work, can also refer to a light palate cleanser between courses in a rich meal. Amusingly, \u003cem>Intermezzo \u003c/em>is also the brand name of a form of the insomnia medication, zolpidem. But more relevant to Rooney’s novel is its sense as an unexpected move in chess. The narrative of \u003cem>Intermezzo, \u003c/em>in which Rooney continually rearranges her characters like pieces on a chessboard, features many game-changing surprise moves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wouldn’t be a Rooney novel without romantic entanglements. Peter’s are complicated. For months, he has been involved in an “ongoing sexual and also quietly financial relationship” with Naomi, a university student who supports herself with occasional sex work. He’s fond of her, but is haunted by his abiding love for his college girlfriend, Sylvia Larkin, now a professor of modern literature. Sylvia broke up with him six years earlier after a debilitating accident, insisting that she didn’t want to ruin his life. Peter has never gotten over her, which makes him feel guilty about leading Naomi on.\u003c/p>\n\u003cp>Rooney conveys Peter’s desperate, suicidal state with a Joycean staccato, jangled stream-of-consciousness: “Thoughts rattling and noisy almost always and then when quiet frightening unhappy. Mental not right maybe. Never maybe was.”\u003c/p>\n\u003cp>[aside postid='arts_13964548']While Peter sees Naomi mainly in her grungy, noisy, illegal shared flat, he and Sylvia meet regularly for civilized meals and arm-in-arm strolls through familiar streets in the rain. (It’s always raining in this novel.) They talk easily about her lectures and a big discrimination case he has won against a business with a demeaning dress code for its female employees. Rooney conveys the enormous comfort Peter finds in Sylvia so well that we share “the deep replenishing reservoir of her presence.”\u003c/p>\n\u003cp>Ivan is as socially awkward and reticent as his brother is dominant and ambitious. Despite a degree in theoretical physics, he barely supports himself, taking on just enough freelance data analysis work to enable him to focus on competitive chess. After a weekend chess exhibition where he plays 10 people at once at a local arts council several hours outside Dublin, the program director gives him a lift to his rented lodging for the night. Margaret, 14 years Ivan’s senior, is guiltily separated from her alcoholic husband. The tentative but intense connection that unfolds between these two sidelined people is one of the great pleasures of this novel.\u003c/p>\n\u003cp>When the brothers get together for dinner at Sylvia’s urging, Ivan cautiously opens up about his new relationship. Peter’s kneejerk reaction is disparaging, which causes Ivan to hit back: “I’ve hated you my entire life.” With its fraught fraternal dynamic, \u003cem>Intermezzo \u003c/em>taps into a classic literary theme — think Cain and Abel, Dostoyevsky’s \u003cem>The Brothers Karamazov, \u003c/em>Elizabeth Strout’s\u003cem> The Burgess Boys, \u003c/em>Sam Shepard’s\u003cem> True West,\u003c/em> and even James Herriot’s \u003cem>All Creatures Great and Small.\u003c/em>\u003c/p>\n\u003cp>The novel is also sprinkled with fragmented quotes from various literary classics, including \u003cem>Hamlet, The Waste Land, The Golden Bowl,\u003c/em> and \u003cem>Ulysses\u003c/em> — which Rooney duly cites in her endnotes. But don’t let the erudition put you off. Embedding quotes from beloved texts has become popular with writers, at once a way of paying homage and adding layers of meaning.\u003c/p>\n\u003cp>[aside postid='arts_13963867']\u003cem>Intermezzo \u003c/em>propels you to its well-earned, moving climax with nary a false move. This story about learning how to accept loss and pain ultimately involves the exhilaration of flinging all the windows and doors of life wide open: “Everything exposed to light and air. Nothing protected, nothing left to be protected anymore.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another question Rooney’s characters ponder: “What can life be made to accommodate, what can one life hold inside itself without breaking?” Apparently — like this novel — quite a lot.