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"title": "Yes, ‘The Penguin’ Is Another Batman Spin-Off. It’s Also One of 2024’s Best Shows",
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"content": "\u003cp>Maybe you’ve heard: They’re making another Batman-without-Batman show.\u003c/p>\n\u003cp>I know, right? \u003cem>Another \u003c/em>one.\u003c/p>\n\u003cp>As a concept, Batman-without-Batman is a big slobbery tennis ball, and the culture is the Golden Retriever who keeps dropping it in your lap and looking up at you expectantly. Who could blame you for shooing the mutt away, right? Enough is enough.\u003c/p>\n\u003cp>Consider: First there was \u003ca href=\"https://www.imdb.com/title/tt0312098/\">\u003cem>\u003cu>Birds of Prey\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt3749900/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Gotham\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt1043813/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Titans\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt8712204/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Batwoman\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt16418896/?ref_=fn_al_tt_2\">\u003cem>\u003cu>Gotham Knights\u003c/u>\u003c/em>\u003c/a>. Somewhere in there, they made a \u003ca href=\"https://www.imdb.com/title/tt8425532/?ref_=fn_al_tt_1\">\u003cu>whole, entire show about Batman’s butler\u003c/u>\u003c/a>. \u003cem>Before he became his butler\u003c/em>.\u003c/p>\n\u003cp>There have been Batman without Batman movies, too. The ham-handed \u003ca href=\"https://www.imdb.com/title/tt7286456/\">\u003cem>\u003cu>Joker\u003c/u>\u003c/em>\u003c/a>, of course. And its upcoming \u003ca href=\"https://www.imdb.com/title/tt11315808/?ref_=fn_al_tt_2\">\u003cu>sequel\u003c/u>\u003c/a>. \u003ca href=\"https://www.imdb.com/title/tt1386697/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Suicide Squad\u003c/u>\u003c/em>\u003c/a>, and its \u003ca href=\"https://www.imdb.com/title/tt6334354/?ref_=fn_al_tt_2\">\u003cu>sequel, or reboot, or whatever\u003c/u>\u003c/a>. The \u003ca href=\"https://www.imdb.com/title/tt7713068/?ref_=nm_flmg_t_8_act\">\u003cem>\u003cu>Birds of Prey\u003c/u>\u003c/em>\u003c/a> one. That \u003ca href=\"https://www.imdb.com/title/tt6718412/\">\u003cem>\u003cu>Batgirl\u003c/u>\u003c/em>\u003c/a> one that got shelved.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And now they’re making \u003cem>The Penguin\u003c/em>. Yeah: A whole show about the very C-listiest of C-list Batman villains. What’s next? \u003ca href=\"https://villains.lol/penny-plunderer/\">\u003cem>\u003cu>Penny Plunderer: The Rock Opera\u003c/u>\u003c/em>\u003c/a>?\u003c/p>\n\u003cp>[aside postid='arts_13963967']Maybe you’ve heard about this latest entry in the weirdly burgeoning Everything But the Bat genre, and you said, “I’ma pass.” Perfectly understandable. Reasonable, even.\u003c/p>\n\u003cp>Then maybe you heard that this \u003cem>The Penguin \u003c/em>show was tied into \u003ca href=\"https://www.imdb.com/title/tt1877830/\">\u003cu>the latest Batman movie\u003c/u>\u003c/a>, directed by Matt Reeves. And maybe you liked that 2022 movie a bit, inasmuch as it felt like a clean break from what came before, and it had a solid take. Robert Pattinson was a more emo, wounded version of Batsy. The world of Gotham more rich and seedy. And now that you think of it, Colin Farrell’s choice to bury his toothsome face under pounds of latex and play that movie’s Penguin as a volatile mob underboss with a “dese-and-dose” Brooklyn accent thicker than bolognese — that was a big swing, and it was pretty funny.\u003c/p>\n\u003cp>I’m here to tell you — and no one is more surprised than me, I \u003cem>assure \u003c/em>you — that if you skipped \u003cem>The Penguin\u003c/em>, you’d be making a big mistake, and missing out on one of the best television series of the year.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sfJG6IiA_s8&t=14s\u003c/p>\n\u003ch3>“I’m squawkin’ here! I’m squawkin’ here!”\u003c/h3>\n\u003cp>\u003cem>The Penguin\u003c/em> is set in the immediate aftermath of 2022’s \u003cem>The Batman\u003c/em>, which saw the Riddler flood Gotham City, killing thousands. Mob underboss Oswald Cobb (Colin Farrell) resolves to exploit the chaos and take over Gotham’s criminal underworld. To do so, he must play his own crime family, the Falcones, led by Alberto Falcone (Michael Zegen), against their rivals the Maronis, led by Salvatore Maroni (Clancy Brown) and Nadia Maroni (Shohreh Aghdashloo).\u003c/p>\n\u003cp>In this endeavor he is assisted, reluctantly at first, by young Victor (Rhenzy Feliz), a would-be criminal who lost his home and his family in the flood.\u003c/p>\n\u003cp>The arrival of Alberto’s sister Sofia Falcone complicates Oz’s rise to power — in a ruthlessly fun way. That’s because Sofia is played by the great Cristin Milioti, who brings raw emotion and dark humor to her portrayal of a woman who just spent 10 years in Arkham Asylum for the murder of several young sex workers.\u003c/p>\n\u003cfigure id=\"attachment_13964178\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964178\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina.png\" alt=\"A woman with dark hair and pale skin stands in a courtyard wearing a smart white suit\" width=\"2000\" height=\"1275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-800x510.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-1020x650.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-768x490.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-1536x979.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-1920x1224.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sofia Falcone (Cristin Milioti) stares daggers. And axes. And sledgehammers. And machine guns. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And at the center of it all is Farrell, emoting the holy hell out of his every movement and line reading, so Oz emerges as a deeply wounded, doleful figure who just happens to delight in violence. He’s at once needy and impulsive, a combination of traits that places him in danger again and again, though he’s clever enough to talk his way out of it. Usually.\u003c/p>\n\u003cp>Farrell’s commitment to the bit will turn some viewers off, I suspect. He goes big, and his Oz is a creature of bluster and outsized, ever-shifting moods — never moreso than when he dotes on his mother, played with canny intelligence by the great Deirdre O’Connell. I loved their scenes together, as both actors bring a crackling intensity that made me temporarily forget I was watching Farrell through several layers of prosthetics. For some, however, Farrell’s histrionic take, that comically broad accent, and the fat suit will be too much — to them, he will come off like Ratso Rizzo with Tony Soprano’s BMI.\u003c/p>\n\u003ch3>Woke up this morning/Got yourself a gunsel\u003c/h3>\n\u003cp>Speaking of Big Tony: The surface similarities between \u003cem>The Sopranos\u003c/em> and \u003cem>The Penguin\u003c/em> are hard to ignore: Both depict rival crime families, betrayals, shifting allegiances, vendettas, and both revolve around a sociopathic mobster capable of horrible violence who’s also an open emotional wound. Like \u003cem>The Sopranos\u003c/em>, \u003cem>The Penguin\u003c/em> is a psychological drama dressed up in mob clothing: It delivers its pulpy, satisfying thrills alongside its more esoteric, intellectual pleasures.\u003c/p>\n\u003cp>[aside postid='arts_13963775']But the similarities don’t end there: There was always something incisive about \u003cem>The Sopranos\u003c/em> — for all its brutality and soapiness, it found humanity in the inhumane and soulfulness in even the most soulless act. Its characters were crude, but the way the show understood them, and presented them to us, was elegant.\u003c/p>\n\u003cp>\u003cem>The Penguin\u003c/em> doesn’t reach the heights of \u003cem>The Sopranos\u003c/em>, but it similarly seeks to examine the roots of violence, and it comes away with some pretty ugly answers. Compelling, but ugly.\u003c/p>\n\u003cp>The secret to that riveting quality is the series’ willingness — no, eagerness — to go beyond the comics to locate something new in an 83-year-old character originally created for children. In the very first scene of the first episode, we get a bracingly clear sense of who this Oswald Cobb is, as he reminisces with Zegen’s Alberto Falcone about a made guy from Oz’s old neighborhood who commanded respect. Farrell is perfectly calibrated here, and lets us see how hungrily Oz pines to be loved and admired — and how quickly and lethally he reacts when that love and admiration is denied him.\u003c/p>\n\u003cfigure id=\"attachment_13964179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964179\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom.png\" alt=\"An older woman looks pleadingly up at someone in a dimly lit room.\" width=\"2000\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-800x477.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-1020x608.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-768x458.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-1536x915.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-1920x1144.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oz is a momma’s boy; you would be too, if your mom was played by Deirdre O’Connell. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where shows like \u003cem>Gotham \u003c/em>and \u003cem>Batwoman \u003c/em>delighted in offering their audiences winking references to people, places and things in the Bat-canon, \u003cem>The Penguin\u003c/em> gives the established lore a wide berth, preferring to build a world of its own. When familiar aspects do show up, as in a flashback episode depicting Sofia’s stint in Arkham Asylum, the show does good, hard work to make them fresh and — in the case of Arkham, anyway — harrowing. (Seriously: That episode is a tough sit.)\u003c/p>\n\u003ch3>The cure for superhero fatigue?\u003c/h3>\n\u003cp>There’s been a certain sameness to superhero fare, I’m sure you will agree. And a thinness.\u003c/p>\n\u003cp>Shows like\u003cem> The Boys\u003c/em> and \u003cem>Invincible \u003c/em>(and movies like \u003cem>Deadpool & Wolverine\u003c/em>, for that matter), traffic in the kind of glib, nihilistic humor and grisly violence that always makes me feel like I’m hanging out with a 14-year-old self-styled edgelord who keeps giggling at how much he thinks he’s getting away with.\u003c/p>\n\u003cp>[aside postid='arts_13963546']But the sunnier, more family-oriented superhero fare of the CW and Marvel — your \u003cem>The Flash\u003c/em>, your \u003cem>Superman and Lois\u003c/em>, your \u003cem>Stargirl\u003c/em>, your \u003cem>Echo \u003c/em>and \u003cem>She-Hulk\u003c/em> and \u003cem>Secret Invasion \u003c/em>and so, so many others — they’re hidebound by their format. Their comparatively straightforward plotting is meant to create content you can fold your laundry to. When characters exchange dialogue, that dialogue exists solely to convey the information required for the plot to move forward, not anything so esoteric as delineating character or revealing insights. That’s because these shows are beholden to network executives who place a premium on absolute clarity, on never leaving a viewer even momentarily unsure or confused or god forbid, challenged in any meaningful way. The worry is, amid a glut of streaming options, a confused viewer is a viewer that clicks away, to be lost forever.\u003c/p>\n\u003cp>(There’s a third category of superhero show that neatly avoids the sameness/thinness trap by being blithely, even exultantly weird. It’s a tiny one, in that it encompasses only three series — the crazypants \u003cem>Legion\u003c/em>, which ran for three seasons on FX, the bananapants \u003cem>Doom Patrol\u003c/em>, which ran for four seasons on DC Universe and then Max, and the crazytown \u003cem>The Umbrella Academy, \u003c/em>which just dropped its fourth and final season on Netflix.)\u003c/p>\n\u003cp>\u003cem>The Penguin\u003c/em> doesn’t slot neatly into any of these categories: it isn’t glib, it isn’t formulaic, and it isn’t particularly weird. What it is, however, is pretty great, because it concerns itself with digging deeper under the surface than previous superhero shows have bothered to do — and going harder.\u003c/p>\n\u003cp>It’s a series that allows individual moments to linger for their own sake. A shared look, or an exchange of dialogue, will be allowed to hang in the air for long seconds, doing absolutely nothing to move the plot forward, but doing absolutely everything to define the characters involved. As a result, our understanding of those characters deepens and complicates, moving us to invest more greatly in these people, and in this world.\u003c/p>\n\u003cp>(Plus, the first episode supplies us with the funniest, most deftly characterizing Dolly Parton needle-drop ever put to screen.)\u003c/p>\n\u003cp>But as the show barrels toward its satisfying if operatically tragic conclusion, certain rote, recognizable elements of the comic book Penguin begin to creep in — a top hat here, a cigarette holder there, etc. They’re not the kind of winking, elbow-to-the-ribs references that weighed down so many previous Batman-without-Batman shows, but they’re frustrating nonetheless. The Oswald Cobb you’ve been watching for eight episodes is a singular creation, with his own demons, his own motivations. Watching him even start to conform to the corporate-mandated style guide may be inevitable, but I don’t have to like it.\u003c/p>\n\u003cp>[aside postid='arts_13961629']In the end, \u003cem>The Penguin\u003c/em> is the tale of a thug who becomes a boss, and the sacrifices he all-too-willingly makes along the way. That it succeeds as thoroughly as it does may be surprising, given its provenance as yet another Batman-without-Batman nugget of Warner’s IP, but the creators’ refusal to coast on what has gone before, and their willingness to let Farrell and Milioti dig into their characters so we can all sit back and watch them work with what they’ve unearthed is what makes for greatly satisfying TV.\u003c/p>\n\u003cp>\u003cem>The Penguin\u003c/em> may not represent the cure for superhero fatigue, but it delivers a powerful dose of medicine that can treat its symptoms.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Penguin’ begins streaming on Max on Sept. 19, 2024. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe you’ve heard: They’re making another Batman-without-Batman show.\u003c/p>\n\u003cp>I know, right? \u003cem>Another \u003c/em>one.\u003c/p>\n\u003cp>As a concept, Batman-without-Batman is a big slobbery tennis ball, and the culture is the Golden Retriever who keeps dropping it in your lap and looking up at you expectantly. Who could blame you for shooing the mutt away, right? Enough is enough.\u003c/p>\n\u003cp>Consider: First there was \u003ca href=\"https://www.imdb.com/title/tt0312098/\">\u003cem>\u003cu>Birds of Prey\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt3749900/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Gotham\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt1043813/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Titans\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt8712204/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Batwoman\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt16418896/?ref_=fn_al_tt_2\">\u003cem>\u003cu>Gotham Knights\u003c/u>\u003c/em>\u003c/a>. Somewhere in there, they made a \u003ca href=\"https://www.imdb.com/title/tt8425532/?ref_=fn_al_tt_1\">\u003cu>whole, entire show about Batman’s butler\u003c/u>\u003c/a>. \u003cem>Before he became his butler\u003c/em>.\u003c/p>\n\u003cp>There have been Batman without Batman movies, too. The ham-handed \u003ca href=\"https://www.imdb.com/title/tt7286456/\">\u003cem>\u003cu>Joker\u003c/u>\u003c/em>\u003c/a>, of course. And its upcoming \u003ca href=\"https://www.imdb.com/title/tt11315808/?ref_=fn_al_tt_2\">\u003cu>sequel\u003c/u>\u003c/a>. \u003ca href=\"https://www.imdb.com/title/tt1386697/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Suicide Squad\u003c/u>\u003c/em>\u003c/a>, and its \u003ca href=\"https://www.imdb.com/title/tt6334354/?ref_=fn_al_tt_2\">\u003cu>sequel, or reboot, or whatever\u003c/u>\u003c/a>. The \u003ca href=\"https://www.imdb.com/title/tt7713068/?ref_=nm_flmg_t_8_act\">\u003cem>\u003cu>Birds of Prey\u003c/u>\u003c/em>\u003c/a> one. That \u003ca href=\"https://www.imdb.com/title/tt6718412/\">\u003cem>\u003cu>Batgirl\u003c/u>\u003c/em>\u003c/a> one that got shelved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And now they’re making \u003cem>The Penguin\u003c/em>. Yeah: A whole show about the very C-listiest of C-list Batman villains. What’s next? \u003ca href=\"https://villains.lol/penny-plunderer/\">\u003cem>\u003cu>Penny Plunderer: The Rock Opera\u003c/u>\u003c/em>\u003c/a>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Maybe you’ve heard about this latest entry in the weirdly burgeoning Everything But the Bat genre, and you said, “I’ma pass.” Perfectly understandable. Reasonable, even.\u003c/p>\n\u003cp>Then maybe you heard that this \u003cem>The Penguin \u003c/em>show was tied into \u003ca href=\"https://www.imdb.com/title/tt1877830/\">\u003cu>the latest Batman movie\u003c/u>\u003c/a>, directed by Matt Reeves. And maybe you liked that 2022 movie a bit, inasmuch as it felt like a clean break from what came before, and it had a solid take. Robert Pattinson was a more emo, wounded version of Batsy. The world of Gotham more rich and seedy. And now that you think of it, Colin Farrell’s choice to bury his toothsome face under pounds of latex and play that movie’s Penguin as a volatile mob underboss with a “dese-and-dose” Brooklyn accent thicker than bolognese — that was a big swing, and it was pretty funny.\u003c/p>\n\u003cp>I’m here to tell you — and no one is more surprised than me, I \u003cem>assure \u003c/em>you — that if you skipped \u003cem>The Penguin\u003c/em>, you’d be making a big mistake, and missing out on one of the best television series of the year.\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/sfJG6IiA_s8'\n title='//www.youtube.com/embed/sfJG6IiA_s8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>“I’m squawkin’ here! I’m squawkin’ here!”\u003c/h3>\n\u003cp>\u003cem>The Penguin\u003c/em> is set in the immediate aftermath of 2022’s \u003cem>The Batman\u003c/em>, which saw the Riddler flood Gotham City, killing thousands. Mob underboss Oswald Cobb (Colin Farrell) resolves to exploit the chaos and take over Gotham’s criminal underworld. To do so, he must play his own crime family, the Falcones, led by Alberto Falcone (Michael Zegen), against their rivals the Maronis, led by Salvatore Maroni (Clancy Brown) and Nadia Maroni (Shohreh Aghdashloo).\u003c/p>\n\u003cp>In this endeavor he is assisted, reluctantly at first, by young Victor (Rhenzy Feliz), a would-be criminal who lost his home and his family in the flood.\u003c/p>\n\u003cp>The arrival of Alberto’s sister Sofia Falcone complicates Oz’s rise to power — in a ruthlessly fun way. That’s because Sofia is played by the great Cristin Milioti, who brings raw emotion and dark humor to her portrayal of a woman who just spent 10 years in Arkham Asylum for the murder of several young sex workers.\u003c/p>\n\u003cfigure id=\"attachment_13964178\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964178\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina.png\" alt=\"A woman with dark hair and pale skin stands in a courtyard wearing a smart white suit\" width=\"2000\" height=\"1275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-800x510.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-1020x650.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-768x490.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-1536x979.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-1920x1224.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sofia Falcone (Cristin Milioti) stares daggers. And axes. And sledgehammers. And machine guns. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And at the center of it all is Farrell, emoting the holy hell out of his every movement and line reading, so Oz emerges as a deeply wounded, doleful figure who just happens to delight in violence. He’s at once needy and impulsive, a combination of traits that places him in danger again and again, though he’s clever enough to talk his way out of it. Usually.\u003c/p>\n\u003cp>Farrell’s commitment to the bit will turn some viewers off, I suspect. He goes big, and his Oz is a creature of bluster and outsized, ever-shifting moods — never moreso than when he dotes on his mother, played with canny intelligence by the great Deirdre O’Connell. I loved their scenes together, as both actors bring a crackling intensity that made me temporarily forget I was watching Farrell through several layers of prosthetics. For some, however, Farrell’s histrionic take, that comically broad accent, and the fat suit will be too much — to them, he will come off like Ratso Rizzo with Tony Soprano’s BMI.\u003c/p>\n\u003ch3>Woke up this morning/Got yourself a gunsel\u003c/h3>\n\u003cp>Speaking of Big Tony: The surface similarities between \u003cem>The Sopranos\u003c/em> and \u003cem>The Penguin\u003c/em> are hard to ignore: Both depict rival crime families, betrayals, shifting allegiances, vendettas, and both revolve around a sociopathic mobster capable of horrible violence who’s also an open emotional wound. Like \u003cem>The Sopranos\u003c/em>, \u003cem>The Penguin\u003c/em> is a psychological drama dressed up in mob clothing: It delivers its pulpy, satisfying thrills alongside its more esoteric, intellectual pleasures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the similarities don’t end there: There was always something incisive about \u003cem>The Sopranos\u003c/em> — for all its brutality and soapiness, it found humanity in the inhumane and soulfulness in even the most soulless act. Its characters were crude, but the way the show understood them, and presented them to us, was elegant.\u003c/p>\n\u003cp>\u003cem>The Penguin\u003c/em> doesn’t reach the heights of \u003cem>The Sopranos\u003c/em>, but it similarly seeks to examine the roots of violence, and it comes away with some pretty ugly answers. Compelling, but ugly.