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"content": "\u003cp>Over the years I’ve seen more than my share of dysfunctional-family movies and terminal-illness movies, and even the good ones have trouble sidestepping clichés. So it says something that \u003cem>His Three Daughters\u003c/em>, which is about a dysfunctional family coping with a terminal illness, doesn’t feel like a retread.\u003c/p>\n\u003cp>The writer-director Azazel Jacobs has a knack for putting a fresh, intelligent spin on familiar material, from the high-school misfit comedy \u003ca href=\"https://www.npr.org/2011/07/05/137501757/terri-a-troubled-teen-moping-in-comfort\">\u003cem>Terri\u003c/em>\u003c/a> to the playful marital drama \u003cem>The Lovers\u003c/em>. His latest, \u003cem>His Three Daughters\u003c/em>, is a sharply written and beautifully modulated chamber piece, set over a few days inside a Lower Manhattan apartment where three women have gathered to bid farewell to their father, Vincent, who’s in hospice care.\u003c/p>\n\u003cp>[aside postid='arts_13964088']C\u003ca href=\"https://www.npr.org/2020/11/24/938685004/carrie-coon-on-the-leftovers-fargo-and-the-nest\">arrie Coon\u003c/a> plays Katie, the oldest of the three sisters. She lives in Brooklyn with her husband and teenage daughter, but she hasn’t been around to visit her dad much lately. \u003ca href=\"https://www.kqed.org/arts/13891309/wandavision-the-next-era-of-the-mcu-will-be-televised\">Elizabeth Olsen\u003c/a> plays the youngest, Christina, who’s flown in from her home thousands of miles away.\u003c/p>\n\u003cp>And then there’s Rachel — that’s \u003ca href=\"https://www.kqed.org/arts/13924192/no-lie-natasha-lyonne-is-unforgettable-in-poker-face\">Natasha Lyonne\u003c/a>. She lives with Vincent in this apartment and has been looking after him for some time. Rachel is estranged from her two sisters, for reasons that aren’t initially clear. Jacobs drops us right into the thick of the tension, then gradually fills in the larger picture.\u003c/p>\n\u003cp>Some of the friction stems from the fact that Katie and Christina are essentially outsiders on Rachel’s turf. Rachel can claim some moral high ground, since she’s been taking care of their dad while they’ve been busy living their lives and raising families of their own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Adding to the two-against-one dynamic is the fact that Rachel isn’t biologically related to her sisters or their father. After Vincent’s first wife died, he married Rachel’s mom and raised Rachel as his own. As Rachel makes needlessly clear to her sisters, she’s no less his daughter than they are.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K0jwAP2fS1E&t=17s\u003c/p>\n\u003cp>There are money and class issues, too; Katie looks down on Rachel, claiming all she does is smoke weed all day and make money through sports gambling. And then there’s the matter of real estate. In one contentious conversation, Katie insinuates that Rachel has been taking care of Vincent partly because of her enviable living situation.\u003c/p>\n\u003cp>In this and every other scene, the acting and the writing have such specificity that you feel you know these characters intimately. Few actors can make anger more mesmerizing than Coon, and her Katie is testy and judgmental, even — or especially — when she tries to seem reasonable.\u003c/p>\n\u003cp>It’s hard not to side a lot of the time with Lyonne’s Rachel, who lets the expletives fly as she pushes back defensively against Katie’s insinuations. That leaves Christina in the tough role of peacemaker. She’s earnest and open-hearted by nature, something that comes out when she describes her Deadhead past. In Olsen’s quietly moving performance, we see a woman who often suppresses her feelings to spare those of others.\u003c/p>\n\u003cp>[aside postid='arts_13964353']What distinguishes \u003cem>His Three Daughters\u003c/em> from so many movies of its type is that while it’s certainly talky, it never feels as if the characters are trying to explain themselves to you. Rather than coughing up large chunks of backstory, their interactions have the pull of honest, free-flowing conversation.\u003c/p>\n\u003cp>Much of the dialogue is taken up with the practical and wholly relatable end-of-life details: the difficulties of writing an obituary, or arranging a do-not-resuscitate order, or even dealing with a well-meaning but slightly exasperating hospice care worker. I haven’t seen many movies that so acutely understand the role food plays in a situation like this, where the act of cooking meals for your family or making sure there’s always fresh coffee can be both a drag and a welcome distraction.\u003c/p>\n\u003cp>Vincent himself is off-camera for most of the movie, sleeping quietly in his room, though Jacobs wisely gives him — and Jay O. Sanders, the actor playing him — a beautiful moment in the film’s last act.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question hanging over \u003cem>His Three Daughters\u003c/em> is whether the sisters will overcome their estrangement and remain family after Vincent’s gone. Jacobs doesn’t force a resolution, though he does end on a note of hard-won understanding that I found both optimistic and deeply affecting. He’s made a movie that, in the shadow of death, says something essential about how we live.\u003c/p>\n\u003cdiv class=\"npr-transcript\">\n\u003chr>\n\u003cp>\u003cem>‘His Three Daughters’ is in movie theaters nationwide now. It begins streaming on Netflix on Sept. 20, 2024.\u003c/em>\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the years I’ve seen more than my share of dysfunctional-family movies and terminal-illness movies, and even the good ones have trouble sidestepping clichés. So it says something that \u003cem>His Three Daughters\u003c/em>, which is about a dysfunctional family coping with a terminal illness, doesn’t feel like a retread.