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13965685\" class=\"wp-caption aligncenter\" style=\"max-width: 978px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo.jpeg\" alt=\"A book cover showing chess pieces on a board viewed from above. The shadows each piece creates resembles the outline of a person.\" width=\"978\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo.jpeg 978w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-800x1227.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-160x245.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/intermezzo-768x1178.jpeg 768w\" sizes=\"(max-width: 978px) 100vw, 978px\">\u003cfigcaption class=\"wp-caption-text\">‘Intermezzo’ by Sally Rooney. \u003ccite>(Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sally Rooney, who made such a splash with her first novel, \u003cem>Conversations with Friends, \u003c/em>back in 2017, has made it clear with each succeeding book that she is no flash in the pan. \u003cem>Intermezzo\u003c/em>, her fourth novel, is her most fully developed and moving yet.\u003c/p>\n\u003cp>It’s about two Irish brothers, 32-year-old Peter Koubek, a Dublin lawyer, and 22-year-old Ivan, a chess prodigy, and their troubled relationships with each other and the women in their lives. After their mother moved in with another man when Ivan was small, they were raised mainly by their father, an engineer who immigrated to Ireland in the 1980s from Slovakia. We meet them soon after their father’s death following years battling cancer. Both brothers, at loose ends, are struggling with the question, “Under what conditions is life endurable?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The simple answer, consistent throughout Rooney’s work, is that what makes life not just endurable but rich and meaningful is connecting with others, romantically and platonically, through deep conversations and love, which is easier said than done\u003cstrong>.\u003c/strong> Her novels take us down long and winding roads in search of often elusive fulfillment.\u003c/p>\n\u003cp>\u003cem>Intermezzo, \u003c/em>although filled with plenty of grief and strife, is less disturbing (and ultimately happier, if never exactly sunny) than the early novels, including \u003ca href=\"https://www.npr.org/2019/04/09/711377704/personal-demons-and-class-differences-complicate-love-in-normal-people\">\u003cem>Normal People\u003c/em>\u003c/a> (2018) and \u003ca href=\"https://www.npr.org/2021/09/02/1031904202/sally-rooney-review-beautiful-world-where-are-you\">\u003cem>Beautiful World, Where Are You\u003c/em>\u003c/a> (2021). The ever-resonant conversations, often about delicate subjects, are still alternately soul-baring and couched, plaintive and meandering. The sex scenes — physical expressions of her characters’ emotional communions — are as beautiful as ever. But \u003cem>Intermezzo \u003c/em>is focused less on topical questions about how to live in a troubled, increasingly unviable world and more on the psychological ramifications of love, loss and heartache.\u003c/p>\n\u003cp>About the title: The word intermezzo, meaning an interlude in a drama, opera, or musical work, can also refer to a light palate cleanser between courses in a rich meal. Amusingly, \u003cem>Intermezzo \u003c/em>is also the brand name of a form of the insomnia medication, zolpidem. But more relevant to Rooney’s novel is its sense as an unexpected move in chess. The narrative of \u003cem>Intermezzo, \u003c/em>in which Rooney continually rearranges her characters like pieces on a chessboard, features many game-changing surprise moves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wouldn’t be a Rooney novel without romantic entanglements. Peter’s are complicated. For months, he has been involved in an “ongoing sexual and also quietly financial relationship” with Naomi, a university student who supports herself with occasional sex work. He’s fond of her, but is haunted by his abiding love for his college girlfriend, Sylvia Larkin, now a professor of modern literature. Sylvia broke up with him six years earlier after a debilitating accident, insisting that she didn’t want to ruin his life. Peter has never gotten over her, which makes him feel guilty about leading Naomi on.\u003c/p>\n\u003cp>Rooney conveys Peter’s desperate, suicidal state with a Joycean staccato, jangled stream-of-consciousness: “Thoughts rattling and noisy almost always and then when quiet frightening unhappy. Mental not right maybe. Never maybe was.