\u003c/p>\n\u003cp>The secret to that riveting quality is the series’ willingness — no, eagerness — to go beyond the comics to locate something new in an 83-year-old character originally created for children. In the very first scene of the first episode, we get a bracingly clear sense of who this Oswald Cobb is, as he reminisces with Zegen’s Alberto Falcone about a made guy from Oz’s old neighborhood who commanded respect. Farrell is perfectly calibrated here, and lets us see how hungrily Oz pines to be loved and admired — and how quickly and lethally he reacts when that love and admiration is denied him.\u003c/p>\n\u003cfigure id=\"attachment_13964179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964179\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom.png\" alt=\"An older woman looks pleadingly up at someone in a dimly lit room.\" width=\"2000\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-800x477.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-1020x608.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-768x458.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-1536x915.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-1920x1144.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oz is a momma’s boy; you would be too, if your mom was played by Deirdre O’Connell. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where shows like \u003cem>Gotham \u003c/em>and \u003cem>Batwoman \u003c/em>delighted in offering their audiences winking references to people, places and things in the Bat-canon, \u003cem>The Penguin\u003c/em> gives the established lore a wide berth, preferring to build a world of its own. When familiar aspects do show up, as in a flashback episode depicting Sofia’s stint in Arkham Asylum, the show does good, hard work to make them fresh and — in the case of Arkham, anyway — harrowing. (Seriously: That episode is a tough sit.)\u003c/p>\n\u003ch3>The cure for superhero fatigue?\u003c/h3>\n\u003cp>There’s been a certain sameness to superhero fare, I’m sure you will agree. And a thinness.\u003c/p>\n\u003cp>Shows like\u003cem> The Boys\u003c/em> and \u003cem>Invincible \u003c/em>(and movies like \u003cem>Deadpool & Wolverine\u003c/em>, for that matter), traffic in the kind of glib, nihilistic humor and grisly violence that always makes me feel like I’m hanging out with a 14-year-old self-styled edgelord who keeps giggling at how much he thinks he’s getting away with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the sunnier, more family-oriented superhero fare of the CW and Marvel — your \u003cem>The Flash\u003c/em>, your \u003cem>Superman and Lois\u003c/em>, your \u003cem>Stargirl\u003c/em>, your \u003cem>Echo \u003c/em>and \u003cem>She-Hulk\u003c/em> and \u003cem>Secret Invasion \u003c/em>and so, so many others — they’re hidebound by their format. Their comparatively straightforward plotting is meant to create content you can fold your laundry to. When characters exchange dialogue, that dialogue exists solely to convey the information required for the plot to move forward, not anything so esoteric as delineating character or revealing insights. That’s because these shows are beholden to network executives who place a premium on absolute clarity, on never leaving a viewer even momentarily unsure or confused or god forbid, challenged in any meaningful way. The worry is, amid a glut of streaming options, a confused viewer is a viewer that clicks away, to be lost forever.\u003c/p>\n\u003cp>(There’s a third category of superhero show that neatly avoids the sameness/thinness trap by being blithely, even exultantly weird. It’s a tiny one, in that it encompasses only three series — the crazypants \u003cem>Legion\u003c/em>, which ran for three seasons on FX, the bananapants \u003cem>Doom Patrol\u003c/em>, which ran for four seasons on DC Universe and then Max, and the crazytown \u003cem>The Umbrella Academy, \u003c/em>which just dropped its fourth and final season on Netflix.)\u003c/p>\n\u003cp>\u003cem>The Penguin\u003c/em> doesn’t slot neatly into any of these categories: it isn’t glib, it isn’t formulaic, and it isn’t particularly weird. What it is, however, is pretty great, because it concerns itself with digging deeper under the surface than previous superhero shows have bothered to do — and going harder.\u003c/p>\n\u003cp>It’s a series that allows individual moments to linger for their own sake. A shared look, or an exchange of dialogue, will be allowed to hang in the air for long seconds, doing absolutely nothing to move the plot forward, but doing absolutely everything to define the characters involved. As a result, our understanding of those characters deepens and complicates, moving us to invest more greatly in these people, and in this world.\u003c/p>\n\u003cp>(Plus, the first episode supplies us with the funniest, most deftly characterizing Dolly Parton needle-drop ever put to screen.)\u003c/p>\n\u003cp>But as the show barrels toward its satisfying if operatically tragic conclusion, certain rote, recognizable elements of the comic book Penguin begin to creep in — a top hat here, a cigarette holder there, etc. They’re not the kind of winking, elbow-to-the-ribs references that weighed down so many previous Batman-without-Batman shows, but they’re frustrating nonetheless. The Oswald Cobb you’ve been watching for eight episodes is a singular creation, with his own demons, his own motivations. Watching him even start to conform to the corporate-mandated style guide may be inevitable, but I don’t have to like it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the end, \u003cem>The Penguin\u003c/em> is the tale of a thug who becomes a boss, and the sacrifices he all-too-willingly makes along the way. That it succeeds as thoroughly as it does may be surprising, given its provenance as yet another Batman-without-Batman nugget of Warner’s IP, but the creators’ refusal to coast on what has gone before, and their willingness to let Farrell and Milioti dig into their characters so we can all sit back and watch them work with what they’ve unearthed is what makes for greatly satisfying TV.\u003c/p>\n\u003cp>\u003cem>The Penguin\u003c/em> may not represent the cure for superhero fatigue, but it delivers a powerful dose of medicine that can treat its symptoms.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Penguin’ begins streaming on Max on Sept. 19, 2024. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘The Critic,’ Ian McKellen’s Theater Critic Takes His Job a Little Too Seriously",
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"content": "\u003cp>The arts rarely have anything good to say about critics. That they’re not generally the hero of many stories is, at the very least, understandable. More often they’re portrayed as joyless, cruel and a little pathetic; themselves failed artists who live to take down others, or, worse, sycophants in search of a famous friend.\u003c/p>\n\u003cp>[aside postid='arts_13964075']Without getting into any sort of philosophical, or even factual debate about the nature of the kind of person drawn to criticism (besides perhaps a staunch antipathy to either job security or amassing wealth), it is safe to say that the drama critic of \u003cem>The Critic\u003c/em> takes all the worst stereotypes to hysterical heights.\u003c/p>\n\u003cp>Set in the 1930s in London, Ian McKellen is Jimmy Erskine, a veteran theater critic whose reviews can make or break a play or a performer. He has a monastic devotion to telling the truth, as entertainingly as he can, and knows what he must sacrifice to do so.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ai8mPOjoSHA\u003c/p>\n\u003cp>“The drama critic is feared and reviled for the judgement he must bring,” McKellen says in an ominous voiceover. “(He) must be cold and perfectly alone.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When one woman dares to chat him up after a play, offering her take on the material and performances, he swiftly tries to have her removed from the restaurant claiming he must be protected from the general public. When an actress, Nina Land (Gemma Arterton), confronts him about his wildly inconsistent criticisms of her (how can she be both plump and emaciated, she wonders), he refuses to apologize. And he scoffs when the new boss at the newspaper, David Brooke (Mark Strong), implores him to tone it down: “Be kinder,” he says. “More beauty, less beast.”\u003c/p>\n\u003cp>But what starts as satire spirals into a wildly messy tragedy with contrivance upon contrivance. This is a film that could have listened to its anti-hero’s advice to the flailing actress: Do less. That someone as great as Lesley Manville, as Nina’s mother, gets a mere handful of scenes and is only minimally consequential to it all is telling. It strives to be an intricate spider-web of compelling, intersecting stories, but few characters are fleshed out enough for us to care.\u003c/p>\n\u003cp>[aside postid='arts_13963828']\u003cem>The Critic\u003c/em>, handsomely directed by Anand Tucker (\u003cem>Hilary and Jackie\u003c/em>, \u003cem>Leap Year\u003c/em>) and written by Patrick Marber (\u003cem>Closer\u003c/em>, \u003cem>Notes on a Scandal\u003c/em>), is very loosely based on Anthony Quinn’s novel \u003cem>Curtain Call\u003c/em>, itself more a murder mystery than this ever allows itself to be. Instead, the film is about the desperate lengths a man will go to when his job and freedom are threatened. Erskine is the kind of gentleman critic whose power and authority have gone unchallenged for so long, he’s become delusional beyond recognition. His words don’t just destroy, though. They’ve also inspired. Even the actress he obliterates time and time again admits as much: She tells him it was his writing that made her fall in love with the theater.\u003c/p>\n\u003cp>There are some fun ideas here, and good performances. McKellen is having a wonderful time living inside this charismatic monster who you are with until you’re really not. Erskine is also gay; an open secret that becomes a liability with his new boss and the rise of fascist thought around him. But none of it really adds up to anything poignant or enormously entertaining; its darkness is both lopsided and superficial, as most become casualties of Erskine’s aims. Theater critic as tyrant is a juicy premise; \u003cem>The Critic\u003c/em> just can’t live up to the promise.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Critic’ is released nationwide on Sept. 13, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Without getting into any sort of philosophical, or even factual debate about the nature of the kind of person drawn to criticism (besides perhaps a staunch antipathy to either job security or amassing wealth), it is safe to say that the drama critic of \u003cem>The Critic\u003c/em> takes all the worst stereotypes to hysterical heights.\u003c/p>\n\u003cp>Set in the 1930s in London, Ian McKellen is Jimmy Erskine, a veteran theater critic whose reviews can make or break a play or a performer. He has a monastic devotion to telling the truth, as entertainingly as he can, and knows what he must sacrifice to do so.\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/ai8mPOjoSHA'\n title='//www.youtube.com/embed/ai8mPOjoSHA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The drama critic is feared and reviled for the judgement he must bring,” McKellen says in an ominous voiceover. “(He) must be cold and perfectly alone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When one woman dares to chat him up after a play, offering her take on the material and performances, he swiftly tries to have her removed from the restaurant claiming he must be protected from the general public. When an actress, Nina Land (Gemma Arterton), confronts him about his wildly inconsistent criticisms of her (how can she be both plump and emaciated, she wonders), he refuses to apologize. And he scoffs when the new boss at the newspaper, David Brooke (Mark Strong), implores him to tone it down: “Be kinder,” he says. “More beauty, less beast.”\u003c/p>\n\u003cp>But what starts as satire spirals into a wildly messy tragedy with contrivance upon contrivance. This is a film that could have listened to its anti-hero’s advice to the flailing actress: Do less. That someone as great as Lesley Manville, as Nina’s mother, gets a mere handful of scenes and is only minimally consequential to it all is telling. It strives to be an intricate spider-web of compelling, intersecting stories, but few characters are fleshed out enough for us to care.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Critic\u003c/em>, handsomely directed by Anand Tucker (\u003cem>Hilary and Jackie\u003c/em>, \u003cem>Leap Year\u003c/em>) and written by Patrick Marber (\u003cem>Closer\u003c/em>, \u003cem>Notes on a Scandal\u003c/em>), is very loosely based on Anthony Quinn’s novel \u003cem>Curtain Call\u003c/em>, itself more a murder mystery than this ever allows itself to be. Instead, the film is about the desperate lengths a man will go to when his job and freedom are threatened. Erskine is the kind of gentleman critic whose power and authority have gone unchallenged for so long, he’s become delusional beyond recognition. His words don’t just destroy, though. They’ve also inspired. Even the actress he obliterates time and time again admits as much: She tells him it was his writing that made her fall in love with the theater.\u003c/p>\n\u003cp>There are some fun ideas here, and good performances. McKellen is having a wonderful time living inside this charismatic monster who you are with until you’re really not. Erskine is also gay; an open secret that becomes a liability with his new boss and the rise of fascist thought around him. But none of it really adds up to anything poignant or enormously entertaining; its darkness is both lopsided and superficial, as most become casualties of Erskine’s aims. Theater critic as tyrant is a juicy premise; \u003cem>The Critic\u003c/em> just can’t live up to the promise.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Critic’ is released nationwide on Sept. 13, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Taylor Swift’s dominance continued at the MTV Video Music Awards, where she took home seven awards — including the night’s biggest, the trophy for video of the year.\u003c/p>\n\u003cp>In her speech Wednesday night, Swift thanked her “boyfriend, Travis” for being on set of the “Fortnight” music video and cheering her on. Fans rewarded the mention of NFL star Travis Kelce with loud screams.\u003c/p>\n\u003cp>[aside postid='arts_13964057']“Everything this man touches turns to happiness and fun and magic,” she said, before shifting gears to the 2024 presidential election and instructing her fans who are over 18 to register to vote.\u003c/p>\n\u003cp>Swift did, however, avoid discussing Kamala Harris’ presidential bid on stage. On Tuesday night, \u003ca href=\"https://www.kqed.org/arts/13964057/taylor-swift-endorses-kamala-harris-for-president-after-debate\">Swift endorsed the vice president\u003c/a>, moments after Harris’ debate with former president Donald Trump ended.\u003c/p>\n\u003cp>Swift’s awards haul brings her to a career total of 30, tying her and Beyoncé for the title of most-awarded musician in VMA history. Eminem is now the male artist with the most VMAs, at 15.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Swift and Post Malone also took home the first televised award of the VMAs for best collaboration, for “Fortnight,” handed to them by Flavor Flav and Olympian Jordan Chiles.\u003c/p>\n\u003cp>Swift started that speech by giving remembrance to everyone who lost their lives and loved ones during 9/11, 23 years ago.\u003c/p>\n\u003cp>“I’ve just been thinking about what happened 23 years ago, everyone who lost a loved one and everyone that we lost and that is the most important thing about today,” she said. “And everything that happens tonight falls behind that.”\u003c/p>\n\u003cp>[aside postid='arts_13963964']She then turned to discussing Malone.\u003c/p>\n\u003cp>“There is a reason Post Malone is everyone in music’s favorite person to collaborate with,” she shifted her attention to him. “It has taken forever for me to get him to stop calling me ma’am.”\u003c/p>\n\u003cp>Chappell Roan won the MTV Video Music Award for best new artist.\u003c/p>\n\u003cp>“I dedicate this to all the drag artists who inspire me,” she said in her speech, while wearing chain mail, reading from a written speech in her diary. “And I dedicate this to queer and trans people who run pop. … Thank you for listening.”\u003c/p>\n\u003cp>Women dominated the award show, no example greater than an imaginative, medieval set from Roan.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=65m4u4IxZLg\u003c/p>\n\u003cp>Drag queen Sasha Colby introduced her with “your favorite drag queen’s favorite artist,” a reference to Roan’s now famous Coachella performance, which in turn was inspired by Colby. Real fans no doubt got a kick out of the hyper-referential tidbit.\u003c/p>\n\u003cp>Roan appeared in armor, shooting a lit crossbow at castle gates that stood behind her, burning them in the process. Her dancers were knights, battling each other in incredible choreography as she sang her queer pop hit, “Good Luck, Babe.”\u003c/p>\n\u003cp>The other voice of 2024 pop, Sabrina Carpenter, won the trophy for song of the year for “Espresso.”\u003c/p>\n\u003cp>“This is really special,” she said in her speech, dedicated to her fans. “And thank you to that me-espresso.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I8c-UQ_rEYY\u003c/p>\n\u003cp>Earlier in the night, she brought her summery-pop to the award show, powering through her hit singles “Please Please Please,” “Taste” and “Espresso” while dancing with a moon man and an alien.\u003c/p>\n\u003cp>Katy Perry received the Video Vanguard Award, performing an eight-song medley spanning her career: “Roar,” “E.T.,” “California Gurls,” “Teenage Dream,” “I Kissed a Girl,” “Firework,” and “Lifetimes.”\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=3XXAMJ_0htg\">I did that all on the first day of my period, can you believe it?\u003c/a>” she joked after accepting the honor from her partner, Orlando Bloom. “There are so many things that have to align to have a long and successful career as an artist. There are no decade long accidents.”\u003c/p>\n\u003cp>She also teased a new song, “I’m His, He’s Mine,” featuring Doechii, which samples the Crystal Waters classic, “Gypsy Woman (La Da Dee La Da Da).”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p7zrX4NU8YE\u003c/p>\n\u003cp>Previous recipients of the Video Vanguard Award include Shakira, Beyoncé, Minaj, Madonna, Janet Jackson, Jennifer Lopez, Rihanna and Missy Elliott.\u003c/p>\n\u003cp>An army of Slim Shady-lookalikes followed Eminem as he kicked off the VMAs , launching into a medley of his hits “Houdini” and “Somebody Save Me,” featuring a broadcast feed of Jelly Roll. (The song references Jelly Roll’s massive country radio hit, “Save Me.”)\u003c/p>\n\u003cp>[aside postid='arts_13964087']Megan Thee Stallion welcomed the crowd as a first-time host Wednesday night, who joked that the VMAs now stands for the “voluptuous Megan awards.” She later performed.\u003c/p>\n\u003cp>Earlier in the evening, Karol G took over, for a fiery performance of her hit, “Si Antes Te Hubiera Conocido.” Rauw Alejandro brought Puerto Rico to the stage, running through “Touching The Sky,” “DILUIVO” and “Déjame Entrar.”\u003c/p>\n\u003cp>Tyla won the best Afrobeats award.\u003c/p>\n\u003cp>LL COOL J celebrated 40 years of Def Jam Records with Public Enemy’s Flavor Flav and Chuck D.\u003c/p>\n\u003cp>Halsey took it to the suburbs for her new single, “Ego,” channeling garage bands. GloRilla’s “Yeah Glo!” and “TGIF” brought style.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DNwoQODmZUE\u003c/p>\n\u003cp>Blackpink’s LISA, the best K-pop award winner, made her way to the VMA stage for the first time as a soloist, powering through two of her brand-new singles, “New Woman” and “Rockstar.” Shawn Mendes made along-awaited return, debuting a new John Mayer-esq. acoustic number, “Nobody Knows.”\u003c/p>\n\u003cp>[aside postid='arts_13963789']Anitta performed “Paradise,” “Alegria,” and “Savage Funk,” joined by DJ Khaled, Fat Joe and Tiago PZK and won the award for best Latin. Camilla Cabello performed in a panopticon. Benson Boone seemed as stoked as ever to perform his viral hit “Beautiful Things” on the VMAs stage. Lenny Kravitz proved rock isn’t dead with “Are You Gonna Go My Way,” “Human” and finally “Fly,” in which he was joined by Quavo.\u003c/p>\n\u003cp>The 40th VMAs were held at the UBS Arena on New York’s Long Island.\u003c/p>\n\u003cp>The night was stacked with celebrities and featured plenty of Swift, who arrived at the award show wearing a green tartan corset with a matching train and long black leather gloves.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Throughout the night, MTV flashed back to history-making across the VMAs’ 40-year-run, including Britney Spears’ albino python and Madonna’s performance of “Like A Virgin.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Swift and Post Malone also took home the first televised award of the VMAs for best collaboration, for “Fortnight,” handed to them by Flavor Flav and Olympian Jordan Chiles.\u003c/p>\n\u003cp>Swift started that speech by giving remembrance to everyone who lost their lives and loved ones during 9/11, 23 years ago.\u003c/p>\n\u003cp>“I’ve just been thinking about what happened 23 years ago, everyone who lost a loved one and everyone that we lost and that is the most important thing about today,” she said. “And everything that happens tonight falls behind that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She then turned to discussing Malone.\u003c/p>\n\u003cp>“There is a reason Post Malone is everyone in music’s favorite person to collaborate with,” she shifted her attention to him. “It has taken forever for me to get him to stop calling me ma’am.”\u003c/p>\n\u003cp>Chappell Roan won the MTV Video Music Award for best new artist.\u003c/p>\n\u003cp>“I dedicate this to all the drag artists who inspire me,” she said in her speech, while wearing chain mail, reading from a written speech in her diary. “And I dedicate this to queer and trans people who run pop. … Thank you for listening.”\u003c/p>\n\u003cp>Women dominated the award show, no example greater than an imaginative, medieval set from Roan.\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/65m4u4IxZLg'\n title='//www.youtube.com/embed/65m4u4IxZLg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Drag queen Sasha Colby introduced her with “your favorite drag queen’s favorite artist,” a reference to Roan’s now famous Coachella performance, which in turn was inspired by Colby. Real fans no doubt got a kick out of the hyper-referential tidbit.