\u003c/p>\n\u003cp>The writer-director Azazel Jacobs has a knack for putting a fresh, intelligent spin on familiar material, from the high-school misfit comedy \u003ca href=\"https://www.npr.org/2011/07/05/137501757/terri-a-troubled-teen-moping-in-comfort\">\u003cem>Terri\u003c/em>\u003c/a> to the playful marital drama \u003cem>The Lovers\u003c/em>. His latest, \u003cem>His Three Daughters\u003c/em>, is a sharply written and beautifully modulated chamber piece, set over a few days inside a Lower Manhattan apartment where three women have gathered to bid farewell to their father, Vincent, who’s in hospice care.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>C\u003ca href=\"https://www.npr.org/2020/11/24/938685004/carrie-coon-on-the-leftovers-fargo-and-the-nest\">arrie Coon\u003c/a> plays Katie, the oldest of the three sisters. She lives in Brooklyn with her husband and teenage daughter, but she hasn’t been around to visit her dad much lately. \u003ca href=\"https://www.kqed.org/arts/13891309/wandavision-the-next-era-of-the-mcu-will-be-televised\">Elizabeth Olsen\u003c/a> plays the youngest, Christina, who’s flown in from her home thousands of miles away.\u003c/p>\n\u003cp>And then there’s Rachel — that’s \u003ca href=\"https://www.kqed.org/arts/13924192/no-lie-natasha-lyonne-is-unforgettable-in-poker-face\">Natasha Lyonne\u003c/a>. She lives with Vincent in this apartment and has been looking after him for some time. Rachel is estranged from her two sisters, for reasons that aren’t initially clear. Jacobs drops us right into the thick of the tension, then gradually fills in the larger picture.\u003c/p>\n\u003cp>Some of the friction stems from the fact that Katie and Christina are essentially outsiders on Rachel’s turf. Rachel can claim some moral high ground, since she’s been taking care of their dad while they’ve been busy living their lives and raising families of their own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Adding to the two-against-one dynamic is the fact that Rachel isn’t biologically related to her sisters or their father. After Vincent’s first wife died, he married Rachel’s mom and raised Rachel as his own. As Rachel makes needlessly clear to her sisters, she’s no less his daughter than they are.\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>\u003cp>There are money and class issues, too; Katie looks down on Rachel, claiming all she does is smoke weed all day and make money through sports gambling. And then there’s the matter of real estate. In one contentious conversation, Katie insinuates that Rachel has been taking care of Vincent partly because of her enviable living situation.\u003c/p>\n\u003cp>In this and every other scene, the acting and the writing have such specificity that you feel you know these characters intimately. Few actors can make anger more mesmerizing than Coon, and her Katie is testy and judgmental, even — or especially — when she tries to seem reasonable.\u003c/p>\n\u003cp>It’s hard not to side a lot of the time with Lyonne’s Rachel, who lets the expletives fly as she pushes back defensively against Katie’s insinuations. That leaves Christina in the tough role of peacemaker. She’s earnest and open-hearted by nature, something that comes out when she describes her Deadhead past. In Olsen’s quietly moving performance, we see a woman who often suppresses her feelings to spare those of others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What distinguishes \u003cem>His Three Daughters\u003c/em> from so many movies of its type is that while it’s certainly talky, it never feels as if the characters are trying to explain themselves to you. Rather than coughing up large chunks of backstory, their interactions have the pull of honest, free-flowing conversation.\u003c/p>\n\u003cp>Much of the dialogue is taken up with the practical and wholly relatable end-of-life details: the difficulties of writing an obituary, or arranging a do-not-resuscitate order, or even dealing with a well-meaning but slightly exasperating hospice care worker. I haven’t seen many movies that so acutely understand the role food plays in a situation like this, where the act of cooking meals for your family or making sure there’s always fresh coffee can be both a drag and a welcome distraction.\u003c/p>\n\u003cp>Vincent himself is off-camera for most of the movie, sleeping quietly in his room, though Jacobs wisely gives him — and Jay O. Sanders, the actor playing him — a beautiful moment in the film’s last act.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question hanging over \u003cem>His Three Daughters\u003c/em> is whether the sisters will overcome their estrangement and remain family after Vincent’s gone. Jacobs doesn’t force a resolution, though he does end on a note of hard-won understanding that I found both optimistic and deeply affecting. He’s made a movie that, in the shadow of death, says something essential about how we live.\u003c/p>\n\u003cdiv class=\"npr-transcript\">\n\u003chr>\n\u003cp>\u003cem>‘His Three Daughters’ is in movie theaters nationwide now. It begins streaming on Netflix on Sept. 20, 2024.\u003c/em>\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Sean ‘Diddy’ Combs Indicted on Sex Trafficking and Racketeering Charges",