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While Peter sees Naomi mainly in her grungy, noisy, illegal shared flat, he and Sylvia meet regularly for civilized meals and arm-in-arm strolls through familiar streets in the rain. (It’s always raining in this novel.) They talk easily about her lectures and a big discrimination case he has won against a business with a demeaning dress code for its female employees. Rooney conveys the enormous comfort Peter finds in Sylvia so well that we share “the deep replenishing reservoir of her presence.”\u003c/p>\n\u003cp>Ivan is as socially awkward and reticent as his brother is dominant and ambitious. Despite a degree in theoretical physics, he barely supports himself, taking on just enough freelance data analysis work to enable him to focus on competitive chess. After a weekend chess exhibition where he plays 10 people at once at a local arts council several hours outside Dublin, the program director gives him a lift to his rented lodging for the night. Margaret, 14 years Ivan’s senior, is guiltily separated from her alcoholic husband. The tentative but intense connection that unfolds between these two sidelined people is one of the great pleasures of this novel.\u003c/p>\n\u003cp>When the brothers get together for dinner at Sylvia’s urging, Ivan cautiously opens up about his new relationship. Peter’s kneejerk reaction is disparaging, which causes Ivan to hit back: “I’ve hated you my entire life.” With its fraught fraternal dynamic, \u003cem>Intermezzo \u003c/em>taps into a classic literary theme — think Cain and Abel, Dostoyevsky’s \u003cem>The Brothers Karamazov, \u003c/em>Elizabeth Strout’s\u003cem> The Burgess Boys, \u003c/em>Sam Shepard’s\u003cem> True West,\u003c/em> and even James Herriot’s \u003cem>All Creatures Great and Small.\u003c/em>\u003c/p>\n\u003cp>The novel is also sprinkled with fragmented quotes from various literary classics, including \u003cem>Hamlet, The Waste Land, The Golden Bowl,\u003c/em> and \u003cem>Ulysses\u003c/em> — which Rooney duly cites in her endnotes. But don’t let the erudition put you off. Embedding quotes from beloved texts has become popular with writers, at once a way of paying homage and adding layers of meaning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Intermezzo \u003c/em>propels you to its well-earned, moving climax with nary a false move. This story about learning how to accept loss and pain ultimately involves the exhilaration of flinging all the windows and doors of life wide open: “Everything exposed to light and air. Nothing protected, nothing left to be protected anymore.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another question Rooney’s characters ponder: “What can life be made to accommodate, what can one life hold inside itself without breaking?” Apparently — like this novel — quite a lot.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Home Depot was about to launch something big — really big — when the pandemic hit in the spring of 2020: a 12-foot skeleton.\u003c/p>\n\u003cp>“There were a lot of internal discussions. It was like, is there going to be Halloween this year?” said Lance Allen, senior merchant of decorative holiday at Home Depot. “Are customers going to think this is in poor taste? Should we go forward with it?’”\u003c/p>\n\u003cp>[aside postid='arts_13962878']Home Depot did. And the towering skeleton arrived at the perfect time.\u003c/p>\n\u003cp>“Nobody could possibly need a 12-foot skeleton, but everybody wanted a 12-foot skeleton,” Allen said.\u003c/p>\n\u003cp>The retailer’s gamble upped the game for decorations. A population stuck at home and wanting some semblance of community entertainment created a Halloween phenomenon that’s now bigger than any one store. (Others carry various versions of the larger-than-life skeleton.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And as stores race to get the latest and greatest Halloween score out as soon as possible, superfans say it’s about time.\u003c/p>\n\u003ch2>Halloween is celebrated earlier\u003c/h2>\n\u003cp>Home Depot’s 12-foot skeleton is affectionately known by fans across the internet and globe as “Skelly.” When Skelly was launched, the thinking was that he’d be out for a week or two leading up to Halloween night, Allen said, the usual consumer behavior observed at the time.