\u003c/p>\n\u003cp>Roan appeared in armor, shooting a lit crossbow at castle gates that stood behind her, burning them in the process. Her dancers were knights, battling each other in incredible choreography as she sang her queer pop hit, “Good Luck, Babe.”\u003c/p>\n\u003cp>The other voice of 2024 pop, Sabrina Carpenter, won the trophy for song of the year for “Espresso.”\u003c/p>\n\u003cp>“This is really special,” she said in her speech, dedicated to her fans. “And thank you to that me-espresso.”\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/I8c-UQ_rEYY'\n title='//www.youtube.com/embed/I8c-UQ_rEYY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Earlier in the night, she brought her summery-pop to the award show, powering through her hit singles “Please Please Please,” “Taste” and “Espresso” while dancing with a moon man and an alien.\u003c/p>\n\u003cp>Katy Perry received the Video Vanguard Award, performing an eight-song medley spanning her career: “Roar,” “E.T.,” “California Gurls,” “Teenage Dream,” “I Kissed a Girl,” “Firework,” and “Lifetimes.”\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=3XXAMJ_0htg\">I did that all on the first day of my period, can you believe it?\u003c/a>” she joked after accepting the honor from her partner, Orlando Bloom. “There are so many things that have to align to have a long and successful career as an artist. There are no decade long accidents.”\u003c/p>\n\u003cp>She also teased a new song, “I’m His, He’s Mine,” featuring Doechii, which samples the Crystal Waters classic, “Gypsy Woman (La Da Dee La Da Da).”\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/p7zrX4NU8YE'\n title='//www.youtube.com/embed/p7zrX4NU8YE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Previous recipients of the Video Vanguard Award include Shakira, Beyoncé, Minaj, Madonna, Janet Jackson, Jennifer Lopez, Rihanna and Missy Elliott.\u003c/p>\n\u003cp>An army of Slim Shady-lookalikes followed Eminem as he kicked off the VMAs , launching into a medley of his hits “Houdini” and “Somebody Save Me,” featuring a broadcast feed of Jelly Roll. (The song references Jelly Roll’s massive country radio hit, “Save Me.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Megan Thee Stallion welcomed the crowd as a first-time host Wednesday night, who joked that the VMAs now stands for the “voluptuous Megan awards.” She later performed.\u003c/p>\n\u003cp>Earlier in the evening, Karol G took over, for a fiery performance of her hit, “Si Antes Te Hubiera Conocido.” Rauw Alejandro brought Puerto Rico to the stage, running through “Touching The Sky,” “DILUIVO” and “Déjame Entrar.”\u003c/p>\n\u003cp>Tyla won the best Afrobeats award.\u003c/p>\n\u003cp>LL COOL J celebrated 40 years of Def Jam Records with Public Enemy’s Flavor Flav and Chuck D.\u003c/p>\n\u003cp>Halsey took it to the suburbs for her new single, “Ego,” channeling garage bands. GloRilla’s “Yeah Glo!” and “TGIF” brought style.\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/DNwoQODmZUE'\n title='//www.youtube.com/embed/DNwoQODmZUE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Blackpink’s LISA, the best K-pop award winner, made her way to the VMA stage for the first time as a soloist, powering through two of her brand-new singles, “New Woman” and “Rockstar.” Shawn Mendes made along-awaited return, debuting a new John Mayer-esq. acoustic number, “Nobody Knows.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>They say tripping on psychedelic mushrooms triggers hallucinations, anxiety, paranoia and nervousness. In the case of Elliott, an 18-year-old restless Canadian, they prompt a visitor.\u003c/p>\n\u003cp>“Dude, I’m you,” says the guest, as she nonchalantly burns a ‘smores on a campfire next to a very high and stunned Elliott. “Well, I’m a 39-year-old you. What’s up?”\u003c/p>\n\u003cp>[aside postid='arts_13963828']What’s up, indeed: Director-writer Megan Park has crafted a wistful coming-of-age tale using this comedic device for \u003cem>My Old Ass\u003c/em> and the results are uneven even though she nails the landing.\u003c/p>\n\u003cp>After the older Elliott proves who she is — they share a particular scar, childhood memories and a smaller left boob — the time-travel advice begins: Be nice to your brothers and mom, and stay away from a guy named Chad.\u003c/p>\n\u003cp>“Can we hug?” asks the older Elliott. They do. “This is so weird,” says the younger Elliott, who then makes things even weirder when she asks for a kiss — to know what it’s like kissing yourself. The older Elliott soon puts her number into the younger’s phone under the name “My Old Ass.” Then they keep in touch, long after the effects of the ‘shrooms have gone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NbkSfO-eqAE\u003c/p>\n\u003cp>Part of the movie’s problem that can’t be ignored is that the two Elliotts look nothing alike. Maisy Stella plays the coltish young version and a wry Aubrey Plaza the older. Both turn in fine performances but the visuals are slowly grating.\u003c/p>\n\u003cp>The arrival of the older Elliott coincides with her younger self counting down the days until she can flee from her small town of 300 in the Muskoka Lakes region to college in Toronto, where “my life is about to start.” She’s sick of life on a cranberry farm.\u003c/p>\n\u003cp>Park’s scenes and dialogue are unrushed and honest as Elliott takes her older self’s advice and tries to repair relationships with her golf-loving older brother and gloriously odd younger one, who has an obsession with Saoirse Ronan. This is a filmmaker who knows siblings and how they vibe.\u003c/p>\n\u003cp>Then Chad pops up.\u003c/p>\n\u003cp>Chad is sweet and thoughtful and goofy and cute and smart and resourceful and really, really into Elliott. “Everything about him feels so right,” the younger wails. A central question in the movie is why My Old Ass wants young Elliott to stay away from Chad, played so beautifully by Percy Hynes White that you want to shake sense into both women.\u003c/p>\n\u003cp>[aside postid='arts_13963688']Both parts of Park’s movie — the coming-of-age tale and the me-visiting-from-the-future tale — work, but maybe not in the same movie, a little like the two different Elliotts. The tone of each part are different, one wistful, the other zany, and together threaten to pull \u003cem>My Old Ass\u003c/em> apart.\u003c/p>\n\u003cp>Aside from a stunningly funny ‘shroom-induced dream sequence that includes a Justin Bieber concert, Park is strongest exploring the liminal space between one thing ending and another beginning — soft beautiful memories that are sad and yet necessary.\u003c/p>\n\u003cp>Both Chad and Elliott’s mother (a strong Maria Dizzia) have lovely dialogue about the profound effects that tiny moments of change can have: Sometimes you know it has ended forever — like a baby transitioning from your bed to a crib — and sometimes you never get to say goodbye, like the last day you spent messing around with your friends on bikes.\u003c/p>\n\u003cp>Even if the road is a little rocky, stay for a satisfying end, one in which, somewhat predictably, the younger Elliott offers some wise advice to the older. There’s a moment or two when Chad threatens to overpower \u003cem>My Old Ass\u003c/em> and steer it into a third movie, but Park knows her way out. It’s a story that has always been about the younger Elliott and seeing her finally steer her boat — literally and metaphorically — is a joy.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘My Old Ass’ is released nationwide on Sept. 13, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They say tripping on psychedelic mushrooms triggers hallucinations, anxiety, paranoia and nervousness. In the case of Elliott, an 18-year-old restless Canadian, they prompt a visitor.\u003c/p>\n\u003cp>“Dude, I’m you,” says the guest, as she nonchalantly burns a ‘smores on a campfire next to a very high and stunned Elliott. “Well, I’m a 39-year-old you. What’s up?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What’s up, indeed: Director-writer Megan Park has crafted a wistful coming-of-age tale using this comedic device for \u003cem>My Old Ass\u003c/em> and the results are uneven even though she nails the landing.\u003c/p>\n\u003cp>After the older Elliott proves who she is — they share a particular scar, childhood memories and a smaller left boob — the time-travel advice begins: Be nice to your brothers and mom, and stay away from a guy named Chad.\u003c/p>\n\u003cp>“Can we hug?” asks the older Elliott. They do. “This is so weird,” says the younger Elliott, who then makes things even weirder when she asks for a kiss — to know what it’s like kissing yourself. The older Elliott soon puts her number into the younger’s phone under the name “My Old Ass.” Then they keep in touch, long after the effects of the ‘shrooms have gone.\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/NbkSfO-eqAE'\n title='//www.youtube.com/embed/NbkSfO-eqAE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Part of the movie’s problem that can’t be ignored is that the two Elliotts look nothing alike. Maisy Stella plays the coltish young version and a wry Aubrey Plaza the older. Both turn in fine performances but the visuals are slowly grating.\u003c/p>\n\u003cp>The arrival of the older Elliott coincides with her younger self counting down the days until she can flee from her small town of 300 in the Muskoka Lakes region to college in Toronto, where “my life is about to start.” She’s sick of life on a cranberry farm.\u003c/p>\n\u003cp>Park’s scenes and dialogue are unrushed and honest as Elliott takes her older self’s advice and tries to repair relationships with her golf-loving older brother and gloriously odd younger one, who has an obsession with Saoirse Ronan. This is a filmmaker who knows siblings and how they vibe.\u003c/p>\n\u003cp>Then Chad pops up.\u003c/p>\n\u003cp>Chad is sweet and thoughtful and goofy and cute and smart and resourceful and really, really into Elliott. “Everything about him feels so right,” the younger wails. A central question in the movie is why My Old Ass wants young Elliott to stay away from Chad, played so beautifully by Percy Hynes White that you want to shake sense into both women.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Both parts of Park’s movie — the coming-of-age tale and the me-visiting-from-the-future tale — work, but maybe not in the same movie, a little like the two different Elliotts. The tone of each part are different, one wistful, the other zany, and together threaten to pull \u003cem>My Old Ass\u003c/em> apart.\u003c/p>\n\u003cp>Aside from a stunningly funny ‘shroom-induced dream sequence that includes a Justin Bieber concert, Park is strongest exploring the liminal space between one thing ending and another beginning — soft beautiful memories that are sad and yet necessary.\u003c/p>\n\u003cp>Both Chad and Elliott’s mother (a strong Maria Dizzia) have lovely dialogue about the profound effects that tiny moments of change can have: Sometimes you know it has ended forever — like a baby transitioning from your bed to a crib — and sometimes you never get to say goodbye, like the last day you spent messing around with your friends on bikes.\u003c/p>\n\u003cp>Even if the road is a little rocky, stay for a satisfying end, one in which, somewhat predictably, the younger Elliott offers some wise advice to the older. There’s a moment or two when Chad threatens to overpower \u003cem>My Old Ass\u003c/em> and steer it into a third movie, but Park knows her way out. It’s a story that has always been about the younger Elliott and seeing her finally steer her boat — literally and metaphorically — is a joy.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘My Old Ass’ is released nationwide on Sept. 13, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Quick. Has there ever been a horror film set in a country home with a decent cell signal?\u003c/p>\n\u003cp>Nope, and there’s no signal at Paddy and Ciara’s house, either, deep in the English countryside. Soon, that land line will be cut, too, but we’re getting ahead of ourselves.\u003c/p>\n\u003cp>[aside postid='arts_13904911']Paddy and Ciara are that fun-but-somewhat-odd British couple whom Louise and Ben, early in \u003cem>Speak No Evil\u003c/em>, meet on their idyllic Tuscan family holiday. Americans based in London, Louise and Ben are at loose ends, with both job and relationship issues. And so, when the new acquaintances write to invite them for a country weekend, they decide to go.\u003c/p>\n\u003cp>After all, how bad could it be?\u003c/p>\n\u003cp>Don’t answer that. There are many such moments in the first two-thirds of \u003cem>Speak No Evil\u003c/em>, a Hollywood remake of the 2022 Danish film, here starring a deeply menacing James McAvoy. Moments where Louise and Ben, out of mere politeness and social convention, act against their instincts, which tell them something is wrong — very wrong.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Director James Watkins and especially his excellent troupe of actors, adult and children alike, do a nice job of building the tension, slowly but surely. Until all bloody hell breaks loose, of course. And then, in its third act, \u003cem>Speak No Evil\u003c/em> becomes an entertaining but routine horror flick, with predictable results.\u003c/p>\n\u003cp>But for a while, it’s a way more intelligent film. And the jumpy moments work — I’ll confess to literally springing out of my seat when someone uneventfully turned on a power drill.\u003c/p>\n\u003cp>We begin in stunning Tuscany, where Louise (Mackenzie Davis, in the film’s most accessible and empathetic performance) and Ben (Scoot McNairy, all nerves and insecurity) are vacationing with 11-year-old daughter Agnes (Alix West Lefler). At the pool, they meet Paddy (McAvoy) and Ciara (Aisling Franciosi), a British couple with a disabled son, Ant, apparently born without a proper tongue.\u003c/p>\n\u003cp>One day in town, Paddy offers Agnes a ride on his Vespa. Louise is frightened to see her daughter disappear on the motorbike with a strange man, but it would be churlish to say no, right?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FjzxI6uf8H8&t=47s\u003c/p>\n\u003cp>In briefly sketched backstories, we learn that Louise and Ben moved to London for Ben’s job, but he was soon downsized out. As for Paddy, all we know is he’s a doctor.\u003c/p>\n\u003cp>[aside postid='arts_13936524']At least, we think he is. The Americans, accepting the weekend invitation back in England, arrive at the secluded country home in dead of night. Immediately something feels off. The rooms are quirky but musty, the sheets stained. How can a doctor live like this, Louise asks? Ben brushes off her concern, quipping that even Downton Abbey is in terrible shape.\u003c/p>\n\u003cp>When the couple cooks dinner, Paddy proudly explains they’ve butchered their prize goose in their guests’ honor. He proffers Louise a forkful — even though he well knows she’s a vegetarian. Louise is disgusted but, politely, takes a bite.\u003c/p>\n\u003cp>Daughter Agnes, too, is freaked out. She’s being made to sleep on the floor next to Ant (Dan Hough, poignant in a role with no words.) And the next evening, when everyone dresses for a special dinner out, Paddy and Ciara inform Louise and Ben that the kids will stay home with a strange male babysitter. “We’ve had mannies before,” Ben tells Louise, unconvincingly.\u003c/p>\n\u003cp>Soon, though, we have the obligatory attempt to flee, followed by the “Oh no, we have to go back” moment — you know, where you’re yelling: “No!” But return the family does.\u003c/p>\n\u003cp>In perhaps the movie’s most effective scene, the two kids have put together a dance routine. The parents sit back proudly to watch, but repeatedly, Paddy stops the routine to admonish, brutally, his son, telling him he’s out of rhythm. McAvoy, a terrific actor who has made villainy part of his potent toolbox, is truly chilling as he becomes unhinged by his son’s inability to keep time.\u003c/p>\n\u003cp>[aside postid='arts_13962666']Then there’s the scene fans of \u003cem>The Shining\u003c/em> will recognize as the “Here’s Johnny,” Jack Nicholson moment. By then, everything’s gone off the rails, and it’s time for the blood to flow, predictably.\u003c/p>\n\u003cp>If there’s a moral here, it’s to trust those instincts when things feel wrong. But if movie characters did that, the horror genre would not exist.\u003c/p>\n\u003cp>Still, there’s some satisfaction to be had, especially in the creative use of household implements to inflict pain and death. Revenge, they say, is a dish best served cold — except in horror films, where it is served raw and bloody, with a side of toxic cleaning fluid.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Speak No Evil’ is released nationwide on Sept. 13, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then there’s the scene fans of \u003cem>The Shining\u003c/em> will recognize as the “Here’s Johnny,” Jack Nicholson moment. By then, everything’s gone off the rails, and it’s time for the blood to flow, predictably.\u003c/p>\n\u003cp>If there’s a moral here, it’s to trust those instincts when things feel wrong. But if movie characters did that, the horror genre would not exist.\u003c/p>\n\u003cp>Still, there’s some satisfaction to be had, especially in the creative use of household implements to inflict pain and death. Revenge, they say, is a dish best served cold — except in horror films, where it is served raw and bloody, with a side of toxic cleaning fluid.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Speak No Evil’ is released nationwide on Sept. 13, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Taylor Swift, one of the music industry’s biggest stars, endorsed Kamala Harris for president shortly after the presidential debate ended.\u003c/p>\n\u003cp>“I think she is a steady-handed, gifted leader and I believe we can accomplish so much more in this country if we are led by calm and not chaos,” Swift \u003ca href=\"https://www.instagram.com/p/C_wtAOKOW1z/\">wrote late Tuesday in an Instagram post\u003c/a>, which included a link to a voter registration website.\u003c/p>\n\u003cp>Swift also praised Harris’ running mate Tim Walz, writing that he “has been standing up for LGBTQ+ rights, IVF, and a woman’s right to her own body for decades.”\u003c/p>\n\u003cp>[aside postID='arts_13963687']Swift has a dedicated following among young women, a key demographic in the November election, and her latest tour has generated more than $1 billion in ticket sales. In a half hour, the post received more than 2.3 million likes.\u003c/p>\n\u003cp>She included a picture of herself holding her cat Benjamin Button, and she signed the message “Childless Cat Lady.” The remark is a reference to three-year-old comments made by JD Vance, Donald Trump’s running mate, about women without children not having an equal stake in the country’s future.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A Harris senior campaign official said the endorsement was not coordinated with the campaign. Tim Walz, Harris’ running mate, appeared to learn about the endorsement in the middle of a live interview on MSNBC. As Rachel Maddow read the text, Walz broke into a smile and patted his chest.\u003c/p>\n\u003cp>“That was eloquent. And it was clear,” Walz said. “And that’s the kind of courage we need in America to stand up.”\u003c/p>\n\u003cfigure id=\"attachment_13951850\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP.jpg\" alt=\"Taylor Swift is photographed leaning forward in a crowd, wearing a red football jersey and looking puzzled.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13951850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift and Donna Kelce look on before the game between the Kansas City Chiefs and the Denver Broncos at GEHA Field at Arrowhead Stadium on Oct. 12, 2023, in Kansas City, Missouri. \u003ccite>(Jamie Squire/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swift wrote that her endorsement was partially prompted by Trump’s decision to post artificial intelligence-generated pictures suggesting that she had endorsed him. One showed Swift dressed as Uncle Sam, and the text said “Taylor wants YOU to VOTE for DONALD TRUMP.”\u003c/p>\n\u003cp>Trump’s posts “brought me to the conclusion that I need to be very transparent about my actual plans for this election as a voter,” Swift wrote. She added that “I’ve done my research, and I’ve made my choice.”\u003c/p>\n\u003cp>Trump said Wednesday that Swift’s move “was just a question of time.” He told \u003cem>Fox & Friends\u003c/em> that Swift is “a very liberal person” who “seems to always endorse a Democrat and she’ll probably pay a price in the marketplace.”\u003c/p>\n\u003cp>In 2020, she supported Democrat Joe Biden, and she cheered for Harris in her debate against then-Vice President Mike Pence. She also was openly critical of Trump, saying he had stoked “the fires of white supremacy and racism.”\u003c/p>\n\u003cp>[aside postID='news_11999092']Swift is a popular figure nationwide, but especially among Democrats. An October 2023 Fox News poll found that 55% of voters overall, including 68% of Democrats, said they had a favorable view of Swift. Republicans were divided, with 43% having a favorable opinion and 45% an unfavorable one.\u003c/p>\n\u003cp>AP VoteCast suggests that a partisan divide on Swift was apparent as early as 2018. That’s the year Swift made her first political endorsement, supporting Tennessee Democrat Phil Bredesen for Senate over Republican Marsha Blackburn.\u003c/p>\n\u003cp>VoteCast found that among Tennessee voters that year, 55% of Democrats and just 19% of Republicans said they had a favorable opinion of Swift. Blackburn won by a comfortable margin in the deep red state.\u003c/p>\n\u003cp>Swift is the leading nominee at Wednesday’s MTV Video Music Awards. While it’s unclear whether Swift will attend the show in New York, she could use any acceptance speeches to elaborate on her support of Harris.\u003c/p>\n\u003cp>The event was shifted a day later to accommodate Tuesday’s debate. MTV has a long history of encouraging voter participation.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press writers Jill Colvin in Philadelphia, Linley Sanders in Washington and Anthony McCartney in Los Angeles contributed to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Taylor Swift, one of the music industry’s biggest stars, endorsed Kamala Harris for president shortly after the presidential debate ended.