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"content": "\u003cp>Sean “Diddy” Combs presided over a \u003ca href=\"https://www.kqed.org/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe\">sordid empire of sexual crimes\u003c/a>, coercing and abusing women for years, threatening them to keep them in line and enlisting a cast of aides to cover it up, according to an indictment unsealed Tuesday.\u003c/p>\n\u003cp>The music mogul “engaged in a persistent and pervasive pattern of abuse toward women and other individuals,” including physical violence, in order “to fulfill his sexual desires, protect his reputation, and conceal his conduct, the indictment said.\u003c/p>\n\u003cp>[aside postid='arts_13954740']It describes him inducing female victims and male sex workers into drugged-up, sometimes dayslong sexual performances dubbed “Freak Offs.” It also refers obliquely to an attack on his former girlfriend, the R&B singer Cassie, that was captured on video.\u003c/p>\n\u003cp>Combs was arrested late Monday in Manhattan, roughly six months after federal authorities conducting a sex trafficking investigation raided his luxurious homes in Los Angeles and Miami. He was due in court Tuesday afternoon, and his three sons arrived at the courthouse Tuesday morning to observe.\u003c/p>\n\u003cp>Prosecutors said they would seek to have Combs detained pending trial. His lawyer, Marc Agnifilo, said outside the courthouse Tuesday morning that he’d fight to keep him free, and that Combs is innocent and would plead not guilty.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“His spirits are good. He’s confident,” said the attorney, who said Combs came to New York voluntarily to “engage the court system and start the case.”\u003c/p>\n\u003cp>The indictment describes Combs, the 54-year-old founder of Bad Boy Records, as the head of a criminal enterprise that engaged or attempted to engage in sex trafficking, forced labor, interstate transportation for purposes of prostitution, drug offenses, kidnapping, arson, bribery and obstruction of justice.\u003c/p>\n\u003cp>He’s accused of striking, punching and dragging women, throwing objects and kicking them — and getting his personal assistants, security and household staff to help him hide it all.\u003c/p>\n\u003cfigure id=\"attachment_13954772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2105337314-scaled-e1711490438517.jpg\" alt=\"At dusk, three officers wearing HSI vests stand in a paved driveway. One of them is leading a German Shepherd away.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Homeland Security Investigation agents are seen at the entrance Sean ‘Diddy’ Combs’ home at Star Island in Miami Beach on March 25, 2024. \u003ccite>(GIORGIO VIERA/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The evidence in this case is incredibly powerful,” prosecutors said in a document seeking Combs’ detention. They said they had interviewed over 50 victims and witnesses and expect the number to grow.\u003c/p>\n\u003cp>Combs and his associates wielded his “power and prestige” to intimidate and lure women into his orbit, “often under the pretense of a romantic relationship,” the indictment says. It says he then would use force, threats and coercion to get the women to engage with male sex workers in the “Freak Offs” — “elaborate and produced sex performances” that Combs arranged, directed, masturbated during and often recorded, creating dozens of videos.\u003c/p>\n\u003cp>He sometimes arranged to fly the women in and ensured their participation by procuring and providing drugs, controlling their careers, leveraging his financial support and using intimidation and violence, according to the indictment.\u003c/p>\n\u003cp>The events could last for days, and Combs and victims would often receive IV fluids to recover from the exertion and drug use, the indictment said. It said his employees facilitated “Freak Offs” by arranging travel, booking hotel rooms, stocking them with such supplies as drugs and baby oil, scheduling the delivery of IV fluids and cleaning the rooms afterward.\u003c/p>\n\u003cp>[aside postid='arts_13962885']During a search of Combs’ homes in Miami and Los Angeles this year, law enforcement seized narcotics, videos of the “Freak Offs” and more than 1,000 bottles of baby oil and lubricant, according to prosecutors. They said agents also seized firearms and ammunition, including three AR-15s with defaced serial numbers — two of them, broken into parts, in his bedroom closet in Miami.\u003c/p>\n\u003cp>The indictment portrays Combs as a violent man who choked and shoved people, hit and kicked victims and sometimes dragged them by their hair, causing injuries that often took days or weeks to heal. His employees and associates sometimes witnessed his violence and kept victims from leaving or tracked down those who tried, the indictment said.\u003c/p>\n\u003cp>It alleges that Combs sometimes kept videos of victims engaging in sex acts and used the recordings as “collateral” to ensure the women’s continued obedience and silence. He also exerted control over victims by promising career opportunities, providing and threatening to withhold financial support, dictating how they looked, monitoring their health records and controlling where they lived, according to the indictment.\u003c/p>\n\u003cp>As the threat of criminal charges loomed, Combs and his associates pressured witnesses and victims to stay silent, offering bribes and supplying false narratives of what happened, the indictment says.\u003c/p>\n\u003cp>All of this, prosecutors allege, was happening behind the facade of Combs’ global music, lifestyle and clothing business.\u003c/p>\n\u003cp>“A year ago, Sean Combs stood in Times Square and was handed a key to New York City. Today, he’s been indicted and will face justice,” U.S. Attorney Damian Williams said at a news conference Tuesday. His office is bringing the case.\u003c/p>\n\u003cfigure id=\"attachment_13964397\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key.jpg\" alt=\"A Black man stands on a stage holding a microphone in one hand and a gold key mounted to a plaque in the other.\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Combs receiving the Key to the City from Mayor Eric Adams in Times Square on Sept. 15, 2023 in New York City. \u003ccite>(Raymond Hall/GC Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Combs returned the key in June after Mayor Eric Adams requested it back.