\u003c/p>\n\u003cp>But the pandemic changed that timeline.\u003c/p>\n\u003cp>“Everybody started decorating in early October for something to do,” Allen said. “And we’ve really seen a shift in the market where now people are decorating for Halloween how we’ve seen with Christmas historically, planning out decorations five to six weeks, two months ahead of time.”\u003c/p>\n\u003cp>[aside postid='arts_13936916']Mak Ralston, a Halloween fanatic known as Haunt Former on YouTube, who posts Halloween videos year-round, has noticed the shift.\u003c/p>\n\u003cp>“There used to be a kind of a calendar as to when I would expect things to come out in stores,” Ralston said, noting that orange and black and witches and skeletons used to roll in at the start of September, maybe mid-August.\u003c/p>\n\u003cp>“This year, I saw some stuff in stores for Halloween in June, early July,” he said. “It’s never been earlier.”\u003c/p>\n\u003ch2>For some, it’s always Halloween\u003c/h2>\n\u003cp>“Some average people who aren’t as invested don’t realize that for people who are really committed to both Halloween and the horror culture, they’re in it to win it like all year,” Ralston said.\u003c/p>\n\u003cp>“I can post a video about a horror movie or about a Halloween mask that’s coming out in October in February, and people eat it up,” he said.\u003c/p>\n\u003cp>Nate Rambaud, known as That Guy Nate on Youtube, started his channel by posting videos of abandoned stores such as Toys ‘R’ Us, a niche interest on the video-sharing platform. Now with more than 440,000 subscribers, his bread and butter is a more spooky niche. He posts videos touring Spirit Halloween locations, which often occupy abandoned stores.\u003c/p>\n\u003cp>[aside postid='arts_13935838']Rambaud has been to well over 300 Spirit Halloween locations in all 50 states.\u003c/p>\n\u003cp>“Halloween is so easy to attach to. It doesn’t require anybody else whatsoever,” said Rambaud.\u003c/p>\n\u003cp>Christmas “kind of requires other people, your family. You’re out buying stuff for people. And then kids sit around and wait for Christmas — that’s really all they can do for Christmas,” he said. “But Halloween — anyone can associate with Halloween and you can do it any time all the time.”\u003c/p>\n\u003cp>As a result of the year-round party, Skelly’s had some work done for his fifth birthday. Allen said the new Skellys for sale this season will have more UV additive to hold up against the sun longer, along with a more durable resin mixture to withstand colder temperatures. And he now has a dog.\u003c/p>\n\u003cp>“People are taking the skeletons on dates. They’re going out to the beach, he’s playing in the sand,” Allen said. “We’ve seen him at weddings.”\u003c/p>\n\u003cp>Jacob Humphrey, an artist in Texas, helps moderate a Facebook group of Home Depot Halloween superfans. There is a little bit of healthy competition over decorations, he said.\u003c/p>\n\u003cp>“A lot of times people will say, ‘I know this is not as good as everyone else’s, but I wanted to share this,’” Humphrey said. Group members join to find like-minded fans, he said, “but let’s be honest, people want to show off.”\u003c/p>\n\u003ch2>Why are so many people so wild about Halloween?\u003c/h2>\n\u003cp>Perhaps it all has to do with a fundamental part of the holiday: children.\u003c/p>\n\u003cp>Humphrey was out painting his fence recently when a girl walked by. She told him his house always has the best decorations.\u003c/p>\n\u003cp>[aside postid='arts_13904911']“I didn’t realize kids memorize that. And that’s really kind of a badge of honor,” Humphrey said. ”Also, like, great, now I have no choice, I’m going to make sure I do a great job.”\u003c/p>\n\u003cp>Ralston recalled that growing up, he was the kid who carried around a skeleton instead of a teddy bear.\u003c/p>\n\u003cp>And Rambaud, whose videos showcase Halloween animatronics worth hundreds of dollars, remembers a simpler time from his childhood that helped spark his love for Halloween.