\u003c/p>\n\u003cp>“I think she is a steady-handed, gifted leader and I believe we can accomplish so much more in this country if we are led by calm and not chaos,” Swift \u003ca href=\"https://www.instagram.com/p/C_wtAOKOW1z/\">wrote late Tuesday in an Instagram post\u003c/a>, which included a link to a voter registration website.\u003c/p>\n\u003cp>Swift also praised Harris’ running mate Tim Walz, writing that he “has been standing up for LGBTQ+ rights, IVF, and a woman’s right to her own body for decades.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Swift has a dedicated following among young women, a key demographic in the November election, and her latest tour has generated more than $1 billion in ticket sales. In a half hour, the post received more than 2.3 million likes.\u003c/p>\n\u003cp>She included a picture of herself holding her cat Benjamin Button, and she signed the message “Childless Cat Lady.” The remark is a reference to three-year-old comments made by JD Vance, Donald Trump’s running mate, about women without children not having an equal stake in the country’s future.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A Harris senior campaign official said the endorsement was not coordinated with the campaign. Tim Walz, Harris’ running mate, appeared to learn about the endorsement in the middle of a live interview on MSNBC. As Rachel Maddow read the text, Walz broke into a smile and patted his chest.\u003c/p>\n\u003cp>“That was eloquent. And it was clear,” Walz said. “And that’s the kind of courage we need in America to stand up.”\u003c/p>\n\u003cfigure id=\"attachment_13951850\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP.jpg\" alt=\"Taylor Swift is photographed leaning forward in a crowd, wearing a red football jersey and looking puzzled.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13951850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1732391236-WP-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift and Donna Kelce look on before the game between the Kansas City Chiefs and the Denver Broncos at GEHA Field at Arrowhead Stadium on Oct. 12, 2023, in Kansas City, Missouri. \u003ccite>(Jamie Squire/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Swift wrote that her endorsement was partially prompted by Trump’s decision to post artificial intelligence-generated pictures suggesting that she had endorsed him. One showed Swift dressed as Uncle Sam, and the text said “Taylor wants YOU to VOTE for DONALD TRUMP.”\u003c/p>\n\u003cp>Trump’s posts “brought me to the conclusion that I need to be very transparent about my actual plans for this election as a voter,” Swift wrote. She added that “I’ve done my research, and I’ve made my choice.”\u003c/p>\n\u003cp>Trump said Wednesday that Swift’s move “was just a question of time.” He told \u003cem>Fox & Friends\u003c/em> that Swift is “a very liberal person” who “seems to always endorse a Democrat and she’ll probably pay a price in the marketplace.”\u003c/p>\n\u003cp>In 2020, she supported Democrat Joe Biden, and she cheered for Harris in her debate against then-Vice President Mike Pence. She also was openly critical of Trump, saying he had stoked “the fires of white supremacy and racism.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Swift is a popular figure nationwide, but especially among Democrats. An October 2023 Fox News poll found that 55% of voters overall, including 68% of Democrats, said they had a favorable view of Swift. Republicans were divided, with 43% having a favorable opinion and 45% an unfavorable one.\u003c/p>\n\u003cp>AP VoteCast suggests that a partisan divide on Swift was apparent as early as 2018. That’s the year Swift made her first political endorsement, supporting Tennessee Democrat Phil Bredesen for Senate over Republican Marsha Blackburn.\u003c/p>\n\u003cp>VoteCast found that among Tennessee voters that year, 55% of Democrats and just 19% of Republicans said they had a favorable opinion of Swift. Blackburn won by a comfortable margin in the deep red state.\u003c/p>\n\u003cp>Swift is the leading nominee at Wednesday’s MTV Video Music Awards. While it’s unclear whether Swift will attend the show in New York, she could use any acceptance speeches to elaborate on her support of Harris.\u003c/p>\n\u003cp>The event was shifted a day later to accommodate Tuesday’s debate. MTV has a long history of encouraging voter participation.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press writers Jill Colvin in Philadelphia, Linley Sanders in Washington and Anthony McCartney in Los Angeles contributed to this report.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Public displays of affection on a royal video? My, how times have changed!\u003c/p>\n\u003cp>When the Princess of Wales announced that she had completed chemotherapy treatment in \u003ca href=\"https://www.youtube.com/watch?v=yKNa97QcyKo\">a soft-focus, Insta-ready video\u003c/a>, she ventured into realms not previously inhabited by Britain’s royal family, traditionally known for the stiff-upper-lip, “never complain, never explain” ethos of the late Queen Elizabeth II.\u003c/p>\n\u003cp>[aside postid='arts_13953998']Here was the most popular royal, a public figure usually known simply as Kate, using the tools of social media to share the fact that for all her wealth and privilege, her life had been upended by cancer, just like millions of other people.\u003c/p>\n\u003cp>But it wasn’t just what she said, it was how she said it. Unlike earlier updates on Kate’s health, which sounded like factual news reports, this had an entirely different tone. The slickly produced mini-movie released on Monday showed the princess hugging Prince William and their three young children and sharing intimate moments at home with her parents.\u003c/p>\n\u003cp>There’s even a chaste kiss on her cheek.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It is a real break,’’ said George Gross, a royal historian at King’s College London. “But I think people will look at it and won’t necessarily realize that. I think they will think: This is just right, this is normal. That’s what a family does.”\u003c/p>\n\u003ch2>A tradition of secrecy\u003c/h2>\n\u003cp>Kate’s video marks the royal family’s latest experiment with greater openness since King Charles III assumed the throne in 2022. That has been tested repeatedly this year as both Charles and Kate were treated for serious health problems, then later announced they were undergoing cancer treatment.\u003c/p>\n\u003cp>For centuries, Britain’s royal family withheld news of illness for fear it might weaken their authority. That reticence and secrecy lingered even after they became constitutional figureheads.\u003c/p>\n\u003cp>[aside postid='arts_13939414']The British public wasn’t told that King George VI, Charles’ grandfather, had lung cancer before his death at the age of 56 in February 1952. The public death announcement said only that the king had “passed peacefully away in his sleep.”\u003c/p>\n\u003cp>King George V died in 1936, after suffering from heart and lung disease. Far from being open about the king’s health, palace officials manipulated the timing of his death to gain more favorable coverage. Diary extracts published 50 years later revealed that the king’s physician injected the terminally ill monarch with morphine and cocaine to speed his death — partly so it could be announced in the morning newspapers “rather than the less appropriate evening journals.”\u003c/p>\n\u003cp>Charles has made a point of being more open than his mother, Elizabeth, whom Buckingham Palace described as suffering from “mobility issues” in the months before her death.\u003c/p>\n\u003cp>In January, the palace said Charles would enter a London hospital for treatment for an enlarged prostate. A few weeks later, the king said he would step away from public duties while he received treatment for an undisclosed type of cancer. Those announcements, however, were made in factual releases issued by the palace press office.\u003c/p>\n\u003ch2>A new generation of royals\u003c/h2>\n\u003cp>But Kate and William, both 42, are of a new generation that is more comfortable sharing personal issues on social media.\u003c/p>\n\u003cp>[aside postid='arts_13919284']Kate’s video was shot by William Warr, creative director of Detail Films, which says it combines film production techniques and strategic marketing to create “beautiful branded films.”\u003c/p>\n\u003cp>“We exist to help brands tell stories that speak to their audience,” the firm says on its website.\u003c/p>\n\u003cp>In the video, Kate described how difficult the past nine months had been for her family and expressed “relief” at completing her course of treatment.\u003c/p>\n\u003cp>“Life as you know it can change in an instant, and we have had to find a way to navigate the stormy waters and road unknown,’’ she said in the video, which was shot in a woodland near the family’s summer home in Norfolk.\u003c/p>\n\u003cp>Some see the film as a reflection of a family bonded in a crisis, as many do when facing illness — sharing their thoughts with others.\u003c/p>\n\u003cp>“It is a love story,″ former BBC royal correspondent Michael Cole told TalkTV. “You’re seeing it there. You’re seeing what it means to a family.’’\u003c/p>\n\u003cp>[aside postid='arts_13866072']Mark Borkowski, a public relations and crisis consultant, described the film as “a tectonic shift in how the royal family controls its image.’’\u003c/p>\n\u003cp>“Kate’s journey is profound and deeply personal, but they’ve learned that emotion can be controlled — and weaponized — in small, potent doses,’’ he said. “By doing this through a polished film, they maintain dignity and control while still appearing relatable.”\u003c/p>\n\u003ch2>It’s the age of social media\u003c/h2>\n\u003cp>The fact that the royal family needed new techniques for controlling its story in the age of TikTok and Instagram was underscored after palace officials announced in January that Kate would be hospitalized for abdominal surgery. While the palace released few details about her condition, \u003ca href=\"https://www.kqed.org/arts/13953998/kate-middleton-conspiracy-theory-prince-william-royal-family-pr-disaster\">social media sites were filled with speculation\u003c/a> about what was really going on as Kate retreated from public view to focus on her recovery.\u003c/p>\n\u003cp>When the princess announced that she had cancer two months later, she spoke directly to the public in a somber video in which she asked for “time, space and privacy” while she underwent treatment.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JoWTuctHyyc\u003c/p>\n\u003cp>In June, Kate released a video update, saying she had good days and bad days.\u003c/p>\n\u003cp>While the princess stepped away from most public duties during her treatment, Kate has made two appearances this year. First, during the king’s birthday parade in June, known as Trooping the Colour, and most recently during the men’s final at Wimbledon in July, where she received a standing ovation.\u003c/p>\n\u003cp>Now that she has completed chemotherapy, Kate plans to slowly return to public duties, “undertaking a few more public appearances” in the coming months.\u003c/p>\n\u003cp>[aside postid='arts_13872986']But Kate said in her video that the path to full recovery would be long and she would “take each day as it comes.”\u003c/p>\n\u003cp>“William and I are so grateful for the support we have received and have drawn great strength from all those who are helping us at this time,” she said. “Everyone’s kindness, empathy and compassion has been truly humbling.”\u003c/p>\n\u003cp>The video should be seen as part of the king’s effort to increase the openness of the royal family as he seeks to build support for the monarchy, Gross said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s an operation. It’s the whole firm together,’’ he said. “And, I think, it really matches that sense of we’re being as open as we can, whilst retaining a natural sense of privacy that you need over these things.’’\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Public displays of affection on a royal video? My, how times have changed!\u003c/p>\n\u003cp>When the Princess of Wales announced that she had completed chemotherapy treatment in \u003ca href=\"https://www.youtube.com/watch?v=yKNa97QcyKo\">a soft-focus, Insta-ready video\u003c/a>, she ventured into realms not previously inhabited by Britain’s royal family, traditionally known for the stiff-upper-lip, “never complain, never explain” ethos of the late Queen Elizabeth II.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Here was the most popular royal, a public figure usually known simply as Kate, using the tools of social media to share the fact that for all her wealth and privilege, her life had been upended by cancer, just like millions of other people.\u003c/p>\n\u003cp>But it wasn’t just what she said, it was how she said it. Unlike earlier updates on Kate’s health, which sounded like factual news reports, this had an entirely different tone. The slickly produced mini-movie released on Monday showed the princess hugging Prince William and their three young children and sharing intimate moments at home with her parents.\u003c/p>\n\u003cp>There’s even a chaste kiss on her cheek.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It is a real break,’’ said George Gross, a royal historian at King’s College London. “But I think people will look at it and won’t necessarily realize that. I think they will think: This is just right, this is normal. That’s what a family does.”\u003c/p>\n\u003ch2>A tradition of secrecy\u003c/h2>\n\u003cp>Kate’s video marks the royal family’s latest experiment with greater openness since King Charles III assumed the throne in 2022. That has been tested repeatedly this year as both Charles and Kate were treated for serious health problems, then later announced they were undergoing cancer treatment.\u003c/p>\n\u003cp>For centuries, Britain’s royal family withheld news of illness for fear it might weaken their authority. That reticence and secrecy lingered even after they became constitutional figureheads.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The British public wasn’t told that King George VI, Charles’ grandfather, had lung cancer before his death at the age of 56 in February 1952. The public death announcement said only that the king had “passed peacefully away in his sleep.”\u003c/p>\n\u003cp>King George V died in 1936, after suffering from heart and lung disease. Far from being open about the king’s health, palace officials manipulated the timing of his death to gain more favorable coverage. Diary extracts published 50 years later revealed that the king’s physician injected the terminally ill monarch with morphine and cocaine to speed his death — partly so it could be announced in the morning newspapers “rather than the less appropriate evening journals.”\u003c/p>\n\u003cp>Charles has made a point of being more open than his mother, Elizabeth, whom Buckingham Palace described as suffering from “mobility issues” in the months before her death.\u003c/p>\n\u003cp>In January, the palace said Charles would enter a London hospital for treatment for an enlarged prostate. A few weeks later, the king said he would step away from public duties while he received treatment for an undisclosed type of cancer. Those announcements, however, were made in factual releases issued by the palace press office.\u003c/p>\n\u003ch2>A new generation of royals\u003c/h2>\n\u003cp>But Kate and William, both 42, are of a new generation that is more comfortable sharing personal issues on social media.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kate’s video was shot by William Warr, creative director of Detail Films, which says it combines film production techniques and strategic marketing to create “beautiful branded films.”\u003c/p>\n\u003cp>“We exist to help brands tell stories that speak to their audience,” the firm says on its website.\u003c/p>\n\u003cp>In the video, Kate described how difficult the past nine months had been for her family and expressed “relief” at completing her course of treatment.\u003c/p>\n\u003cp>“Life as you know it can change in an instant, and we have had to find a way to navigate the stormy waters and road unknown,’’ she said in the video, which was shot in a woodland near the family’s summer home in Norfolk.\u003c/p>\n\u003cp>Some see the film as a reflection of a family bonded in a crisis, as many do when facing illness — sharing their thoughts with others.\u003c/p>\n\u003cp>“It is a love story,″ former BBC royal correspondent Michael Cole told TalkTV. “You’re seeing it there. You’re seeing what it means to a family.’’\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mark Borkowski, a public relations and crisis consultant, described the film as “a tectonic shift in how the royal family controls its image.’’\u003c/p>\n\u003cp>“Kate’s journey is profound and deeply personal, but they’ve learned that emotion can be controlled — and weaponized — in small, potent doses,’’ he said. “By doing this through a polished film, they maintain dignity and control while still appearing relatable.”\u003c/p>\n\u003ch2>It’s the age of social media\u003c/h2>\n\u003cp>The fact that the royal family needed new techniques for controlling its story in the age of TikTok and Instagram was underscored after palace officials announced in January that Kate would be hospitalized for abdominal surgery. While the palace released few details about her condition, \u003ca href=\"https://www.kqed.org/arts/13953998/kate-middleton-conspiracy-theory-prince-william-royal-family-pr-disaster\">social media sites were filled with speculation\u003c/a> about what was really going on as Kate retreated from public view to focus on her recovery.\u003c/p>\n\u003cp>When the princess announced that she had cancer two months later, she spoke directly to the public in a somber video in which she asked for “time, space and privacy” while she underwent treatment.\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/JoWTuctHyyc'\n title='//www.youtube.com/embed/JoWTuctHyyc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In June, Kate released a video update, saying she had good days and bad days.\u003c/p>\n\u003cp>While the princess stepped away from most public duties during her treatment, Kate has made two appearances this year. First, during the king’s birthday parade in June, known as Trooping the Colour, and most recently during the men’s final at Wimbledon in July, where she received a standing ovation.\u003c/p>\n\u003cp>Now that she has completed chemotherapy, Kate plans to slowly return to public duties, “undertaking a few more public appearances” in the coming months.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Kate said in her video that the path to full recovery would be long and she would “take each day as it comes.”\u003c/p>\n\u003cp>“William and I are so grateful for the support we have received and have drawn great strength from all those who are helping us at this time,” she said. “Everyone’s kindness, empathy and compassion has been truly humbling.”\u003c/p>\n\u003cp>The video should be seen as part of the king’s effort to increase the openness of the royal family as he seeks to build support for the monarchy, Gross said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s an operation. It’s the whole firm together,’’ he said. “And, I think, it really matches that sense of we’re being as open as we can, whilst retaining a natural sense of privacy that you need over these things.’’\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fall was once when all the new TV shows premiered, and when all the reruns finally ended. These days, things are a lot more spread out, with some series returning after long absences and some showing up for the first time. New shows will be scary and soapy and hopefully funny — and will make new trips to both the Marvel and DC worlds.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xo27sE2fdvs\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Slow Horses, \u003c/em>Season 4, Sept. 4, Apple TV+\u003c/strong>\u003c/h2>\n\u003cp>It is a bit of a tribute to Apple TV+’s low profile that some TV fans have only now heard about this brilliant version of Mick Herron’s subversive spy novels. Gary Oldman is deliciously witty and slovenly as weary spy Jackson Lamb, deftly leading a misfit crew consigned to a British intelligence office reserved for screw-ups. This time, one of Lamb’s staff is tangled in a plot involving his own grandfather, a former bigwig poignantly played by Jonathan Pryce, who may have killed someone while confused by dementia. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GNmLHum-bdE\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003ch2>\u003cstrong>\u003cem>Fight Night: The Million Dollar Heist, \u003c/em>Sept. 5, Peacock\u003c/strong>\u003c/h2>\n\u003cp>A starry cast including Samuel L. Jackson, Taraji P. Henson and Kevin Hart has a lot of fun with this series, based on a true story, about an armed robbery of an Atlanta afterparty on the night of Muhammad Ali’s historic comeback fight. Total commitment to the 1970 setting extends to the music, the hair, the costumes, and a playful production style. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-pLjpuT-qjw\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Old Man, \u003c/em>Season 2, Sept. 12, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Call it something of a fatherhood triangle: Jeff Bridges’ retired CIA operative Dan Chase has teamed with John Lithgow’s ex-FBI man Harold Harper to save Chase’s daughter — who has been kidnapped by a powerful Afghan leader who says \u003cem>he \u003c/em>is really her father. Some scenes unfold like the craziest acting exercises ever; others feel like the mashup of\u003cem> Mission Impossible\u003c/em> and \u003cem>Parenthood \u003c/em>you never knew you needed. It builds to a treatise on aging and regret played against a grand geopolitical backdrop. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1CPxZL3kJ70\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>How to Die Alone, \u003c/em>Sept. 13, Hulu\u003c/strong>\u003c/h2>\n\u003cp>The wonderful Natasha Rothwell (\u003cem>The White Lotus\u003c/em>, \u003cem>Insecure\u003c/em>) created and stars in this comedy series about an employee at JFK airport whose near-death experience forces her to reexamine her life. Rothwell is an enchanting presence with the capacity for both great tenderness and wild humor, and she’s precisely the kind of person who should be getting the opportunity to create her own show. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R9pXbNz6Vbw\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Agatha All Along,\u003c/em> Sept. 18, Disney+\u003c/strong>\u003c/h2>\n\u003cp>The best, funniest part (Kathryn Hahn’s Agatha Harkness) of the best Marvel TV property to date (\u003cem>Wandavision\u003c/em>) gets her own spotlight series. Agatha assembles a brand new coven of weirdos — and the series’ casting director has clearly been reading my diary (Patti LuPone! Aubrey Plaza! Sasheer Zamata!). Together, Agatha and Co. undergo a series of trials which promise to offer up a whistle-stop tour of the creepier, horror-inflected corners of the Marvel universe. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sfJG6IiA_s8\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Penguin, \u003c/em>Sept. 19, HBO, Max\u003c/strong>\u003c/h2>\n\u003cp>Why base a spin-off show on a secondary character from a two-year-old superhero movie? One answer is star Colin Farrell, amazingly unrecognizable as Oswald “Oz” Cobb, a small-time hood in Gotham City with a disfigured foot that gives him a gait like … well … a certain flightless bird. Oz didn’t get enough screen time in Matt Reeves’ gritty, \u003cem>Seven\u003c/em>-style \u003cem>Batman \u003c/em>movie. But selling viewers on a Batman-free tale about a thug who becomes Gotham’s crime boss may take more Hollywood magic than even Farrell possesses. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-StZwoYw2fg\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Matlock,\u003c/em> Sept. 22, CBS, Paramount+\u003c/strong>\u003c/h2>\n\u003cp>Rather than update Andy Griffith’s old legal show, CBS takes a bigger swing, casting Kathy Bates as Madeline “Matty” Matlock — an attorney in her 70s who jokes her name is just like the old TV show. (Yup, Griffith’s series actually exists here!) She lands as an associate at a prestigious law firm, where her unassuming demeanor and smarts solves cases just like Griffith did. But she’s also hiding a deeper secret that will either make this show a brilliant reinvention, or an overly complicated laughingstock. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=daV1NI7hxY0\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Grotesquerie,\u003c/em> Sept. 25, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>This may be the oddest buddy cop drama in years: Niecy Nash-Betts plays put-upon police detective Lois Tryon; teamed with a nun who is also a journalist, Tryon is working to solve a series of heinous crimes which may have been concocted to taunt her. It’s written and co-created by Ryan Murphy, the producer behind \u003cem>American Horror Story\u003c/em> and Netflix’s \u003cem>Monster \u003c/em>anthology series, so expect maximum weirdness, style, creepiness and horror. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d_SKPESJWeI\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Doctor Odyssey,\u003c/em> Sept. 26, ABC, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Sometimes it seems like regular, non-taxing TV has gone away, but it really hasn’t. For example, this fall brings \u003cem>Doctor Odyssey\u003c/em>, a drama series in which Joshua Jackson plays a doctor who goes to work on a cruise ship and manages all the medical emergencies. And Don Johnson plays the captain! A little luxury, a little medical drama — sounds like fun, to be honest. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N5uZBSQ2R_M\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Walking Dead: Daryl Dixon – The Book of Carol\u003c/em>, Sept. 29, AMC\u003c/strong>\u003c/h2>\n\u003cp>This was a team-up \u003cem>Walking Dead\u003c/em> fans were promised years ago, when a spin-off was first dreamed up with weary hunter Daryl Dixon (Norman Reedus) and abused wife/survivor Carol Peletier (Melissa McBride). But Reedus wound up going it alone in the first season, as Daryl landed in France. For round two, he’s reunited with McBride’s Carol, though her road to finding him will likely be an arduous journey — like everything in the \u003cem>Walking Dead\u003c/em>‘s zombie apocalypse. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fEA2eF_G59U\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Disclaimer,\u003c/em> Oct. 11, Apple TV+\u003c/strong>\u003c/h2>\n\u003cp>Alfonso Cuarón’s been pretty quiet since his 2018 masterpiece \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">\u003cem>Roma\u003c/em>,\u003c/a> and everything about his latest project screams “must watch.” He wrote and directed every episode of this series adaptation, which stars Cate Blanchett as a powerful journalist who’s shocked to discover she’s the thinly-veiled inspiration for a character in a novel. The old, embittered man who published the book is played by Kevin Kline — and he’s more than happy to witness her downfall. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>What We Do in the Shadows,\u003c/em> Season 6, Oct. 21, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>The funniest — and not coincidentally, the weirdest — comedy on television wraps up with its sixth and final season. There’s no telling what will happen to Staten Island’s favorite vampires, as the series has always embraced a healthy amount of chaos. Expect a few audience favorites to return for a victory lap, and for a finale that traffics in real emotion while maintaining the bone-dry silliness we’ve come to love. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J1BihonDew8\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Somebody Somewhere,\u003c/em> Season 3, Oct. 27, HBO\u003c/strong>\u003c/h2>\n\u003cp>This intimate, searching and truthful gem of a comedy series is ending with Season 3, and I’ll miss it when it ends. The great Bridget Everett plays a woman mourning the loss of her sister who returns to her small Kansas hometown to figure herself out. The show’s generous and warm-hearted as hell, but don’t go calling it “sweet” — it’s far too sharp and clear-eyed for that. If you’ve slept on this show, now’s the time to correct that. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MC8cKtqusp4\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Cross, \u003c/em>Nov. 14, Prime Video\u003c/strong>\u003c/h2>\n\u003cp>It’s been nearly 30 years since Morgan Freeman brought brainy forensic psychologist/police detective Alex Cross from James Patterson’s novels to life in the film \u003cem>Kiss the Girls\u003c/em>. (The less said about Tyler Perry’s stiff version in 2012, the better). Now \u003cem>Black Adam\u003c/em> alum Aldis Hodge takes on Cross in this new series — already picked up for a second season — playing him as a younger, buffer version of the driven hero who digs into the psyche of killers and criminals to catch them. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aJS-mpU1FDA\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Leonardo da Vinci\u003c/em>, Nov. 18 and 19, PBS\u003c/strong>\u003c/h2>\n\u003cp>Ken Burns — a filmmaker often called America’s biographer — peels back myths around his first non-American subject, one of the world’s greatest artists. In addition to painting works like the Mona Lisa, da Vinci filled notebooks with theories on mathematics, physics, anatomy and more. Burns delivers these stories with his usual mix of imagery and talking heads — including director Guillermo del Toro! — showing how this genius draftsman, painter, scientist and engineer made history. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13963973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15%E2%80%AFAM.png\" alt=\"A young Asian man walks down a street at night, red lanterns and white lights hanging behind him. \" width=\"1732\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM.png 1732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-768x429.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-1536x858.png 1536w\" sizes=\"(max-width: 1732px) 100vw, 1732px\">\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Interior Chinatown,\u003c/em> Nov. 19, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Celebrated author Charles Yu adapts his own novel, which has an intriguing premise: A struggling background actor playing the “Generic Asian Man” on a \u003cem>Law & Order\u003c/em>-type show suddenly gets pulled into a real-life investigation after witnessing a crime. The cast, which includes comedians Jimmy O. Yang and Ronny Chieng, is very promising, as is the presence of Taika Waititi, an executive producer and director of the pilot episode. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Edited by Clare Lombardo. Produced by Beth Novey.\u003c/em>\u003c/p>\n\n",
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"headline": "The 16 Best TV Shows to Watch in Fall 2024",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fall was once when all the new TV shows premiered, and when all the reruns finally ended. These days, things are a lot more spread out, with some series returning after long absences and some showing up for the first time. New shows will be scary and soapy and hopefully funny — and will make new trips to both the Marvel and DC worlds.\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/xo27sE2fdvs'\n title='//www.youtube.com/embed/xo27sE2fdvs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Slow Horses, \u003c/em>Season 4, Sept. 4, Apple TV+\u003c/strong>\u003c/h2>\n\u003cp>It is a bit of a tribute to Apple TV+’s low profile that some TV fans have only now heard about this brilliant version of Mick Herron’s subversive spy novels. Gary Oldman is deliciously witty and slovenly as weary spy Jackson Lamb, deftly leading a misfit crew consigned to a British intelligence office reserved for screw-ups. This time, one of Lamb’s staff is tangled in a plot involving his own grandfather, a former bigwig poignantly played by Jonathan Pryce, who may have killed someone while confused by dementia. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GNmLHum-bdE'\n title='//www.youtube.com/embed/GNmLHum-bdE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003ch2>\u003cstrong>\u003cem>Fight Night: The Million Dollar Heist, \u003c/em>Sept. 5, Peacock\u003c/strong>\u003c/h2>\n\u003cp>A starry cast including Samuel L. Jackson, Taraji P. Henson and Kevin Hart has a lot of fun with this series, based on a true story, about an armed robbery of an Atlanta afterparty on the night of Muhammad Ali’s historic comeback fight. Total commitment to the 1970 setting extends to the music, the hair, the costumes, and a playful production style. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-pLjpuT-qjw'\n title='//www.youtube.com/embed/-pLjpuT-qjw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>The Old Man, \u003c/em>Season 2, Sept. 12, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Call it something of a fatherhood triangle: Jeff Bridges’ retired CIA operative Dan Chase has teamed with John Lithgow’s ex-FBI man Harold Harper to save Chase’s daughter — who has been kidnapped by a powerful Afghan leader who says \u003cem>he \u003c/em>is really her father. Some scenes unfold like the craziest acting exercises ever; others feel like the mashup of\u003cem> Mission Impossible\u003c/em> and \u003cem>Parenthood \u003c/em>you never knew you needed. It builds to a treatise on aging and regret played against a grand geopolitical backdrop. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1CPxZL3kJ70'\n title='//www.youtube.com/embed/1CPxZL3kJ70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>How to Die Alone, \u003c/em>Sept. 13, Hulu\u003c/strong>\u003c/h2>\n\u003cp>The wonderful Natasha Rothwell (\u003cem>The White Lotus\u003c/em>, \u003cem>Insecure\u003c/em>) created and stars in this comedy series about an employee at JFK airport whose near-death experience forces her to reexamine her life. Rothwell is an enchanting presence with the capacity for both great tenderness and wild humor, and she’s precisely the kind of person who should be getting the opportunity to create her own show. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/R9pXbNz6Vbw'\n title='//www.youtube.com/embed/R9pXbNz6Vbw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Agatha All Along,\u003c/em> Sept. 18, Disney+\u003c/strong>\u003c/h2>\n\u003cp>The best, funniest part (Kathryn Hahn’s Agatha Harkness) of the best Marvel TV property to date (\u003cem>Wandavision\u003c/em>) gets her own spotlight series. Agatha assembles a brand new coven of weirdos — and the series’ casting director has clearly been reading my diary (Patti LuPone! Aubrey Plaza! Sasheer Zamata!). Together, Agatha and Co. undergo a series of trials which promise to offer up a whistle-stop tour of the creepier, horror-inflected corners of the Marvel universe. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sfJG6IiA_s8'\n title='//www.youtube.com/embed/sfJG6IiA_s8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>The Penguin, \u003c/em>Sept. 19, HBO, Max\u003c/strong>\u003c/h2>\n\u003cp>Why base a spin-off show on a secondary character from a two-year-old superhero movie? One answer is star Colin Farrell, amazingly unrecognizable as Oswald “Oz” Cobb, a small-time hood in Gotham City with a disfigured foot that gives him a gait like … well … a certain flightless bird. Oz didn’t get enough screen time in Matt Reeves’ gritty, \u003cem>Seven\u003c/em>-style \u003cem>Batman \u003c/em>movie. But selling viewers on a Batman-free tale about a thug who becomes Gotham’s crime boss may take more Hollywood magic than even Farrell possesses. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-StZwoYw2fg'\n title='//www.youtube.com/embed/-StZwoYw2fg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Matlock,\u003c/em> Sept. 22, CBS, Paramount+\u003c/strong>\u003c/h2>\n\u003cp>Rather than update Andy Griffith’s old legal show, CBS takes a bigger swing, casting Kathy Bates as Madeline “Matty” Matlock — an attorney in her 70s who jokes her name is just like the old TV show. (Yup, Griffith’s series actually exists here!) She lands as an associate at a prestigious law firm, where her unassuming demeanor and smarts solves cases just like Griffith did. But she’s also hiding a deeper secret that will either make this show a brilliant reinvention, or an overly complicated laughingstock. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/daV1NI7hxY0'\n title='//www.youtube.com/embed/daV1NI7hxY0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Grotesquerie,\u003c/em> Sept. 25, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>This may be the oddest buddy cop drama in years: Niecy Nash-Betts plays put-upon police detective Lois Tryon; teamed with a nun who is also a journalist, Tryon is working to solve a series of heinous crimes which may have been concocted to taunt her. It’s written and co-created by Ryan Murphy, the producer behind \u003cem>American Horror Story\u003c/em> and Netflix’s \u003cem>Monster \u003c/em>anthology series, so expect maximum weirdness, style, creepiness and horror. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d_SKPESJWeI'\n title='//www.youtube.com/embed/d_SKPESJWeI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Doctor Odyssey,\u003c/em> Sept. 26, ABC, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Sometimes it seems like regular, non-taxing TV has gone away, but it really hasn’t. For example, this fall brings \u003cem>Doctor Odyssey\u003c/em>, a drama series in which Joshua Jackson plays a doctor who goes to work on a cruise ship and manages all the medical emergencies. And Don Johnson plays the captain! A little luxury, a little medical drama — sounds like fun, to be honest. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/N5uZBSQ2R_M'\n title='//www.youtube.com/embed/N5uZBSQ2R_M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>The Walking Dead: Daryl Dixon – The Book of Carol\u003c/em>, Sept. 29, AMC\u003c/strong>\u003c/h2>\n\u003cp>This was a team-up \u003cem>Walking Dead\u003c/em> fans were promised years ago, when a spin-off was first dreamed up with weary hunter Daryl Dixon (Norman Reedus) and abused wife/survivor Carol Peletier (Melissa McBride). But Reedus wound up going it alone in the first season, as Daryl landed in France. For round two, he’s reunited with McBride’s Carol, though her road to finding him will likely be an arduous journey — like everything in the \u003cem>Walking Dead\u003c/em>‘s zombie apocalypse. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fEA2eF_G59U'\n title='//www.youtube.com/embed/fEA2eF_G59U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Disclaimer,\u003c/em> Oct. 11, Apple TV+\u003c/strong>\u003c/h2>\n\u003cp>Alfonso Cuarón’s been pretty quiet since his 2018 masterpiece \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">\u003cem>Roma\u003c/em>,\u003c/a> and everything about his latest project screams “must watch.” He wrote and directed every episode of this series adaptation, which stars Cate Blanchett as a powerful journalist who’s shocked to discover she’s the thinly-veiled inspiration for a character in a novel. The old, embittered man who published the book is played by Kevin Kline — and he’s more than happy to witness her downfall. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>What We Do in the Shadows,\u003c/em> Season 6, Oct. 21, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>The funniest — and not coincidentally, the weirdest — comedy on television wraps up with its sixth and final season. There’s no telling what will happen to Staten Island’s favorite vampires, as the series has always embraced a healthy amount of chaos. Expect a few audience favorites to return for a victory lap, and for a finale that traffics in real emotion while maintaining the bone-dry silliness we’ve come to love. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/J1BihonDew8'\n title='//www.youtube.com/embed/J1BihonDew8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Somebody Somewhere,\u003c/em> Season 3, Oct. 27, HBO\u003c/strong>\u003c/h2>\n\u003cp>This intimate, searching and truthful gem of a comedy series is ending with Season 3, and I’ll miss it when it ends. The great Bridget Everett plays a woman mourning the loss of her sister who returns to her small Kansas hometown to figure herself out. The show’s generous and warm-hearted as hell, but don’t go calling it “sweet” — it’s far too sharp and clear-eyed for that. If you’ve slept on this show, now’s the time to correct that. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MC8cKtqusp4'\n title='//www.youtube.com/embed/MC8cKtqusp4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Cross, \u003c/em>Nov. 14, Prime Video\u003c/strong>\u003c/h2>\n\u003cp>It’s been nearly 30 years since Morgan Freeman brought brainy forensic psychologist/police detective Alex Cross from James Patterson’s novels to life in the film \u003cem>Kiss the Girls\u003c/em>. (The less said about Tyler Perry’s stiff version in 2012, the better). Now \u003cem>Black Adam\u003c/em> alum Aldis Hodge takes on Cross in this new series — already picked up for a second season — playing him as a younger, buffer version of the driven hero who digs into the psyche of killers and criminals to catch them. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aJS-mpU1FDA'\n title='//www.youtube.com/embed/aJS-mpU1FDA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Leonardo da Vinci\u003c/em>, Nov. 18 and 19, PBS\u003c/strong>\u003c/h2>\n\u003cp>Ken Burns — a filmmaker often called America’s biographer — peels back myths around his first non-American subject, one of the world’s greatest artists. In addition to painting works like the Mona Lisa, da Vinci filled notebooks with theories on mathematics, physics, anatomy and more. Burns delivers these stories with his usual mix of imagery and talking heads — including director Guillermo del Toro! — showing how this genius draftsman, painter, scientist and engineer made history. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13963973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15%E2%80%AFAM.png\" alt=\"A young Asian man walks down a street at night, red lanterns and white lights hanging behind him. \" width=\"1732\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM.png 1732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-768x429.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-1536x858.png 1536w\" sizes=\"(max-width: 1732px) 100vw, 1732px\">\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Interior Chinatown,\u003c/em> Nov. 19, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Celebrated author Charles Yu adapts his own novel, which has an intriguing premise: A struggling background actor playing the “Generic Asian Man” on a \u003cem>Law & Order\u003c/em>-type show suddenly gets pulled into a real-life investigation after witnessing a crime. The cast, which includes comedians Jimmy O. Yang and Ronny Chieng, is very promising, as is the presence of Taika Waititi, an executive producer and director of the pilot episode. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>One of America’s most beloved actors, James Earl Jones, died Monday at age 93. He was at home in Dutchess County, N.Y. surrounded by his family, his longtime agent Barry McPherson confirmed to NPR.\u003c/p>\n\u003cp>In addition to an illustrious stage career — which included roles in classics like \u003cem>Macbeth\u003c/em>, \u003cem>Othello\u003c/em> and \u003cem>The Iceman Cometh\u003c/em> — Jones also had an extensive film career, appearing in \u003cem>Dr. Strangelove\u003c/em>, \u003cem>Field of Dreams\u003c/em>, and \u003cem>The Hunt for Red October\u003c/em>. He voiced Mufasa in \u003cem>The Lion King,\u003c/em> and as Darth Vader, he delivered \u003ca href=\"http://www.starwars.com/video/i-am-your-father\">the line that still sends shivers up the spines of \u003cem>Star Wars\u003c/em> fans\u003c/a>: “I am your father.”\u003c/p>\n\u003cp>James Earl Jones was born on Jan. 17, 1931, in Arkabutla, Miss. He was raised by his grandparents. When he was 5 years old, the family moved to a rural farm in Dublin, Mich. Jones said the move so traumatized him that he developed a severe stutter that continued until he was in high school.\u003c/p>\n\u003cp>“I was able to function as a farm kid, doing all those chores where you call animals,” he told WHYY’s \u003cem>Fresh Air \u003c/em>in 1993, “and I certainly let the family know what my needs were. But when strangers came to the house, the mute happened. I didn’t want to confront them and I wasn’t ready. I hid in a state of muteness.”