\u003c/p>\n\u003cp>Combs was recognized as one of the most influential figures in hip-hop before a flood of allegations emerged over the past year.\u003c/p>\n\u003cp>In November, Cassie, whose legal name is Casandra Ventura, filed a lawsuit saying he had beaten and raped her for years. She accused Combs of coercing her, and others, into unwanted sex in drug-fueled settings.\u003c/p>\n\u003cp>The suit was settled in one day, but months later, CNN aired hotel security footage showing Combs punching and kicking Ventura and throwing her on a floor. After the video aired, Combs apologized, saying, “I was disgusted when I did it.”\u003c/p>\n\u003cp>[aside postid='arts_13956667']The indictment refers to the attack, without naming Ventura, and says Combs tried to bribe a hotel security staffer to stay mum about it.\u003c/p>\n\u003cp>Douglas Wigdor, a lawyer for Ventura, declined to comment Tuesday.\u003c/p>\n\u003cp>Combs and his attorneys denied similar allegations made by others in a string of lawsuits.\u003c/p>\n\u003cp>A woman said Combs raped her two decades ago when she was 17. A music producer sued, saying Combs forced him to have sex with prostitutes. Another woman, April Lampros, said Combs subjected her to “terrifying sexual encounters,” starting when she was a college student in 1994.\u003c/p>\n\u003cp>The AP does not typically name people who say they have been sexually abused unless they come forward publicly, as Ventura and Lampros did.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Combs has been in legal trouble before. Notably, he was acquitted in 2001 of weapons charges related to a Manhattan nightclub shooting two years earlier that injured three people.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sean “Diddy” Combs presided over a \u003ca href=\"https://www.kqed.org/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe\">sordid empire of sexual crimes\u003c/a>, coercing and abusing women for years, threatening them to keep them in line and enlisting a cast of aides to cover it up, according to an indictment unsealed Tuesday.\u003c/p>\n\u003cp>The music mogul “engaged in a persistent and pervasive pattern of abuse toward women and other individuals,” including physical violence, in order “to fulfill his sexual desires, protect his reputation, and conceal his conduct, the indictment said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It describes him inducing female victims and male sex workers into drugged-up, sometimes dayslong sexual performances dubbed “Freak Offs.” It also refers obliquely to an attack on his former girlfriend, the R&B singer Cassie, that was captured on video.\u003c/p>\n\u003cp>Combs was arrested late Monday in Manhattan, roughly six months after federal authorities conducting a sex trafficking investigation raided his luxurious homes in Los Angeles and Miami. He was due in court Tuesday afternoon, and his three sons arrived at the courthouse Tuesday morning to observe.\u003c/p>\n\u003cp>Prosecutors said they would seek to have Combs detained pending trial. His lawyer, Marc Agnifilo, said outside the courthouse Tuesday morning that he’d fight to keep him free, and that Combs is innocent and would plead not guilty.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“His spirits are good. He’s confident,” said the attorney, who said Combs came to New York voluntarily to “engage the court system and start the case.”\u003c/p>\n\u003cp>The indictment describes Combs, the 54-year-old founder of Bad Boy Records, as the head of a criminal enterprise that engaged or attempted to engage in sex trafficking, forced labor, interstate transportation for purposes of prostitution, drug offenses, kidnapping, arson, bribery and obstruction of justice.\u003c/p>\n\u003cp>He’s accused of striking, punching and dragging women, throwing objects and kicking them — and getting his personal assistants, security and household staff to help him hide it all.\u003c/p>\n\u003cfigure id=\"attachment_13954772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2105337314-scaled-e1711490438517.jpg\" alt=\"At dusk, three officers wearing HSI vests stand in a paved driveway. One of them is leading a German Shepherd away.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Homeland Security Investigation agents are seen at the entrance Sean ‘Diddy’ Combs’ home at Star Island in Miami Beach on March 25, 2024. \u003ccite>(GIORGIO VIERA/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The evidence in this case is incredibly powerful,” prosecutors said in a document seeking Combs’ detention. They said they had interviewed over 50 victims and witnesses and expect the number to grow.\u003c/p>\n\u003cp>Combs and his associates wielded his “power and prestige” to intimidate and lure women into his orbit, “often under the pretense of a romantic relationship,” the indictment says. It says he then would use force, threats and coercion to get the women to engage with male sex workers in the “Freak Offs” — “elaborate and produced sex performances” that Combs arranged, directed, masturbated during and often recorded, creating dozens of videos.\u003c/p>\n\u003cp>He sometimes arranged to fly the women in and ensured their participation by procuring and providing drugs, controlling their careers, leveraging his financial support and using intimidation and violence, according to the indictment.\u003c/p>\n\u003cp>The events could last for days, and Combs and victims would often receive IV fluids to recover from the exertion and drug use, the indictment said. It said his employees facilitated “Freak Offs” by arranging travel, booking hotel rooms, stocking them with such supplies as drugs and baby oil, scheduling the delivery of IV fluids and cleaning the rooms afterward.