\u003c/p>\n\u003cp>“My dad used to make what he would call a spook tunnel. He would take cardboard boxes, like refrigerator boxes, and he put them all together and made a maze that we had to crawl through,” he said. ”That was our little haunted house.”\u003c/p>\n\u003cp>To Humphrey, the holiday’s appeal can be summarized this way:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Halloween is an extrovert day for introverts,” he said. “Why wouldn’t you want to celebrate that?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mak Ralston, a Halloween fanatic known as Haunt Former on YouTube, who posts Halloween videos year-round, has noticed the shift.\u003c/p>\n\u003cp>“There used to be a kind of a calendar as to when I would expect things to come out in stores,” Ralston said, noting that orange and black and witches and skeletons used to roll in at the start of September, maybe mid-August.\u003c/p>\n\u003cp>“This year, I saw some stuff in stores for Halloween in June, early July,” he said. “It’s never been earlier.”\u003c/p>\n\u003ch2>For some, it’s always Halloween\u003c/h2>\n\u003cp>“Some average people who aren’t as invested don’t realize that for people who are really committed to both Halloween and the horror culture, they’re in it to win it like all year,” Ralston said.\u003c/p>\n\u003cp>“I can post a video about a horror movie or about a Halloween mask that’s coming out in October in February, and people eat it up,” he said.\u003c/p>\n\u003cp>Nate Rambaud, known as That Guy Nate on Youtube, started his channel by posting videos of abandoned stores such as Toys ‘R’ Us, a niche interest on the video-sharing platform. Now with more than 440,000 subscribers, his bread and butter is a more spooky niche. He posts videos touring Spirit Halloween locations, which often occupy abandoned stores.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rambaud has been to well over 300 Spirit Halloween locations in all 50 states.\u003c/p>\n\u003cp>“Halloween is so easy to attach to. It doesn’t require anybody else whatsoever,” said Rambaud.\u003c/p>\n\u003cp>Christmas “kind of requires other people, your family. You’re out buying stuff for people. And then kids sit around and wait for Christmas — that’s really all they can do for Christmas,” he said. “But Halloween — anyone can associate with Halloween and you can do it any time all the time.”\u003c/p>\n\u003cp>As a result of the year-round party, Skelly’s had some work done for his fifth birthday. Allen said the new Skellys for sale this season will have more UV additive to hold up against the sun longer, along with a more durable resin mixture to withstand colder temperatures. And he now has a dog.\u003c/p>\n\u003cp>“People are taking the skeletons on dates. They’re going out to the beach, he’s playing in the sand,” Allen said. “We’ve seen him at weddings.”\u003c/p>\n\u003cp>Jacob Humphrey, an artist in Texas, helps moderate a Facebook group of Home Depot Halloween superfans. There is a little bit of healthy competition over decorations, he said.\u003c/p>\n\u003cp>“A lot of times people will say, ‘I know this is not as good as everyone else’s, but I wanted to share this,’” Humphrey said. Group members join to find like-minded fans, he said, “but let’s be honest, people want to show off.”\u003c/p>\n\u003ch2>Why are so many people so wild about Halloween?\u003c/h2>\n\u003cp>Perhaps it all has to do with a fundamental part of the holiday: children.\u003c/p>\n\u003cp>Humphrey was out painting his fence recently when a girl walked by. She told him his house always has the best decorations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I didn’t realize kids memorize that. And that’s really kind of a badge of honor,” Humphrey said. ”Also, like, great, now I have no choice, I’m going to make sure I do a great job.”\u003c/p>\n\u003cp>Ralston recalled that growing up, he was the kid who carried around a skeleton instead of a teddy bear.\u003c/p>\n\u003cp>And Rambaud, whose videos showcase Halloween animatronics worth hundreds of dollars, remembers a simpler time from his childhood that helped spark his love for Halloween.\u003c/p>\n\u003cp>“My dad used to make what he would call a spook tunnel. He would take cardboard boxes, like refrigerator boxes, and he put them all together and made a maze that we had to crawl through,” he said. ”That was our little haunted house.”