\u003c/p>\n\u003cp>Then a high school teacher found a way to help: “He one day discovered that I wrote poetry and he said to me, ‘This poem is so good I can’t believe you wrote it. The way you can prove it to me is to get up in front of the class and recite it by heart.’ And I accepted the challenge and did it, and we both realized we had a means — we had a way of regaining the power of speech through poetry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And what a power it was. Jones’ baritone came complete with its own echo chamber. His voice became one of the most instantly recognizable in entertainment history.\u003c/p>\n\u003cp>Everything about him was big: his commanding stage presence, the intensity of his glance and his brilliance at his chosen craft. Woodie King Jr. is founder of New York’s New Federal Theater, which has been producing shows by and about African-Americans throughout its history. He first became aware of Jones in the early 1960s.\u003c/p>\n\u003cp>“I was a young aspiring actor who had come into New York and he had all the elements of acting — physicality, vocal range, psychically in tune with what was going on,” King says. “And I wanted to be that kind of artist who had that kind of freedom with his instrument.”\u003c/p>\n\u003cp>King saw Jones’ critically acclaimed performance in a 1961 production of Jean Genet’s \u003cem>The Blacks\u003c/em>. He also worked with Jones in a 1968 Broadway production of Howard Sackler’s \u003cem>The Great White Hope\u003c/em>, based on the life of champion black boxer Jack Johnson.\u003c/p>\n\u003cp>“It was an unbelievable kind of performance,” King recalled. “It was an amazing metamorphosis, watching him transform himself into this vicious boxer.”\u003c/p>\n\u003cp>Jones won a Tony for that role, as well as an Oscar nomination for the 1970 film adaptation, and he won a second Tony in 1987 for his role in August Wilson’s \u003cem>Fences\u003c/em>.\u003c/p>\n\u003cp>His first film role was as bombardier Lothar Zogg in Stanley Kubrick’s 1964 classic \u003cem>Dr. Strangelove\u003c/em>. In 1972’s \u003cem>The Man\u003c/em>, Jones played the first Black president; in the 1974 black classic \u003cem>Claudine, \u003c/em>he played a garbage man who charms a date out of a welfare mom; and in 1989’s \u003cem>Field of Dreams\u003c/em>, he \u003ca href=\"https://youtu.be/z6U1p0hehtg?t=5s\">explained why people would care about a baseball diamond in an Iowa cornfield\u003c/a>. Jones \u003ca href=\"http://www.broadway.com/buzz/162156/tony-nominee-james-earl-jones-on-four-decades-of-great-performances-from-othello-to-the-best-man/\">has said\u003c/a> that one of his favorite roles was that of the South African reverend in \u003cem>Cry, the Beloved Country\u003c/em>.\u003c/p>\n\u003cp>Jones’ voice has pervaded pop culture: He’s the voice of CNN and Verizon, and even showed up on a few episodes of \u003cem>The Simpsons\u003c/em>, which managed to kid the actor about his kaleidoscopic work \u003ca href=\"https://youtu.be/PX05DJWNj3k?t=1m4s\">in one fell swoop\u003c/a>.\u003c/p>\n\u003cp>In his conversation with \u003cem>Fresh Air\u003c/em>, Jones remembered the beginning of his voice-over career with amusement. “I think the first commercials I did … they asked me to ‘just give us the sound of God.’ … They were not embarrassed about saying that.”\u003c/p>\n\u003cfigure id=\"attachment_13963951\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963951\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png\" alt=\"A Black man wearing a suit stretches out his arms and bows his head on stage, surrounded by applauding fellow cast members.\" width=\"2000\" height=\"1330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1920x1277.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jones takes a bow after his final performance in Broadway’s ‘You Can’t Take It With You’ in 2015. \u003ccite>(Grant Lamos IV/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New Federal Theater’s Woodie King said Jones was a warm, somewhat shy man who was a powerful artist. He followed in the footsteps of actors like Sidney Poitier, Paul Robeson and Canada Lee, all of whom refused to be limited by the old stereotypical roles of butlers or buffoons. Jones saw theater as a place for all people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What you have is a master craftsman at work,” King said. “He makes young people aware of the vast possibilities of this business when you are a craftsman. … The Broadway stage sees him as really colorless — not Black or white, but a brilliant artist.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of America’s most beloved actors, James Earl Jones, died Monday at age 93. He was at home in Dutchess County, N.Y. surrounded by his family, his longtime agent Barry McPherson confirmed to NPR.\u003c/p>\n\u003cp>In addition to an illustrious stage career — which included roles in classics like \u003cem>Macbeth\u003c/em>, \u003cem>Othello\u003c/em> and \u003cem>The Iceman Cometh\u003c/em> — Jones also had an extensive film career, appearing in \u003cem>Dr. Strangelove\u003c/em>, \u003cem>Field of Dreams\u003c/em>, and \u003cem>The Hunt for Red October\u003c/em>. He voiced Mufasa in \u003cem>The Lion King,\u003c/em> and as Darth Vader, he delivered \u003ca href=\"http://www.starwars.com/video/i-am-your-father\">the line that still sends shivers up the spines of \u003cem>Star Wars\u003c/em> fans\u003c/a>: “I am your father.”\u003c/p>\n\u003cp>James Earl Jones was born on Jan. 17, 1931, in Arkabutla, Miss. He was raised by his grandparents. When he was 5 years old, the family moved to a rural farm in Dublin, Mich. Jones said the move so traumatized him that he developed a severe stutter that continued until he was in high school.\u003c/p>\n\u003cp>“I was able to function as a farm kid, doing all those chores where you call animals,” he told WHYY’s \u003cem>Fresh Air \u003c/em>in 1993, “and I certainly let the family know what my needs were. But when strangers came to the house, the mute happened. I didn’t want to confront them and I wasn’t ready. I hid in a state of muteness.”\u003c/p>\n\u003cp>Then a high school teacher found a way to help: “He one day discovered that I wrote poetry and he said to me, ‘This poem is so good I can’t believe you wrote it. The way you can prove it to me is to get up in front of the class and recite it by heart.’ And I accepted the challenge and did it, and we both realized we had a means — we had a way of regaining the power of speech through poetry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And what a power it was. Jones’ baritone came complete with its own echo chamber. His voice became one of the most instantly recognizable in entertainment history.\u003c/p>\n\u003cp>Everything about him was big: his commanding stage presence, the intensity of his glance and his brilliance at his chosen craft. Woodie King Jr. is founder of New York’s New Federal Theater, which has been producing shows by and about African-Americans throughout its history. He first became aware of Jones in the early 1960s.\u003c/p>\n\u003cp>“I was a young aspiring actor who had come into New York and he had all the elements of acting — physicality, vocal range, psychically in tune with what was going on,” King says. “And I wanted to be that kind of artist who had that kind of freedom with his instrument.”\u003c/p>\n\u003cp>King saw Jones’ critically acclaimed performance in a 1961 production of Jean Genet’s \u003cem>The Blacks\u003c/em>. He also worked with Jones in a 1968 Broadway production of Howard Sackler’s \u003cem>The Great White Hope\u003c/em>, based on the life of champion black boxer Jack Johnson.\u003c/p>\n\u003cp>“It was an unbelievable kind of performance,” King recalled. “It was an amazing metamorphosis, watching him transform himself into this vicious boxer.”\u003c/p>\n\u003cp>Jones won a Tony for that role, as well as an Oscar nomination for the 1970 film adaptation, and he won a second Tony in 1987 for his role in August Wilson’s \u003cem>Fences\u003c/em>.\u003c/p>\n\u003cp>His first film role was as bombardier Lothar Zogg in Stanley Kubrick’s 1964 classic \u003cem>Dr. Strangelove\u003c/em>. In 1972’s \u003cem>The Man\u003c/em>, Jones played the first Black president; in the 1974 black classic \u003cem>Claudine, \u003c/em>he played a garbage man who charms a date out of a welfare mom; and in 1989’s \u003cem>Field of Dreams\u003c/em>, he \u003ca href=\"https://youtu.be/z6U1p0hehtg?t=5s\">explained why people would care about a baseball diamond in an Iowa cornfield\u003c/a>. Jones \u003ca href=\"http://www.broadway.com/buzz/162156/tony-nominee-james-earl-jones-on-four-decades-of-great-performances-from-othello-to-the-best-man/\">has said\u003c/a> that one of his favorite roles was that of the South African reverend in \u003cem>Cry, the Beloved Country\u003c/em>.\u003c/p>\n\u003cp>Jones’ voice has pervaded pop culture: He’s the voice of CNN and Verizon, and even showed up on a few episodes of \u003cem>The Simpsons\u003c/em>, which managed to kid the actor about his kaleidoscopic work \u003ca href=\"https://youtu.be/PX05DJWNj3k?t=1m4s\">in one fell swoop\u003c/a>.\u003c/p>\n\u003cp>In his conversation with \u003cem>Fresh Air\u003c/em>, Jones remembered the beginning of his voice-over career with amusement. “I think the first commercials I did … they asked me to ‘just give us the sound of God.’ … They were not embarrassed about saying that.”\u003c/p>\n\u003cfigure id=\"attachment_13963951\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963951\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png\" alt=\"A Black man wearing a suit stretches out his arms and bows his head on stage, surrounded by applauding fellow cast members.\" width=\"2000\" height=\"1330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1536x1021.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/JEJ-1920x1277.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jones takes a bow after his final performance in Broadway’s ‘You Can’t Take It With You’ in 2015. \u003ccite>(Grant Lamos IV/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New Federal Theater’s Woodie King said Jones was a warm, somewhat shy man who was a powerful artist. He followed in the footsteps of actors like Sidney Poitier, Paul Robeson and Canada Lee, all of whom refused to be limited by the old stereotypical roles of butlers or buffoons. Jones saw theater as a place for all people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What you have is a master craftsman at work,” King said. “He makes young people aware of the vast possibilities of this business when you are a craftsman. … The Broadway stage sees him as really colorless — not Black or white, but a brilliant artist.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-movies-fall-2024-review-npr-wicked-beetlejuice-substance-wolfs-joker",
"title": "The 25 Movies NPR Critics Can’t Wait to Watch This Fall",
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"content": "\u003cp>School’s back in session, election season’s heating up, the leaves need raking, and you just want to get out of the house and escape, right?\u003c/p>\n\u003cp>We’ve got you covered. Everything from award contenders to goofy comedies, a smattering of romance, plenty of anti-heroes, even an animated musical documentary constructed entirely of LEGOs — all curated by NPR critics.\u003c/p>\n\u003cp>We’ll see you at the movies.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CoZqL9N6Rx4\u003c/p>\n\u003ch2>\u003cstrong>‘Beetlejuice Beetlejuice,’ in theaters Sept. 6\u003c/strong>\u003c/h2>\n\u003cp>Look, who knows if this is gonna work? Plenty of directors have returned to their early films to see what, if any, gold remains to be mined. Sometimes they hit the motherlode (\u003cem>Mad Max: Fury Road\u003c/em>), other times the result is a cinematic cave-in (\u003cem>The Matrix Resurrections\u003c/em>). Director Tim Burton’s recent films have all displayed his trademark darkness, but it’s been years since we glimpsed the transgressive, anarchic humor he made his bones on. I’m pulling for him. It’s showtime.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K0jwAP2fS1E\u003c/p>\n\u003ch2>\u003cstrong>‘His Three Daughters\u003cem>,’ \u003c/em>in theaters Sept. 6, on Netflix Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>The cast sells this one: Carrie Coon, Elizabeth Olsen and Natasha Lyonne are each often the best thing about the projects they’re in. And here they are together, playing sisters who gather when their father is dying. It might not seem obvious to cast such different performers as family, but there is something about three singular women in the same film that makes a kind of sense. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=luWZENFNxoU\u003c/p>\n\u003ch2>\u003cstrong>‘Meanwhile on Earth,’ in theaters Sept. 13\u003c/strong>\u003c/h2>\n\u003cp>In this moody, surreal French sci-fi film, a young woman grieves her beloved brother, who disappeared on a space mission three years prior. One night, she receives a message: a mysterious presence says it can return him to Earth… if she does it a small favor. It’s the latest from director Jeremy Clapin, whose unforgettable \u003cem>I Lost my Body\u003c/em>, about a severed hand’s quest to be reunited with its original owner, was nominated for an Oscar in 2020. \u003cem>Nous allons! — Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Yvks3SeCDOs\u003c/p>\n\u003ch2>\u003cstrong>‘My Old Ass,’ in theaters Sept. 13\u003c/strong>\u003c/h2>\n\u003cp>While hallucinating on mushrooms in her last summer before college, Elliott (Maisy Stella) is visited by her 39-year-old self (Aubrey Plaza), blithely offering unsolicited advice: “I know mom can be annoying but be nice to her; hang out with your brothers; and avoid anyone named Chad.” That’s a cue for Percy Hynes White’s endearingly dorky Chad to make his appearance in Megan Park’s coming-of-age charmer. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4GTL2q9ueI4\u003c/p>\n\u003ch2>\u003cstrong>‘All Shall Be Well,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>A darling of the festival circuit, this Hong Kong drama follows Angie and Pat, a lesbian couple in their 60s who’ve been together for decades. When Pat suddenly dies, her family treats Angie with compassion — at first. Soon, questions over Pat’s estate cause a rift that endangers Angie’s ability to stay in the apartment they shared. Films tackling the intersection of queerness and aging aren’t exactly thick on the ground; early reviews say this one manages to be both sad and life-affirming. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_9CmC5Rmsdw\u003c/p>\n\u003ch2>\u003cstrong>‘A Different Man,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>This brutal psychological drama stars Sebastian Stan as an aspiring actor with neurofibromatosis, a genetic mutation. To widen his casting opportunities, he undergoes facial reconstructive surgery – but when he encounters a fellow performer with the same medical condition (Adam Pearson), he’s forced to reckon with the choice he made. This may be one of the strangest and most challenging things you’ll watch all year, and it’s worth it. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LNlrGhBpYjc\u003c/p>\n\u003ch2>\u003cstrong>‘The Substance,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>The body horror, the body horror! Coralie Fargeat’s latest film kind of sounds like a mad twist on \u003cem>Severance\u003c/em>: Demi Moore is an aerobics star who’s fired from her show for turning 50. She’s offered the chance to inject a substance that will transform her into a younger version of herself (Margaret Qualley). She must “switch” between her younger and older self every seven days, but — surprise, surprise! — things don’t go exactly as planned. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wLJUPjiRbAM\u003c/p>\n\u003ch2>\u003cstrong>‘WOLFS\u003cem>,’ \u003c/em>in theaters Sept. 20, on Apple TV+ Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>George Clooney and Brad Pitt have been making capers together since \u003cem>Ocean’s Eleven\u003c/em> in 2001. Now, they join up for an action comedy about two sketchy but efficient fixers. The only hangup is that they both work alone, but now they’re forced to work together. It’s a well-worn setup, and the result will depend on whether they can recapture the affectionate repartee one more time. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j9_nPeKnpfE\u003c/p>\n\u003ch2>\u003cstrong>‘Megalopolis,’ in theaters Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>Look, reportedly this whole production is deeply fraught — \u003ca href=\"https://www.theguardian.com/film/article/2024/may/14/has-this-guy-ever-made-a-movie-before-francis-ford-coppola-40-year-battle-megalopolis\">\u003cu>you can Google\u003c/u>\u003c/a> the \u003ca href=\"https://www.nytimes.com/2024/06/06/movies/francis-ford-coppola-megalopolis-godfather.html\">\u003cu>many reasons yourself\u003c/u>\u003c/a>. But the mere existence of a brand-new Francis Ford Coppola film in 2024 still has people talking. It’s a decades-long passion project with a stacked cast that includes Adam Driver, Giancarlo Esposito, Aubrey Plaza, Talia Shire, and Laurence Fishburne. And its CGI-heavy, time-traveling story looks truly out-there: Coppola reimagines the fall of Rome through the lens of a modern-day New York. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=67vbA5ZJdKQ\u003c/p>\n\u003ch2>\u003cstrong>‘The Wild Robot,’ in theaters Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>Filmmaker Chris Sanders (\u003cem>How to Train Your Dragon\u003c/em>) has been telling interviewers that the computer-generated visuals in this tale of a shipwrecked robot named Roz (voiced by Lupita Nyong’o) who befriends an island’s critters and adopts an orphaned gosling, were inspired by the watercolor backgrounds in Bambi, and by the lush hand-drawn forests of Hayao Miyazaki. The idea was to place the high-tech protagonist of this ecological fable in an emotionally resonant wilderness. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_OKAwz2MsJs\u003c/p>\n\u003ch2>\u003cstrong>‘Joker: Folie a Deux,’ in theaters Oct. 4\u003c/strong>\u003c/h2>\n\u003cp>The original \u003cem>Joker \u003c/em>was supposed to be a standalone film, but when it made a billion dollars, and Oscar-winner Joaquin Phoenix started dreaming about his deranged Arthur Fleck telling jokes and singing onstage, what’s a poor movie studio to do? Phoenix and director Todd Phillips conjured a story involving Fleck’s music therapist, Harley Quinn; Lady Gaga signed on to play her, and here we are. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cY95YW-HVCM\u003c/p>\n\u003ch2>\u003cstrong>‘The Platform 2,’ on Netflix Oct. 4\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>The Platform\u003c/em>, Spanish director Galder Gaztelu-Urrutia’s 2019 feature debut, was a nasty piece of work — an grisly anti-capitalist screed in sci-fi/horror clothing. In a tower prison, the residents of the top floors enjoy sumptuous meals served on a vast slab. But as that platform descends at designated intervals down through the tower, the lower residents fight over leftovers. No, it’s not subtle, as metaphors go, but I’m eager to see where a sequel takes us. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7Bc6trBc1kc\u003c/p>\n\u003ch2>\u003cstrong>‘Piece by Piece,’ in theaters Oct. 11\u003c/strong>\u003c/h2>\n\u003cp>“Y’know what’d be cool?” asks Pharrell Williams, channeling his “It might seem crazy what I’m ‘bout to say” opening lyric to “Happy” — “is if we told my story with LEGO pieces.” As he is LEGO-ized while saying this in Morgan Neville’s computer-animated documentary and is joined on several new songs by LEGO-ized Gwen Stefani, Justin Timberlake, Kendrick Lamar, Busta Rhymes, Jay-Z and Snoop Dogg, it’s hard to disagree.\u003cbr>\n\u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iZ9O_tl5Npk\u003c/p>\n\u003ch2>\u003cstrong>‘Saturday Night,’ in theaters Oct. 11\u003c/strong>\u003c/h2>\n\u003cp>Jason Reitman jumps back 49 years to revel in the nervous energy of Lorne Michaels, Chevy Chase, Gilda Radner, Garrett Morris, John Belushi, Dan Aykroyd, and Jane Curtin on the eve of the very first broadcast of a little late-night comedy show they’d come up with. Interviews with the surviving principals inform the dramedy’s portrait of the hours leading up to those fateful words “Live from New York, it’s Saturday Night!” on Oct. 11, 1975. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p1HxTmV5i7c\u003c/p>\n\u003ch2>\u003cstrong>‘Anora,’ in theaters Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>The first American film to win the Palme d’Or at Cannes in 13 years, Sean Baker’s comic drama follows New York sex worker Anora (Mikey Madison) as she impulsively elopes with Russian tourist Vanya (Mark Eydelshteyn), who’s eager to avoid deportation. The magic in their fairytale romance is challenged somewhat when Vanya’s parents swan in to try to get the marriage annulled.\u003cem> — Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wBMXS32KOQ4\u003c/p>\n\u003ch2>\u003cstrong>‘Rumours,’ in theaters Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>Guy Maddin makes movies (\u003cem>Careful\u003c/em>, \u003cem>The Saddest Music in the World\u003c/em>, \u003cem>My Winnipeg\u003c/em>) that are rich and strange — not necessarily in a crowd-pleasing way, but invariably in a me-pleasing way. He’s teaming with brothers Evan and Galen Johnson to write and direct this one, and the plot promises a big swing: World leaders attending the G7 conference get lost in the woods. I was all-in for this movie even BEFORE I found it stars Cate Blanchett and a giant brain. And now that I know that? All-innest! \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PGXA1utDS_o\u003c/p>\n\u003ch2>\u003cstrong>‘Woman of the Hour,’ on Netflix Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>Anna Kendrick’s directorial debut (in which she also stars) is based on the story of a serial killer who went on \u003cem>The Dating Game\u003c/em>. It’s a bizarre and unsettling story to say the least, and it got solid reviews at the Toronto International Film Festival last year. Kendrick is a more interesting actress than she’s sometimes given credit for, and she may be the same as a director. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13963844\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963844\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel.png\" alt=\"Two young men gaze up at the sky.\" width=\"2000\" height=\"1352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1536x1038.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1920x1298.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Nickel Boys.’ \u003ccite>(L. Kasimu Harris/Amazon Content Services)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Nickel Boys,’ in theaters Oct. 25\u003c/strong>\u003c/h2>\n\u003cp>Colson Whitehead’s Pulitzer winner about a Jim Crow-era reform school (based on Florida’s notorious Dozier School) chronicled the experiences of two Black teenagers — Elwood (Ethan Herisse) and Turner (Brandon Wilson) — as they try to survive the horrors and abuse of the school. RaMell Ross’ film will be the opening attraction at the New York Film Festival. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nYPJIOF0ys4\u003c/p>\n\u003ch2>\u003cstrong>‘A Real Pain,’ in theaters Nov. 1\u003c/strong>\u003c/h2>\n\u003cp>Kieran Culkin is fresh off a stunning performance in HBO’s \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a>, where he could be surprisingly sympathetic for a guy who was basically a sleazeball. Here, he joins Jesse Eisenberg, who also wrote and directed, to play cousins who join up for a trip in Poland. These are both actors who are just about always worth your time, and who doesn’t love a road trip movie? \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I_id-SkGU2k\u003c/p>\n\u003ch2>\u003cstrong>‘Here,’ in theaters Nov. 1\u003c/strong>\u003c/h2>\n\u003cp>Director Robert Zemeckis never met a technological innovation he didn’t want to play with, from motion capture in \u003cem>Polar Express\u003c/em> to digital animation in \u003cem>Who Framed Roger Rabbit.\u003c/em> This time, he’s employing generative AI to face-swap and de-age his \u003cem>Forrest Gump\u003c/em> stars, Tom Hanks and Robin Wright, as they play characters from 18 to 80 in a story that chronicles events on a single plot of land. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=t3HupHq8-eE\u003c/p>\n\u003ch2>\u003cstrong>‘Emilia Pérez,’ in theaters Nov. 1, on Netflix Nov. 13\u003c/strong>\u003c/h2>\n\u003cp>The word out of Cannes earlier this year, where it won the Jury Prize, was that Jacques Audiard’s musical comedy crime film is both exciting and polarizing. At the very least, the logline is compelling: Zoe Saldaña is a lawyer who’s roped into helping a ruthless cartel leader (Karla Sofía Gascón) fake her own death so she can undergo gender affirming surgery. Mentally prepare yourself now for The Discourse to come.\u003cbr>\n\u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O9i2vmFhSSY\u003c/p>\n\u003ch2>\u003cstrong>‘Heretic,’ in theaters Nov. 15\u003c/strong>\u003c/h2>\n\u003cp>Two young women, Mormon missionaries, greet a kindly older man who invites them inside his remote home for a sober discussion of the tenets of their faith. But this is an A24 horror film, so things don’t stay sober for long. The older man in question is played by a slyly sinister Hugh Grant, and his home is an elaborate maze made to test their faiths. I’m getting \u003cem>Barbarian \u003c/em>vibes from the trailer — and it’s not like that cardigan Grant’s wearing makes things any LESS creepy. Brrrr. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13963845\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963845\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz.png\" alt=\"A woman runs through a station with a small boy.\" width=\"2000\" height=\"1119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1020x571.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1536x859.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1920x1074.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Blitz.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Blitz,’ in theaters Nov. 1, on Apple TV+ Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>Steve McQueen — that name alone should be enough to warrant attention. The \u003cem>Shame \u003c/em>and \u003cem>12 Years a Slave\u003c/em> filmmaker wrote and directed this historical drama, which has been described as an “epic journey” set during World War II. And it stars the always captivating Saoirse Ronan as a woman whose young son goes missing in the English countryside. Sign me up.\u003cbr>\n\u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4rgYUipGJNo\u003c/p>\n\u003ch2>\u003cstrong>‘Gladiator II,’ in theaters Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>Two decades after the events depicted in Ridley Scott’s \u003cem>Gladiator,\u003c/em> Lucius, the little boy (grandson of an emperor) who cheered on Russell Crowe in the Colosseum, has grown up to be Paul Mescal and finds himself in much the same position. Enslaved, he’ll fight not tigers, but a rhinoceros, under the tutelage of power-broker Denzel Washington as he opposes a pair of cruel and capricious young emperors. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6COmYeLsz4c\u003c/p>\n\u003ch2>\u003cstrong>‘Wicked,’ in theaters Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Two witches — Galinda (Ariana Grande), bubbly and “popular,” Elphaba (Cynthia Erivo), green and fragile — take on a duplicitous wizard (Jeff Goldblum) in this adaptation of the first act of the smash Broadway musical based on Gregory Maguire’s \u003cem>Wicked: The Life and Times of the Wicked Witch of the West\u003c/em>. It’ll be a long and winding yellow brick road (the second act arrives for Thanksgiving 2025). \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>School’s back in session, election season’s heating up, the leaves need raking, and you just want to get out of the house and escape, right?\u003c/p>\n\u003cp>We’ve got you covered. Everything from award contenders to goofy comedies, a smattering of romance, plenty of anti-heroes, even an animated musical documentary constructed entirely of LEGOs — all curated by NPR critics.\u003c/p>\n\u003cp>We’ll see you at the movies.\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/CoZqL9N6Rx4'\n title='//www.youtube.com/embed/CoZqL9N6Rx4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Beetlejuice Beetlejuice,’ in theaters Sept. 6\u003c/strong>\u003c/h2>\n\u003cp>Look, who knows if this is gonna work? Plenty of directors have returned to their early films to see what, if any, gold remains to be mined. Sometimes they hit the motherlode (\u003cem>Mad Max: Fury Road\u003c/em>), other times the result is a cinematic cave-in (\u003cem>The Matrix Resurrections\u003c/em>). Director Tim Burton’s recent films have all displayed his trademark darkness, but it’s been years since we glimpsed the transgressive, anarchic humor he made his bones on. I’m pulling for him. It’s showtime.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/K0jwAP2fS1E'\n title='//www.youtube.com/embed/K0jwAP2fS1E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘His Three Daughters\u003cem>,’ \u003c/em>in theaters Sept. 6, on Netflix Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>The cast sells this one: Carrie Coon, Elizabeth Olsen and Natasha Lyonne are each often the best thing about the projects they’re in. And here they are together, playing sisters who gather when their father is dying. It might not seem obvious to cast such different performers as family, but there is something about three singular women in the same film that makes a kind of sense. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/luWZENFNxoU'\n title='//www.youtube.com/embed/luWZENFNxoU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Meanwhile on Earth,’ in theaters Sept. 13\u003c/strong>\u003c/h2>\n\u003cp>In this moody, surreal French sci-fi film, a young woman grieves her beloved brother, who disappeared on a space mission three years prior. One night, she receives a message: a mysterious presence says it can return him to Earth… if she does it a small favor. It’s the latest from director Jeremy Clapin, whose unforgettable \u003cem>I Lost my Body\u003c/em>, about a severed hand’s quest to be reunited with its original owner, was nominated for an Oscar in 2020. \u003cem>Nous allons! — Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Yvks3SeCDOs'\n title='//www.youtube.com/embed/Yvks3SeCDOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘My Old Ass,’ in theaters Sept. 13\u003c/strong>\u003c/h2>\n\u003cp>While hallucinating on mushrooms in her last summer before college, Elliott (Maisy Stella) is visited by her 39-year-old self (Aubrey Plaza), blithely offering unsolicited advice: “I know mom can be annoying but be nice to her; hang out with your brothers; and avoid anyone named Chad.” That’s a cue for Percy Hynes White’s endearingly dorky Chad to make his appearance in Megan Park’s coming-of-age charmer. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4GTL2q9ueI4'\n title='//www.youtube.com/embed/4GTL2q9ueI4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘All Shall Be Well,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>A darling of the festival circuit, this Hong Kong drama follows Angie and Pat, a lesbian couple in their 60s who’ve been together for decades. When Pat suddenly dies, her family treats Angie with compassion — at first. Soon, questions over Pat’s estate cause a rift that endangers Angie’s ability to stay in the apartment they shared. Films tackling the intersection of queerness and aging aren’t exactly thick on the ground; early reviews say this one manages to be both sad and life-affirming. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_9CmC5Rmsdw'\n title='//www.youtube.com/embed/_9CmC5Rmsdw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘A Different Man,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>This brutal psychological drama stars Sebastian Stan as an aspiring actor with neurofibromatosis, a genetic mutation. To widen his casting opportunities, he undergoes facial reconstructive surgery – but when he encounters a fellow performer with the same medical condition (Adam Pearson), he’s forced to reckon with the choice he made. This may be one of the strangest and most challenging things you’ll watch all year, and it’s worth it. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LNlrGhBpYjc'\n title='//www.youtube.com/embed/LNlrGhBpYjc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘The Substance,’ in theaters Sept. 20\u003c/strong>\u003c/h2>\n\u003cp>The body horror, the body horror! Coralie Fargeat’s latest film kind of sounds like a mad twist on \u003cem>Severance\u003c/em>: Demi Moore is an aerobics star who’s fired from her show for turning 50. She’s offered the chance to inject a substance that will transform her into a younger version of herself (Margaret Qualley). She must “switch” between her younger and older self every seven days, but — surprise, surprise! — things don’t go exactly as planned. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/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>\u003ch2>\u003cstrong>‘WOLFS\u003cem>,’ \u003c/em>in theaters Sept. 20, on Apple TV+ Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>George Clooney and Brad Pitt have been making capers together since \u003cem>Ocean’s Eleven\u003c/em> in 2001. Now, they join up for an action comedy about two sketchy but efficient fixers. The only hangup is that they both work alone, but now they’re forced to work together. It’s a well-worn setup, and the result will depend on whether they can recapture the affectionate repartee one more time. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/j9_nPeKnpfE'\n title='//www.youtube.com/embed/j9_nPeKnpfE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Megalopolis,’ in theaters Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>Look, reportedly this whole production is deeply fraught — \u003ca href=\"https://www.theguardian.com/film/article/2024/may/14/has-this-guy-ever-made-a-movie-before-francis-ford-coppola-40-year-battle-megalopolis\">\u003cu>you can Google\u003c/u>\u003c/a> the \u003ca href=\"https://www.nytimes.com/2024/06/06/movies/francis-ford-coppola-megalopolis-godfather.html\">\u003cu>many reasons yourself\u003c/u>\u003c/a>. But the mere existence of a brand-new Francis Ford Coppola film in 2024 still has people talking. It’s a decades-long passion project with a stacked cast that includes Adam Driver, Giancarlo Esposito, Aubrey Plaza, Talia Shire, and Laurence Fishburne. And its CGI-heavy, time-traveling story looks truly out-there: Coppola reimagines the fall of Rome through the lens of a modern-day New York. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/67vbA5ZJdKQ'\n title='//www.youtube.com/embed/67vbA5ZJdKQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘The Wild Robot,’ in theaters Sept. 27\u003c/strong>\u003c/h2>\n\u003cp>Filmmaker Chris Sanders (\u003cem>How to Train Your Dragon\u003c/em>) has been telling interviewers that the computer-generated visuals in this tale of a shipwrecked robot named Roz (voiced by Lupita Nyong’o) who befriends an island’s critters and adopts an orphaned gosling, were inspired by the watercolor backgrounds in Bambi, and by the lush hand-drawn forests of Hayao Miyazaki. The idea was to place the high-tech protagonist of this ecological fable in an emotionally resonant wilderness. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_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>\u003ch2>\u003cstrong>‘Joker: Folie a Deux,’ in theaters Oct. 4\u003c/strong>\u003c/h2>\n\u003cp>The original \u003cem>Joker \u003c/em>was supposed to be a standalone film, but when it made a billion dollars, and Oscar-winner Joaquin Phoenix started dreaming about his deranged Arthur Fleck telling jokes and singing onstage, what’s a poor movie studio to do? Phoenix and director Todd Phillips conjured a story involving Fleck’s music therapist, Harley Quinn; Lady Gaga signed on to play her, and here we are. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cY95YW-HVCM'\n title='//www.youtube.com/embed/cY95YW-HVCM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘The Platform 2,’ on Netflix Oct. 4\u003c/strong>\u003c/h2>\n\u003cp>\u003cem>The Platform\u003c/em>, Spanish director Galder Gaztelu-Urrutia’s 2019 feature debut, was a nasty piece of work — an grisly anti-capitalist screed in sci-fi/horror clothing. In a tower prison, the residents of the top floors enjoy sumptuous meals served on a vast slab. But as that platform descends at designated intervals down through the tower, the lower residents fight over leftovers. No, it’s not subtle, as metaphors go, but I’m eager to see where a sequel takes us. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7Bc6trBc1kc'\n title='//www.youtube.com/embed/7Bc6trBc1kc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Piece by Piece,’ in theaters Oct. 11\u003c/strong>\u003c/h2>\n\u003cp>“Y’know what’d be cool?” asks Pharrell Williams, channeling his “It might seem crazy what I’m ‘bout to say” opening lyric to “Happy” — “is if we told my story with LEGO pieces.” As he is LEGO-ized while saying this in Morgan Neville’s computer-animated documentary and is joined on several new songs by LEGO-ized Gwen Stefani, Justin Timberlake, Kendrick Lamar, Busta Rhymes, Jay-Z and Snoop Dogg, it’s hard to disagree.\u003cbr>\n\u003cem>— Bob Mondello\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/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>\u003ch2>\u003cstrong>‘Saturday Night,’ in theaters Oct. 11\u003c/strong>\u003c/h2>\n\u003cp>Jason Reitman jumps back 49 years to revel in the nervous energy of Lorne Michaels, Chevy Chase, Gilda Radner, Garrett Morris, John Belushi, Dan Aykroyd, and Jane Curtin on the eve of the very first broadcast of a little late-night comedy show they’d come up with. Interviews with the surviving principals inform the dramedy’s portrait of the hours leading up to those fateful words “Live from New York, it’s Saturday Night!” on Oct. 11, 1975. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/p1HxTmV5i7c'\n title='//www.youtube.com/embed/p1HxTmV5i7c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Anora,’ in theaters Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>The first American film to win the Palme d’Or at Cannes in 13 years, Sean Baker’s comic drama follows New York sex worker Anora (Mikey Madison) as she impulsively elopes with Russian tourist Vanya (Mark Eydelshteyn), who’s eager to avoid deportation. The magic in their fairytale romance is challenged somewhat when Vanya’s parents swan in to try to get the marriage annulled.\u003cem> — Bob Mondello\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wBMXS32KOQ4'\n title='//www.youtube.com/embed/wBMXS32KOQ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Rumours,’ in theaters Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>Guy Maddin makes movies (\u003cem>Careful\u003c/em>, \u003cem>The Saddest Music in the World\u003c/em>, \u003cem>My Winnipeg\u003c/em>) that are rich and strange — not necessarily in a crowd-pleasing way, but invariably in a me-pleasing way. He’s teaming with brothers Evan and Galen Johnson to write and direct this one, and the plot promises a big swing: World leaders attending the G7 conference get lost in the woods. I was all-in for this movie even BEFORE I found it stars Cate Blanchett and a giant brain. And now that I know that? All-innest! \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PGXA1utDS_o'\n title='//www.youtube.com/embed/PGXA1utDS_o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Woman of the Hour,’ on Netflix Oct. 18\u003c/strong>\u003c/h2>\n\u003cp>Anna Kendrick’s directorial debut (in which she also stars) is based on the story of a serial killer who went on \u003cem>The Dating Game\u003c/em>. It’s a bizarre and unsettling story to say the least, and it got solid reviews at the Toronto International Film Festival last year. Kendrick is a more interesting actress than she’s sometimes given credit for, and she may be the same as a director. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13963844\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963844\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel.png\" alt=\"Two young men gaze up at the sky.\" width=\"2000\" height=\"1352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-800x541.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1020x690.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1536x1038.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/nickel-1920x1298.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Nickel Boys.’ \u003ccite>(L. Kasimu Harris/Amazon Content Services)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘The Nickel Boys,’ in theaters Oct. 25\u003c/strong>\u003c/h2>\n\u003cp>Colson Whitehead’s Pulitzer winner about a Jim Crow-era reform school (based on Florida’s notorious Dozier School) chronicled the experiences of two Black teenagers — Elwood (Ethan Herisse) and Turner (Brandon Wilson) — as they try to survive the horrors and abuse of the school. RaMell Ross’ film will be the opening attraction at the New York Film Festival. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nYPJIOF0ys4'\n title='//www.youtube.com/embed/nYPJIOF0ys4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘A Real Pain,’ in theaters Nov. 1\u003c/strong>\u003c/h2>\n\u003cp>Kieran Culkin is fresh off a stunning performance in HBO’s \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a>, where he could be surprisingly sympathetic for a guy who was basically a sleazeball. Here, he joins Jesse Eisenberg, who also wrote and directed, to play cousins who join up for a trip in Poland. These are both actors who are just about always worth your time, and who doesn’t love a road trip movie? \u003cem>— Linda Holmes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/I_id-SkGU2k'\n title='//www.youtube.com/embed/I_id-SkGU2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Here,’ in theaters Nov. 1\u003c/strong>\u003c/h2>\n\u003cp>Director Robert Zemeckis never met a technological innovation he didn’t want to play with, from motion capture in \u003cem>Polar Express\u003c/em> to digital animation in \u003cem>Who Framed Roger Rabbit.\u003c/em> This time, he’s employing generative AI to face-swap and de-age his \u003cem>Forrest Gump\u003c/em> stars, Tom Hanks and Robin Wright, as they play characters from 18 to 80 in a story that chronicles events on a single plot of land. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/t3HupHq8-eE'\n title='//www.youtube.com/embed/t3HupHq8-eE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Emilia Pérez,’ in theaters Nov. 1, on Netflix Nov. 13\u003c/strong>\u003c/h2>\n\u003cp>The word out of Cannes earlier this year, where it won the Jury Prize, was that Jacques Audiard’s musical comedy crime film is both exciting and polarizing. At the very least, the logline is compelling: Zoe Saldaña is a lawyer who’s roped into helping a ruthless cartel leader (Karla Sofía Gascón) fake her own death so she can undergo gender affirming surgery. Mentally prepare yourself now for The Discourse to come.\u003cbr>\n\u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/O9i2vmFhSSY'\n title='//www.youtube.com/embed/O9i2vmFhSSY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Heretic,’ in theaters Nov. 15\u003c/strong>\u003c/h2>\n\u003cp>Two young women, Mormon missionaries, greet a kindly older man who invites them inside his remote home for a sober discussion of the tenets of their faith. But this is an A24 horror film, so things don’t stay sober for long. The older man in question is played by a slyly sinister Hugh Grant, and his home is an elaborate maze made to test their faiths. I’m getting \u003cem>Barbarian \u003c/em>vibes from the trailer — and it’s not like that cardigan Grant’s wearing makes things any LESS creepy. Brrrr. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13963845\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963845\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz.png\" alt=\"A woman runs through a station with a small boy.\" width=\"2000\" height=\"1119\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1020x571.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1536x859.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/blitz-1920x1074.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Blitz.