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During a search of Combs’ homes in Miami and Los Angeles this year, law enforcement seized narcotics, videos of the “Freak Offs” and more than 1,000 bottles of baby oil and lubricant, according to prosecutors. They said agents also seized firearms and ammunition, including three AR-15s with defaced serial numbers — two of them, broken into parts, in his bedroom closet in Miami.\u003c/p>\n\u003cp>The indictment portrays Combs as a violent man who choked and shoved people, hit and kicked victims and sometimes dragged them by their hair, causing injuries that often took days or weeks to heal. His employees and associates sometimes witnessed his violence and kept victims from leaving or tracked down those who tried, the indictment said.\u003c/p>\n\u003cp>It alleges that Combs sometimes kept videos of victims engaging in sex acts and used the recordings as “collateral” to ensure the women’s continued obedience and silence. He also exerted control over victims by promising career opportunities, providing and threatening to withhold financial support, dictating how they looked, monitoring their health records and controlling where they lived, according to the indictment.\u003c/p>\n\u003cp>As the threat of criminal charges loomed, Combs and his associates pressured witnesses and victims to stay silent, offering bribes and supplying false narratives of what happened, the indictment says.\u003c/p>\n\u003cp>All of this, prosecutors allege, was happening behind the facade of Combs’ global music, lifestyle and clothing business.\u003c/p>\n\u003cp>“A year ago, Sean Combs stood in Times Square and was handed a key to New York City. Today, he’s been indicted and will face justice,” U.S. Attorney Damian Williams said at a news conference Tuesday. His office is bringing the case.\u003c/p>\n\u003cfigure id=\"attachment_13964397\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964397\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key.jpg\" alt=\"A Black man stands on a stage holding a microphone in one hand and a gold key mounted to a plaque in the other.\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/sc-key-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Combs receiving the Key to the City from Mayor Eric Adams in Times Square on Sept. 15, 2023 in New York City. \u003ccite>(Raymond Hall/GC Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Combs returned the key in June after Mayor Eric Adams requested it back.\u003c/p>\n\u003cp>Combs was recognized as one of the most influential figures in hip-hop before a flood of allegations emerged over the past year.\u003c/p>\n\u003cp>In November, Cassie, whose legal name is Casandra Ventura, filed a lawsuit saying he had beaten and raped her for years. She accused Combs of coercing her, and others, into unwanted sex in drug-fueled settings.\u003c/p>\n\u003cp>The suit was settled in one day, but months later, CNN aired hotel security footage showing Combs punching and kicking Ventura and throwing her on a floor. After the video aired, Combs apologized, saying, “I was disgusted when I did it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The indictment refers to the attack, without naming Ventura, and says Combs tried to bribe a hotel security staffer to stay mum about it.\u003c/p>\n\u003cp>Douglas Wigdor, a lawyer for Ventura, declined to comment Tuesday.\u003c/p>\n\u003cp>Combs and his attorneys denied similar allegations made by others in a string of lawsuits.\u003c/p>\n\u003cp>A woman said Combs raped her two decades ago when she was 17. A music producer sued, saying Combs forced him to have sex with prostitutes. Another woman, April Lampros, said Combs subjected her to “terrifying sexual encounters,” starting when she was a college student in 1994.\u003c/p>\n\u003cp>The AP does not typically name people who say they have been sexually abused unless they come forward publicly, as Ventura and Lampros did.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Combs has been in legal trouble before. Notably, he was acquitted in 2001 of weapons charges related to a Manhattan nightclub shooting two years earlier that injured three people.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While that all probably sounds fairly straightforward, this is a story that spirals quickly. By the end of Chapter 1, Tate and Vera are going at it in a sex dungeon. By the end of Chapter 2, we’ve been introduced to mysterious twins handing out cult seltzer with a label that reads: “He who drinks bathwater of the universe cares for the unified self.” (A statement that, by the end of the graphic novel, actually makes sense.) By the end of the final fourth chapter, there’s been brainwashing, torture, jaw-dropping childhood secrets revealed and dyke-related quips aplenty.\u003c/p>\n\u003cp>\u003cem>Deprog\u003c/em> was originally published as four separate comic books, the last of which came out in June. The series is the brainchild of four female collaborators led by writer and sexual subculture expert \u003ca href=\"https://www.instagram.com/tinahornsass/?hl=en\">Tina Horn\u003c/a>, who spent her formative years in the Bay Area. \u003ca href=\"https://www.lisasterle.com/\">Lisa Sterle\u003c/a> (best known for her \u003ca href=\"https://www.lisasterle.com/mwt\">Modern Witch Tarot\u003c/a> deck) illustrated, \u003ca href=\"https://www.instagram.com/GabContrerasR/\">Gab Contreras\u003c/a> acted as colorist, and Greek artist \u003ca href=\"https://www.instagram.com/danistrips/?hl=en\">DaNi\u003c/a> was responsible for the cover art. Their work is gleefully and unabashedly sexy, but is careful to include realistic depictions of women’s bodies — pubic hair, round bellies and all.\u003c/p>\n\u003cp>All of which is to say that \u003cem>Deprog\u003c/em> is a total trip — one that women, queer folk and fans of neo-noir will surely enjoy taking.