\u003c/p>\n\u003cp>To Humphrey, the holiday’s appeal can be summarized this way:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Halloween is an extrovert day for introverts,” he said. “Why wouldn’t you want to celebrate that?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We are at the apex of \u003cem>Saturday Night Live\u003c/em> appreciation. Now entering its 50th year, \u003cem>SNL\u003c/em> has never been more unquestioned as a bedrock American institution. The many years of cowbells, Californians, mom jeans, Totino’s, unfrozen caveman lawyers and vans down by the river have more than established \u003cem>SNL\u003c/em> as hallowed late-night ground and a comedy citadel.\u003c/p>\n\u003cp>[aside postid='arts_13965368']So it’s maybe appropriate that Jason Reitman’s big-screen ode, \u003cem>Saturday Night\u003c/em>, should arrive, amid all of the tributes, to remind of the show’s original revolutionary force. Reitman’s film is set in the 90 minutes leading up to showtime before the first episode aired Oct. 11, 1975.\u003c/p>\n\u003cp>The atmosphere is hectic. The mood is anxious. And through cigarette smoke and backstage swirl rushes Lorne Michaels (Gabriel LaBelle), who’s trying to launch a new kind of show that even he can’t quite explain.\u003c/p>\n\u003cp>\u003cem>Saturday Night\u003c/em>, which opens in theaters Friday and expands in the coming weeks, isn’t a realistic tick-tock of how Michaels did it. And, while it boasts a number of fine performances, I wouldn’t recommend it for anyone hoping to see an illuminating portrait of the original Not Ready for Prime Time Players.\u003c/p>\n\u003cp>[aside postid='arts_13965270']No, Reitman’s movie is striving for a myth of \u003cem>Saturday Night Live\u003c/em>. Michaels’ quest in the film — and though he never strays farther than around the corner from 30 Rock, it is a quest — is not just to marshal together a live show on this particular night, it’s to overcome a cigar-chomping old guard of network television. (Milton Berle is skulking about, even Johnny Carson phones in.) In their eyes, Michaels is, to paraphrase Ned Beatty in \u003cem>Network\u003c/em>, meddling with the primal forces of nature.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In mythologizing this generational battle, \u003cem>Saturday Night\u003c/em> is a blistering barn-burner. In most other ways (cue the Debbie Downer trombone), it’s less good. Reitman, who penned the script with Gil Kenan, is too wide-eyed about the glory days of \u003cem>SNL\u003c/em> to bring much acute insight to what was happening 50 years ago. And his film may be too spread thin by a clown car’s worth of big personalities. But in the movie’s primary goal, capturing a spirit of revolution that once might have seized barricades but instead flocks to Studio 8H, \u003cem>Saturday Night\u003c/em> at least deserves a Spartan cheer.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iZ9O_tl5Npk\u003c/p>\n\u003cp>A clock ticking down to showtime runs as ominously as it might in \u003cem>MacGruber\u003c/em> throughout \u003cem>Saturday Night\u003c/em>. Nothing is close to ready for air. John Belushi (Matt Wood) hasn’t signed his contract. Twenty-eight gallons of fake blood are missing. And, most pressing of all, the network is poised to air a Carson rerun if things don’t take shape. An executive pleading for a script is told, “It’s not that kind of show.”\u003c/p>\n\u003cp>[aside postid='arts_13964034']What kind is it? Michaels, himself, is uncertain. He’s gathered together a “circus of rejects,” most of them then unknown to the public. There is Gilda Radner (Ella Hunt), Chevy Chase (Cory Michael Smith), Garrett Morris (Lamorne Morris), Jane Curtin (Kim Matula) and Dan Aykroyd (Dylan O’Brien). Also in the mix are Jim Henson (Nicholas Braun), who spends much of the movie complaining about the untoward things the cast has been doing to Big Bird, Andy Kaufman (Braun again), Billy Crystal (Nicholas Podany) and the night’s host, George Carlin (Matthew Rhys).\u003c/p>\n\u003cp>Most of them pass too quickly to make too much of an impression, though a few are good in their moments — notably Smith, playing up Chase’s braggadocio, O’Brien and Morris. Garrett Morris, the cast’s lone Black member, is in a quandary over his role — because of his race and because he was a playwright before being cast. Though \u003cem>SNL\u003c/em> was revolutionary, it hardly arrived a finished product. Morris here is a reminder of the show’s sometimes — and ongoing — not always easy relationship to diversity, in race and gender.