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>‘Blitz,’ in theaters Nov. 1, on Apple TV+ Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>Steve McQueen — that name alone should be enough to warrant attention. The \u003cem>Shame \u003c/em>and \u003cem>12 Years a Slave\u003c/em> filmmaker wrote and directed this historical drama, which has been described as an “epic journey” set during World War II. And it stars the always captivating Saoirse Ronan as a woman whose young son goes missing in the English countryside. Sign me up.\u003cbr>\n\u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4rgYUipGJNo'\n title='//www.youtube.com/embed/4rgYUipGJNo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Gladiator II,’ in theaters Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>Two decades after the events depicted in Ridley Scott’s \u003cem>Gladiator,\u003c/em> Lucius, the little boy (grandson of an emperor) who cheered on Russell Crowe in the Colosseum, has grown up to be Paul Mescal and finds himself in much the same position. Enslaved, he’ll fight not tigers, but a rhinoceros, under the tutelage of power-broker Denzel Washington as he opposes a pair of cruel and capricious young emperors. \u003cem>— Bob Mondello\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6COmYeLsz4c'\n title='//www.youtube.com/embed/6COmYeLsz4c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>‘Wicked,’ in theaters Nov. 22\u003c/strong>\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two witches — Galinda (Ariana Grande), bubbly and “popular,” Elphaba (Cynthia Erivo), green and fragile — take on a duplicitous wizard (Jeff Goldblum) in this adaptation of the first act of the smash Broadway musical based on Gregory Maguire’s \u003cem>Wicked: The Life and Times of the Wicked Witch of the West\u003c/em>. It’ll be a long and winding yellow brick road (the second act arrives for Thanksgiving 2025). \u003cem>— Bob Mondello\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“I have global entry!”\u003c/p>\n\u003cp>Now, does that sound like a funny line? Of course it doesn’t. Whatever in the history of mankind and airport lines could be funny about global entry?\u003c/p>\n\u003cp>[aside postid='arts_13958707']But put it in the mouth of comedy goddess Catherine O’Hara, and place it in the singularly inventive world of \u003ca href=\"https://www.kqed.org/arts/28185/theres_a_method_to_tim_burtons_madness\">Tim Burton\u003c/a> and that wacky afterlife waiting room from \u003cem>Beetlejuice\u003c/em>, and it may become the one blessed time in your life you’ll ever guffaw about global entry.\u003c/p>\n\u003cp>It likely won’t be the only thing you’ll guffaw about. Burton is back — and, more significantly, he is BACK — with \u003cem>Beetlejuice Beetlejuice\u003c/em>, 36 years after the original. And for once, the question “Why a sequel?” is moot.\u003c/p>\n\u003cp>Not because we know the answer. (Do we?) But, who cares? It’s funny. It may even make you feel better about, well, death, though not “death death.” And Michael Keaton somehow looks exactly the same as he did in 1988 (to be fair, it helps that his character was already dead.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=As-vKW4ZboU\u003c/p>\n\u003cp>Returning to his tale of Keaton’s ghostly, fiendish “bio-exorcist,” director Burton brings back much of the team behind the original, including, alongside O’Hara and Keaton, the still-lovely Winona Ryder as Lydia the Goth Girl (also, Bob the shrunken-head guy).\u003c/p>\n\u003cp>And we’ve gained Justin Theroux, Monica Bellucci, Willem Dafoe, and for the younger generation, Jenna Ortega, who, as a relatively normal figure, serves as an appealing anchor, her story moving the plot along.\u003c/p>\n\u003cp>[aside postid='arts_13963648']Speaking of plot: if you didn’t see the original, not to worry. It all gets explained (as much as it should be) in time. We begin in Winter River, Connecticut, still home to Lydia Deetz (Ryder), who came as a teenager with batty stepmom Delia and dad Charles, only to learn her new house was haunted by the recently deceased Adam and Barbara (Alec Baldwin and Geena Davis, alas not back).\u003c/p>\n\u003cp>Lydia looks much the same — dressed all in black, with spiky bangs and pale skin — but is now a widowed mother, a psychic mediator, and host of a cheesy reality show, \u003cem>Ghost House\u003c/em>, in which she sees ghosts and asks, “Can the living and the dead co-exist?”\u003c/p>\n\u003cp>But one day she sees something in the audience that scares her: visions of Beetlejuice, who wrought havoc when she was a teen and who, when we last left him, was wasting away in the afterlife waiting room (apparently, HE did not have global entry.)\u003c/p>\n\u003cp>Waiting just off set to comfort Lydia after this terrifying vision is her manager and boyfriend, Rory (Theroux), who has a little ponytail almost as smarmy as himself.\u003c/p>\n\u003cp>Lydia then gets a concerning message from Delia (O’Hara), an artist of questionable talent and unquestionable ego, who’s mounting a gallery show in which she herself is the canvas. There, Delia tells Lydia that she’s lost Charles. “Is he divorcing you?” gasps Lydia. “What a horrible thought!” replies Delia. “No, he’s dead.” (Such lines are catnip for O’Hara, a genius of comic timing).\u003c/p>\n\u003cp>[aside postid='arts_13963688']Lydia calls her daughter, Astrid (Ortega), at boarding school. Astrid lists Lydia in her contacts as “Alleged Mom,” which tells you much of what you need to know about their fraught relationship\u003c/p>\n\u003cp>But let’s pause this account of the living, because we also have to catch you up on the dead. Down where Beetlejuice is stuck, where the dead live — but not the “dead dead” — Delores, Beetlejuice’s ex-wife, has escaped from the crates (emphasis on plural) in which her body has resided. Watching the glamorous Bellucci literally staple herself together is just one of the glorious creative moments Burton and crew give us here. Alas, Delores doesn’t have much else to do, but this is rather spectacular.\u003c/p>\n\u003cp>We’re approaching spoiler territory, so let’s just say that things really get complicated when Astrid goes home to Winter River for her father’s funeral. There, she watches as Mom accepts a marriage proposal from smarmy Rory. Racing off to escape, Astrid runs into a cute young guy reading Dostoyevsky.\u003c/p>\n\u003cp>A relationship begins, one that will lead to unexpected mayhem. Let’s just say Lydia will need to call upon — gasp! — Beetlejuice, who will exact a fearsome price for his services, as he is wont to do.\u003c/p>\n\u003cp>And he appears none too soon. Keaton, in his white caked makeup and blackened eyes and hair that looks like he is perpetually sticking his hand into a plug in the wall, slips remarkably smoothly into his old role. “The juice is loose,” as he likes to say.\u003c/p>\n\u003cp>But you know who’s also got the juice flowing? Burton. It’s his inimitable energy that infuses this movie — a joyously rendered sequel that sometimes makes sense, and sometimes doesn’t, but just keeps rollicking. Among the ridiculous delights along the way: A “soul train” in the afterlife, which is not only literally a train of souls, but a replica of the variety show \u003cem>Soul Train\u003c/em>, with people in Afros dancing their way to wherever they are going.\u003c/p>\n\u003cp>[aside postid='arts_13963123']And if we don’t have the lip-synced “Day-O (The Banana Boat Song)” from the original, we do have a lip-synced “MacArthur Park,” the Donna Summer version. “Someone left the cake out in the rain,” go the ridiculous words of the disco classic. “I don’t think that I can take it, ’cause it took so long to bake it, and I’ll never have that recipe again.”\u003c/p>\n\u003cp>In the Burtonian spirit, let’s just say it took a long time to bake it, yes, but the director has recovered the recipe — at least enough to make us smile, chortle, even guffaw, for 104 minutes. And we can be happy with that.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Beetlejuice Beetlejuice’ is released nationwide on Sept. 6, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But put it in the mouth of comedy goddess Catherine O’Hara, and place it in the singularly inventive world of \u003ca href=\"https://www.kqed.org/arts/28185/theres_a_method_to_tim_burtons_madness\">Tim Burton\u003c/a> and that wacky afterlife waiting room from \u003cem>Beetlejuice\u003c/em>, and it may become the one blessed time in your life you’ll ever guffaw about global entry.\u003c/p>\n\u003cp>It likely won’t be the only thing you’ll guffaw about. Burton is back — and, more significantly, he is BACK — with \u003cem>Beetlejuice Beetlejuice\u003c/em>, 36 years after the original. And for once, the question “Why a sequel?” is moot.\u003c/p>\n\u003cp>Not because we know the answer. (Do we?) But, who cares? It’s funny. It may even make you feel better about, well, death, though not “death death.” And Michael Keaton somehow looks exactly the same as he did in 1988 (to be fair, it helps that his character was already dead.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Speaking of plot: if you didn’t see the original, not to worry. It all gets explained (as much as it should be) in time. We begin in Winter River, Connecticut, still home to Lydia Deetz (Ryder), who came as a teenager with batty stepmom Delia and dad Charles, only to learn her new house was haunted by the recently deceased Adam and Barbara (Alec Baldwin and Geena Davis, alas not back).\u003c/p>\n\u003cp>Lydia looks much the same — dressed all in black, with spiky bangs and pale skin — but is now a widowed mother, a psychic mediator, and host of a cheesy reality show, \u003cem>Ghost House\u003c/em>, in which she sees ghosts and asks, “Can the living and the dead co-exist?”\u003c/p>\n\u003cp>But one day she sees something in the audience that scares her: visions of Beetlejuice, who wrought havoc when she was a teen and who, when we last left him, was wasting away in the afterlife waiting room (apparently, HE did not have global entry.)\u003c/p>\n\u003cp>Waiting just off set to comfort Lydia after this terrifying vision is her manager and boyfriend, Rory (Theroux), who has a little ponytail almost as smarmy as himself.\u003c/p>\n\u003cp>Lydia then gets a concerning message from Delia (O’Hara), an artist of questionable talent and unquestionable ego, who’s mounting a gallery show in which she herself is the canvas. There, Delia tells Lydia that she’s lost Charles. “Is he divorcing you?” gasps Lydia. “What a horrible thought!” replies Delia. “No, he’s dead.” (Such lines are catnip for O’Hara, a genius of comic timing).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lydia calls her daughter, Astrid (Ortega), at boarding school. Astrid lists Lydia in her contacts as “Alleged Mom,” which tells you much of what you need to know about their fraught relationship\u003c/p>\n\u003cp>But let’s pause this account of the living, because we also have to catch you up on the dead. Down where Beetlejuice is stuck, where the dead live — but not the “dead dead” — Delores, Beetlejuice’s ex-wife, has escaped from the crates (emphasis on plural) in which her body has resided. Watching the glamorous Bellucci literally staple herself together is just one of the glorious creative moments Burton and crew give us here. Alas, Delores doesn’t have much else to do, but this is rather spectacular.\u003c/p>\n\u003cp>We’re approaching spoiler territory, so let’s just say that things really get complicated when Astrid goes home to Winter River for her father’s funeral. There, she watches as Mom accepts a marriage proposal from smarmy Rory. Racing off to escape, Astrid runs into a cute young guy reading Dostoyevsky.\u003c/p>\n\u003cp>A relationship begins, one that will lead to unexpected mayhem. Let’s just say Lydia will need to call upon — gasp! — Beetlejuice, who will exact a fearsome price for his services, as he is wont to do.\u003c/p>\n\u003cp>And he appears none too soon. Keaton, in his white caked makeup and blackened eyes and hair that looks like he is perpetually sticking his hand into a plug in the wall, slips remarkably smoothly into his old role. “The juice is loose,” as he likes to say.\u003c/p>\n\u003cp>But you know who’s also got the juice flowing? Burton. It’s his inimitable energy that infuses this movie — a joyously rendered sequel that sometimes makes sense, and sometimes doesn’t, but just keeps rollicking. Among the ridiculous delights along the way: A “soul train” in the afterlife, which is not only literally a train of souls, but a replica of the variety show \u003cem>Soul Train\u003c/em>, with people in Afros dancing their way to wherever they are going.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And if we don’t have the lip-synced “Day-O (The Banana Boat Song)” from the original, we do have a lip-synced “MacArthur Park,” the Donna Summer version. “Someone left the cake out in the rain,” go the ridiculous words of the disco classic. “I don’t think that I can take it, ’cause it took so long to bake it, and I’ll never have that recipe again.”\u003c/p>\n\u003cp>In the Burtonian spirit, let’s just say it took a long time to bake it, yes, but the director has recovered the recipe — at least enough to make us smile, chortle, even guffaw, for 104 minutes. And we can be happy with that.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Beetlejuice Beetlejuice’ is released nationwide on Sept. 6, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Since premiering on Hulu in 2021, \u003cem>Only Murders in the Building\u003c/em> has gotten plenty of Emmy nominations, but hasn’t really gotten its due. Even for the 2024 Emmys, which are handed out later in September, the series was snubbed in the Comedy Series Writing category. Which is a small sin, because co-creators \u003ca href=\"https://www.kqed.org/arts/13954796/steve-martin-apple-tv-documentary-then-now-stand-up\">Steve Martin\u003c/a> and John Hoffman have managed to craft a comedy mystery series in which the laughs are plentiful and the mysteries are plausible and surprising. Pulling off either one of those feats is impressive; nailing them both is indeed Emmy-worthy.\u003c/p>\n\u003cp>[aside postid='arts_13962860']Not that \u003cem>Only Murders\u003c/em> is completely lacking for attention, or awards. The show has won four Emmys to date — though only one for an actor, for guest star Nathan Lane in 2022. But every year, the show finds ways to showcase its regular and guest stars more creatively. And this year, for the first time, all three series leads are nominated.\u003c/p>\n\u003cp>And deservedly so: Martin as former TV detective Charles-Haden Savage, and Martin Short as former Broadway director Oliver Putnam, are both insufferably egotistic and painfully insecure — and sporadically, gleefully hilarious. And \u003ca href=\"https://www.kqed.org/pop/96259/lady-gaga-and-selena-gomez-are-defying-stereotypes-about-chronically-ill-people\">Selena Gomez\u003c/a>, as mystery podcasting fan Mabel Mora, is as droll and dry as Short’s Oliver is bubbly and over the top.\u003c/p>\n\u003cp>The new season of \u003cem>Only Murders in the Building\u003c/em> takes this unlikely trio to a new setting — but only temporarily. Because of the success of their previous seasons of crime solving, the three podcasting partners are flown to Hollywood, where a movie executive hopes to buy their life rights and make a movie based on their adventures.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dKyX8rocAB8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie exec is played by Molly Shannon, formerly of \u003cem>Saturday Night Live, \u003c/em>who throws a glitzy party for the new arrivals. At the party, she tries to wow them by introducing them to the actors cast to play their big-screen counterparts.\u003c/p>\n\u003cp>Once the movie is greenlit, Charles, Oliver and Mabel head back to their familiar New York apartment complex, where a recent bullet hole found in the window of Charles’ apartment leads them to suspect he may have been targeted for murder. They also suspect the sniper may have aimed from one of the apartments across their courtyard.\u003c/p>\n\u003cp>Charles studies the behavior of the residents occupying the west tower, then convenes his podcast partners to discuss his suspicions. At this point, \u003cem>Only Murders\u003c/em> becomes the comedy equivalent of \u003cem>Rear Window. \u003c/em>Like James Stewart in that famous\u003ca href=\"https://www.kqed.org/arts/tag/alfred-hitchcock\"> Hitchcock\u003c/a> movie, our heroes expect that evil is afoot across the way. But with these three, the way they go about their voyeuristic inquiry highlights their very distinct, and very funny, personalities.\u003c/p>\n\u003cp>[aside postid='arts_13963546']Both of these Season 4 plots — the movie being made and a new murder in the building — make room for a small commuter plane full of guest stars, all of whom come to play, and show us a great time. And almost all the \u003cem>Only Murders\u003c/em> actors nominated for Emmys this year, in various supporting categories, are back — including Da’Vine Joy Randolph, \u003ca href=\"https://www.kqed.org/pop/tag/paul-rudd\">Paul Rudd\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/meryl-streep\">Meryl Streep\u003c/a>. And Jane Lynch, Melissa McCarthy, Scott Bakula and Richard Kind are here, too.\u003c/p>\n\u003cp>They’re all wonderful. Streep and Rudd, in particular, are doing great work: With their screen time and no-holds-barred performances, they may as well be considered series regulars. The show’s writing is up to their level, and so are the show’s three headliners. When Streep shares intimate or sad or joyous scenes with Short, they all work. This season, there’s a major influx of talent added to \u003cem>Only Murders in the Building\u003c/em> — but the new and returning faces don’t outshine the stars. They shine, and play, right along with them.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Only Murders in the Building’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since premiering on Hulu in 2021, \u003cem>Only Murders in the Building\u003c/em> has gotten plenty of Emmy nominations, but hasn’t really gotten its due. Even for the 2024 Emmys, which are handed out later in September, the series was snubbed in the Comedy Series Writing category. Which is a small sin, because co-creators \u003ca href=\"https://www.kqed.org/arts/13954796/steve-martin-apple-tv-documentary-then-now-stand-up\">Steve Martin\u003c/a> and John Hoffman have managed to craft a comedy mystery series in which the laughs are plentiful and the mysteries are plausible and surprising. Pulling off either one of those feats is impressive; nailing them both is indeed Emmy-worthy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Not that \u003cem>Only Murders\u003c/em> is completely lacking for attention, or awards. The show has won four Emmys to date — though only one for an actor, for guest star Nathan Lane in 2022. But every year, the show finds ways to showcase its regular and guest stars more creatively. And this year, for the first time, all three series leads are nominated.\u003c/p>\n\u003cp>And deservedly so: Martin as former TV detective Charles-Haden Savage, and Martin Short as former Broadway director Oliver Putnam, are both insufferably egotistic and painfully insecure — and sporadically, gleefully hilarious. And \u003ca href=\"https://www.kqed.org/pop/96259/lady-gaga-and-selena-gomez-are-defying-stereotypes-about-chronically-ill-people\">Selena Gomez\u003c/a>, as mystery podcasting fan Mabel Mora, is as droll and dry as Short’s Oliver is bubbly and over the top.\u003c/p>\n\u003cp>The new season of \u003cem>Only Murders in the Building\u003c/em> takes this unlikely trio to a new setting — but only temporarily. Because of the success of their previous seasons of crime solving, the three podcasting partners are flown to Hollywood, where a movie executive hopes to buy their life rights and make a movie based on their adventures.\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/dKyX8rocAB8'\n title='//www.youtube.com/embed/dKyX8rocAB8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The movie exec is played by Molly Shannon, formerly of \u003cem>Saturday Night Live, \u003c/em>who throws a glitzy party for the new arrivals. At the party, she tries to wow them by introducing them to the actors cast to play their big-screen counterparts.\u003c/p>\n\u003cp>Once the movie is greenlit, Charles, Oliver and Mabel head back to their familiar New York apartment complex, where a recent bullet hole found in the window of Charles’ apartment leads them to suspect he may have been targeted for murder. They also suspect the sniper may have aimed from one of the apartments across their courtyard.\u003c/p>\n\u003cp>Charles studies the behavior of the residents occupying the west tower, then convenes his podcast partners to discuss his suspicions. At this point, \u003cem>Only Murders\u003c/em> becomes the comedy equivalent of \u003cem>Rear Window. \u003c/em>Like James Stewart in that famous\u003ca href=\"https://www.kqed.org/arts/tag/alfred-hitchcock\"> Hitchcock\u003c/a> movie, our heroes expect that evil is afoot across the way. But with these three, the way they go about their voyeuristic inquiry highlights their very distinct, and very funny, personalities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Both of these Season 4 plots — the movie being made and a new murder in the building — make room for a small commuter plane full of guest stars, all of whom come to play, and show us a great time. And almost all the \u003cem>Only Murders\u003c/em> actors nominated for Emmys this year, in various supporting categories, are back — including Da’Vine Joy Randolph, \u003ca href=\"https://www.kqed.org/pop/tag/paul-rudd\">Paul Rudd\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/meryl-streep\">Meryl Streep\u003c/a>. And Jane Lynch, Melissa McCarthy, Scott Bakula and Richard Kind are here, too.\u003c/p>\n\u003cp>They’re all wonderful. Streep and Rudd, in particular, are doing great work: With their screen time and no-holds-barred performances, they may as well be considered series regulars. The show’s writing is up to their level, and so are the show’s three headliners. When Streep shares intimate or sad or joyous scenes with Short, they all work. This season, there’s a major influx of talent added to \u003cem>Only Murders in the Building\u003c/em> — but the new and returning faces don’t outshine the stars. They shine, and play, right along with them.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Only Murders in the Building’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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