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Deprog’ is released on Sept. 24, 2024, via \u003ca href=\"https://deadskypublishing.com/\">Dead Sky Publishing\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13964275\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964275\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football.png\" alt=\"A book cover featuring an American football.\" width=\"1374\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football.png 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football-800x1164.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football-1020x1485.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football-768x1118.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football-1055x1536.png 1055w\" sizes=\"(max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">‘Why We Love Football: A History in 100 Moments’ by Joe Posnanski. \u003ccite>(Dutton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joe Posnanski is getting pretty good at this whole sports countdown thing.\u003c/p>\n\u003cp>The award-winning sportswriter’s previous books have profiled significant ballplayers (\u003cem>The Baseball 100\u003c/em>) and ticked off 50 of the biggest occasions in the history of our national pastime (\u003cem>Why We Love Baseball\u003c/em>.)\u003c/p>\n\u003cp>[aside postid='arts_13926031']Posnanski is back with a new sport and total. \u003cem>In Why We Love Football: A History in 100 Moments\u003c/em>, the former \u003cem>Sports Illustrated\u003c/em> scribe pens a thoroughly enjoyable look back at the players and plays that have come to define America’s most popular sport.\u003c/p>\n\u003cp>Sure, one could argue with what was included and what was not, the order, etc. But at the end of the day, the book is a love letter to football — a poignant, informative and at times hilarious look at what makes the gridiron game such a part of the national fabric.\u003c/p>\n\u003cp>“It takes us fans to the mountaintop, and it tears our hearts out,” Posnanski writes. “It lifts us and crushes us, thrills us and revolts us, leaves us empty and leaves us wanting and leaves us breathless.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are no-brainers in there — the 1972 “Immaculate Reception” that lifted the Pittsburgh Steelers over the Oakland Raiders to their first-ever playoff victory, the “Kick-Six” missed field goal return for Auburn that stunned Alabama in the 2013 Iron Bowl and Bart Starr’s title-winning quarterback keeper during the 1967 NFL Championship “Ice Bowl” game against Dallas at Lambeau Field — but \u003cem>Why We Love Football\u003c/em> is at its best when it explores the off-the-beaten-path moments in the game’s long history.\u003c/p>\n\u003cp>And the intersection of football and pop culture. The passage on former Notre Dame coach Dan Devine’s portrayal in the underdog feel-good film \u003cem>Rudy\u003c/em> alone might be worth the book’s purchase price.\u003c/p>\n\u003cp>[aside postid='arts_13962267']For football fans like this reviewer, the book is an absolute must-read. But it should be accessible to the football-averse, too, with its brilliant writing and research that unearths gems and perspectives that bring the game and its characters to life. Readers will find themselves laughing out loud at times.\u003c/p>\n\u003cp>“Football matters because, at its best, the game illustrates life at its most exuberant and most passionate and most emotionally heightened,” Posnanski writes.\u003c/p>\n\u003cp>\u003cem>Why We Love Football\u003c/em> proves that statement by reminding us all what makes it the No. 1 sport in the land.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Why We Love Football: A History in 100 Moments’ by Joe Posnanski is released on Sept. 17, 2024 via Dutton.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13964275\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964275\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football.png\" alt=\"A book cover featuring an American football.\" width=\"1374\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football.png 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football-800x1164.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football-1020x1485.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football-768x1118.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/football-1055x1536.png 1055w\" sizes=\"(max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">‘Why We Love Football: A History in 100 Moments’ by Joe Posnanski. \u003ccite>(Dutton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Joe Posnanski is getting pretty good at this whole sports countdown thing.\u003c/p>\n\u003cp>The award-winning sportswriter’s previous books have profiled significant ballplayers (\u003cem>The Baseball 100\u003c/em>) and ticked off 50 of the biggest occasions in the history of our national pastime (\u003cem>Why We Love Baseball\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Posnanski is back with a new sport and total. \u003cem>In Why We Love Football: A History in 100 Moments\u003c/em>, the former \u003cem>Sports Illustrated\u003c/em> scribe pens a thoroughly enjoyable look back at the players and plays that have come to define America’s most popular sport.\u003c/p>\n\u003cp>Sure, one could argue with what was included and what was not, the order, etc. But at the end of the day, the book is a love letter to football — a poignant, informative and at times hilarious look at what makes the gridiron game such a part of the national fabric.\u003c/p>\n\u003cp>“It takes us fans to the mountaintop, and it tears our hearts out,” Posnanski writes. “It lifts us and crushes us, thrills us and revolts us, leaves us empty and leaves us wanting and leaves us breathless.