\u003c/p>\n\u003cp>It also wasn’t always such a break from what came before. When Chase faces off with Berle in a contest over Chase’s fiancee, Jacqueline Carlin (Kaia Gerber) — one of the movie’s few truly charged scenes — they seem more alike than either would like to admit.\u003c/p>\n\u003cp>It’s not a great sign for \u003cem>Saturday Night\u003c/em> how much better the old guard is than the young cast. Along with Simmons’ Berle is Willem Dafoe’s NBC executive David Tebet. He provides the movie its most \u003cem>Network\u003c/em>-flavored drama, seeing “a prophet” in Michaels and, despite wavering skepticism, urging him to be “an unbending force of seismic disturbance.” Also in the mix — and a reminder that the suits had newbies, too — is Dick Ebersol (a refreshingly genuine Cooper Hoffman), a believer in Michaels but only up to a point.\u003c/p>\n\u003cp>Ultimately, this is Michaels’ show, and he’s played winningly by LaBelle, the \u003cem>Fabelmans\u003c/em> star, even if the characterization, like much of \u003cem>Saturday Night\u003c/em>, is a little thin. Sometimes by his side, as he races to get the show ready is the writer and Michaels’ then-wife, Rosie Shuster (the excellent Rachel Sennott), who you want more of.\u003c/p>\n\u003cp>[aside postid='arts_13965103']It seems to be an unfortunate truth that dramatizations of \u003cem>Saturday Night Live\u003c/em> inevitably kill it of laughter. That’s true here just as it was in Aaron Sorkin’s \u003cem>Studio 60 on the Sunset Strip\u003c/em>. The exception to that, of course, is Tina Fey’s \u003cem>30 Rock\u003c/em>, which was smart enough to abandon all the \u003cem>SNL\u003c/em> mythology and focus on what’s funny.\u003c/p>\n\u003cp>This \u003cem>Saturday Night\u003c/em> may have a legacy of its own; a lot of this cast, I suspect, will be around for a long time. And, ultimately, when the show finally comes together, it’s galvanizing. The cleverest thing about Reitman’s film is that it ends, rousingly, just where \u003cem>SNL\u003c/em> starts.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Saturday Night’ is out now across the Bay Area. It is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So it’s maybe appropriate that Jason Reitman’s big-screen ode, \u003cem>Saturday Night\u003c/em>, should arrive, amid all of the tributes, to remind of the show’s original revolutionary force. Reitman’s film is set in the 90 minutes leading up to showtime before the first episode aired Oct. 11, 1975.\u003c/p>\n\u003cp>The atmosphere is hectic. The mood is anxious. And through cigarette smoke and backstage swirl rushes Lorne Michaels (Gabriel LaBelle), who’s trying to launch a new kind of show that even he can’t quite explain.\u003c/p>\n\u003cp>\u003cem>Saturday Night\u003c/em>, which opens in theaters Friday and expands in the coming weeks, isn’t a realistic tick-tock of how Michaels did it. And, while it boasts a number of fine performances, I wouldn’t recommend it for anyone hoping to see an illuminating portrait of the original Not Ready for Prime Time Players.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>No, Reitman’s movie is striving for a myth of \u003cem>Saturday Night Live\u003c/em>. Michaels’ quest in the film — and though he never strays farther than around the corner from 30 Rock, it is a quest — is not just to marshal together a live show on this particular night, it’s to overcome a cigar-chomping old guard of network television. (Milton Berle is skulking about, even Johnny Carson phones in.) In their eyes, Michaels is, to paraphrase Ned Beatty in \u003cem>Network\u003c/em>, meddling with the primal forces of nature.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In mythologizing this generational battle, \u003cem>Saturday Night\u003c/em> is a blistering barn-burner. In most other ways (cue the Debbie Downer trombone), it’s less good. Reitman, who penned the script with Gil Kenan, is too wide-eyed about the glory days of \u003cem>SNL\u003c/em> to bring much acute insight to what was happening 50 years ago. And his film may be too spread thin by a clown car’s worth of big personalities. But in the movie’s primary goal, capturing a spirit of revolution that once might have seized barricades but instead flocks to Studio 8H, \u003cem>Saturday Night\u003c/em> at least deserves a Spartan cheer.