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are no-brainers in there — the 1972 “Immaculate Reception” that lifted the Pittsburgh Steelers over the Oakland Raiders to their first-ever playoff victory, the “Kick-Six” missed field goal return for Auburn that stunned Alabama in the 2013 Iron Bowl and Bart Starr’s title-winning quarterback keeper during the 1967 NFL Championship “Ice Bowl” game against Dallas at Lambeau Field — but \u003cem>Why We Love Football\u003c/em> is at its best when it explores the off-the-beaten-path moments in the game’s long history.\u003c/p>\n\u003cp>And the intersection of football and pop culture. The passage on former Notre Dame coach Dan Devine’s portrayal in the underdog feel-good film \u003cem>Rudy\u003c/em> alone might be worth the book’s purchase price.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For football fans like this reviewer, the book is an absolute must-read. But it should be accessible to the football-averse, too, with its brilliant writing and research that unearths gems and perspectives that bring the game and its characters to life. Readers will find themselves laughing out loud at times.\u003c/p>\n\u003cp>“Football matters because, at its best, the game illustrates life at its most exuberant and most passionate and most emotionally heightened,” Posnanski writes.\u003c/p>\n\u003cp>\u003cem>Why We Love Football\u003c/em> proves that statement by reminding us all what makes it the No. 1 sport in the land.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Why We Love Football: A History in 100 Moments’ by Joe Posnanski is released on Sept. 17, 2024 via Dutton.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Handmaid’s Tale’ Opera Is Ferociously Faithful to Margaret Atwood’s Dystopia",
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"content": "\u003cp>The lights have just gone up for intermission at the opening night of San Francisco Opera’s long-awaited production of \u003cem>The Handmaid’s Tale\u003c/em>. As people begin to rise and excitedly chatter about what we’ve just witnessed, the woman next to me turns to her companion and sighs.\u003c/p>\n\u003cp>“Well,” she says, “this is unrelentingly bleak.”\u003c/p>\n\u003cp>[aside postid='arts_13963021']Anyone familiar with \u003cem>The Handmaid’s Tale\u003c/em> will tell you that is certainly a fair assessment. This is, after all, the story of a woman violently torn from her family and forced into a life of sexual servitude by a theocratic regime. America is no more, replaced by the Republic of Gilead, whose leaders attempt to solve an infertility crisis by forcing fertile women to reproduce with the commanding elite. These “handmaids,” living with their assigned commanders’ families, are considered disposable vessels, unworthy of even retaining their own names. The woman at the center of \u003cem>The Handmaid’s Tale\u003c/em> is known only as Offred — literally “of Fred,” the commander she’s been assigned to.\u003c/p>\n\u003cfigure id=\"attachment_13963881\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt.jpg\" alt=\"A stage set featuring a backdrop decorated with a large triangle and eye. On stage are 18 women all dressed in long red cloaks.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Handmaid’s Tale’ at San Francisco Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running through Oct. 1 at the War Memorial Opera House in San Francisco, composer Poul Ruders’ and librettist Paul Bentley’s interpretation of \u003ca href=\"https://www.kqed.org/arts/tag/margaret-atwood\">Margaret Atwood\u003c/a>’s 1985 novel is a faithful yet incredibly innovative rendering of the original story. For opera attendees stepping into this patriarchal dystopia for the first time, however, the shock may be significant. (The “unrelentingly bleak” lady couldn’t possibly have known how much darker things were going to get in the second act.)\u003c/p>\n\u003cp>Consider, for example, the scene in which two women have hoods thrown over their heads and are hung by their necks from the rafters. Or the one in which a man is beaten to death \u003cem>in slow motion\u003c/em> by a group of handmaids. Or the two in which Offred is ritually raped by Commander Fred while a shocking refrain of “Amazing Grace” plays in the background. Another, depicting the violent breakup of Offred’s family, made the man in front of me jump out of his seat. Directed by John Fulljames, \u003cem>The Handmaid’s Tale\u003c/em> opera — like the book and enormously popular \u003ca href=\"https://www.kqed.org/pop/tag/the-handmaids-tale\">Hulu series\u003c/a> — is not for the faint of heart.\u003c/p>\n\u003cfigure id=\"attachment_13964252\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964252\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred.jpg\" alt=\"A perturbed looking woman wearing a red cloak and white bonnet sits on a twin bed.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irene Roberts as Offred in San Francisco Opera’s ‘The Handmaid’s Tale.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lifeblood of this particular production is Irene Roberts as Offred. The mezzo-soprano’s heartrending vocal delivery is matched by a grueling physical performance in which Roberts must endure physical groping by several male cast members, dressing and undressing repeatedly (including the removal of underwear), as well as running, crouching and falling to the floor. Roberts’ performance here is consistently astonishing — the reason all eyes stayed glued to the stage throughout, even during the most harrowing of scenes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other wonderful aspect of this particular \u003cem>Handmaid’s Tale\u003c/em> is the on-stage juxtaposition of Offred’s current reality in Gilead with the life she lived before. Pre-Gilead Offred is played with a compelling naïveté by Simone McIntosh. This Offred, in her regular clothes, free to watch TV and read magazines and make love to her husband, is a shadow lurking in the background throughout the opera, as Offred mentally hangs onto the shreds of her previous life. It’s a staging quirk that could easily have failed with the wrong casting, but that’s an incredibly effective device in this production.