\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/iZ9O_tl5Npk'\n title='//www.youtube.com/embed/iZ9O_tl5Npk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A clock ticking down to showtime runs as ominously as it might in \u003cem>MacGruber\u003c/em> throughout \u003cem>Saturday Night\u003c/em>. Nothing is close to ready for air. John Belushi (Matt Wood) hasn’t signed his contract. Twenty-eight gallons of fake blood are missing. And, most pressing of all, the network is poised to air a Carson rerun if things don’t take shape. An executive pleading for a script is told, “It’s not that kind of show.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What kind is it? Michaels, himself, is uncertain. He’s gathered together a “circus of rejects,” most of them then unknown to the public. There is Gilda Radner (Ella Hunt), Chevy Chase (Cory Michael Smith), Garrett Morris (Lamorne Morris), Jane Curtin (Kim Matula) and Dan Aykroyd (Dylan O’Brien). Also in the mix are Jim Henson (Nicholas Braun), who spends much of the movie complaining about the untoward things the cast has been doing to Big Bird, Andy Kaufman (Braun again), Billy Crystal (Nicholas Podany) and the night’s host, George Carlin (Matthew Rhys).\u003c/p>\n\u003cp>Most of them pass too quickly to make too much of an impression, though a few are good in their moments — notably Smith, playing up Chase’s braggadocio, O’Brien and Morris. Garrett Morris, the cast’s lone Black member, is in a quandary over his role — because of his race and because he was a playwright before being cast. Though \u003cem>SNL\u003c/em> was revolutionary, it hardly arrived a finished product. Morris here is a reminder of the show’s sometimes — and ongoing — not always easy relationship to diversity, in race and gender.\u003c/p>\n\u003cp>It also wasn’t always such a break from what came before. When Chase faces off with Berle in a contest over Chase’s fiancee, Jacqueline Carlin (Kaia Gerber) — one of the movie’s few truly charged scenes — they seem more alike than either would like to admit.\u003c/p>\n\u003cp>It’s not a great sign for \u003cem>Saturday Night\u003c/em> how much better the old guard is than the young cast. Along with Simmons’ Berle is Willem Dafoe’s NBC executive David Tebet. He provides the movie its most \u003cem>Network\u003c/em>-flavored drama, seeing “a prophet” in Michaels and, despite wavering skepticism, urging him to be “an unbending force of seismic disturbance.” Also in the mix — and a reminder that the suits had newbies, too — is Dick Ebersol (a refreshingly genuine Cooper Hoffman), a believer in Michaels but only up to a point.\u003c/p>\n\u003cp>Ultimately, this is Michaels’ show, and he’s played winningly by LaBelle, the \u003cem>Fabelmans\u003c/em> star, even if the characterization, like much of \u003cem>Saturday Night\u003c/em>, is a little thin. Sometimes by his side, as he races to get the show ready is the writer and Michaels’ then-wife, Rosie Shuster (the excellent Rachel Sennott), who you want more of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It seems to be an unfortunate truth that dramatizations of \u003cem>Saturday Night Live\u003c/em> inevitably kill it of laughter. That’s true here just as it was in Aaron Sorkin’s \u003cem>Studio 60 on the Sunset Strip\u003c/em>. The exception to that, of course, is Tina Fey’s \u003cem>30 Rock\u003c/em>, which was smart enough to abandon all the \u003cem>SNL\u003c/em> mythology and focus on what’s funny.\u003c/p>\n\u003cp>This \u003cem>Saturday Night\u003c/em> may have a legacy of its own; a lot of this cast, I suspect, will be around for a long time. And, ultimately, when the show finally comes together, it’s galvanizing. The cleverest thing about Reitman’s film is that it ends, rousingly, just where \u003cem>SNL\u003c/em> starts.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Saturday Night’ is out now across the Bay Area. It is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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