\u003c/p>\n\u003cp>[aside postID='arts_13962857']Truthfully, nothing about \u003cem>The Handmaid’s Tale\u003c/em> opera slouches. Sarah Cambidge’s purposefully piercing vocals make her the perfect Aunt Lydia, the dominating woman who does her best to indoctrinate the handmaids. Caroline Corrales as Offred’s best friend Moira provides a true sense of liberty and rebellion, audaciously delivering much-needed zingers throughout. And Commander Fred’s presence is all the more intimidating because of John Relyea’s deep bass delivery. This strong cast is upheld by the baton of Karen Kamensek, conducting the orchestra.\u003c/p>\n\u003cfigure id=\"attachment_13964256\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632.jpg\" alt=\"A woman kneels dejected on the floor as she is goaded and mocked by a group of other women. All but one are wearing red dresses and white bonnets.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irene Roberts as Offred and Sarah Cambidge (in the green uniform) as Aunt Lydia in San Francisco Opera’s ‘The Handmaid’s Tale.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are the sets. Chloe Lamford’s designs evoke the prison state of Gilead via a series of stark and striking walls. A symbolic wall with an ever-watchful eye. The corrugated walls of the handmaid’s training compound. The stark white wall where traitors are hung. The layered, somehow infinite walls of the Commander’s house. The automated “Soul Scrolls” prayer wall, dinging away like Las Vegas slots. The sense of ceaseless confinement persists throughout, as it did in Atwood’s novel.\u003c/p>\n\u003cp>The only place where this \u003cem>Handmaid’s Tale\u003c/em> goes wrong is in a pandering (and a little confusing) tableau that gets plopped onto the stage in the last minute of the opera. This moment features a self-conscious attempt to leave things on an optimistic note. They shouldn’t have bothered. \u003cem>The Handmaid’s Tale\u003c/em> is always, in all formats, at its most powerful when it’s, well, unrelentingly bleak.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘The Handmaid’s Tale’ runs through Oct. 1, 2024, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/handmaids-tale/\">Details and tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The opera will be livestreamed on Sept. 20 at 7:30 p.m. \u003ca href=\"https://www.sfopera.com/tickets/seated-reserve-page/?performanceId=7729\">Livestream tickets here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Anyone familiar with \u003cem>The Handmaid’s Tale\u003c/em> will tell you that is certainly a fair assessment. This is, after all, the story of a woman violently torn from her family and forced into a life of sexual servitude by a theocratic regime. America is no more, replaced by the Republic of Gilead, whose leaders attempt to solve an infertility crisis by forcing fertile women to reproduce with the commanding elite. These “handmaids,” living with their assigned commanders’ families, are considered disposable vessels, unworthy of even retaining their own names. The woman at the center of \u003cem>The Handmaid’s Tale\u003c/em> is known only as Offred — literally “of Fred,” the commander she’s been assigned to.\u003c/p>\n\u003cfigure id=\"attachment_13963881\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963881\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt.jpg\" alt=\"A stage set featuring a backdrop decorated with a large triangle and eye. On stage are 18 women all dressed in long red cloaks.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/hmt-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Handmaid’s Tale’ at San Francisco Opera. \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running through Oct. 1 at the War Memorial Opera House in San Francisco, composer Poul Ruders’ and librettist Paul Bentley’s interpretation of \u003ca href=\"https://www.kqed.org/arts/tag/margaret-atwood\">Margaret Atwood\u003c/a>’s 1985 novel is a faithful yet incredibly innovative rendering of the original story. For opera attendees stepping into this patriarchal dystopia for the first time, however, the shock may be significant. (The “unrelentingly bleak” lady couldn’t possibly have known how much darker things were going to get in the second act.)\u003c/p>\n\u003cp>Consider, for example, the scene in which two women have hoods thrown over their heads and are hung by their necks from the rafters. Or the one in which a man is beaten to death \u003cem>in slow motion\u003c/em> by a group of handmaids. Or the two in which Offred is ritually raped by Commander Fred while a shocking refrain of “Amazing Grace” plays in the background. Another, depicting the violent breakup of Offred’s family, made the man in front of me jump out of his seat. Directed by John Fulljames, \u003cem>The Handmaid’s Tale\u003c/em> opera — like the book and enormously popular \u003ca href=\"https://www.kqed.org/pop/tag/the-handmaids-tale\">Hulu series\u003c/a> — is not for the faint of heart.\u003c/p>\n\u003cfigure id=\"attachment_13964252\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964252\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred.jpg\" alt=\"A perturbed looking woman wearing a red cloak and white bonnet sits on a twin bed.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/offred-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irene Roberts as Offred in San Francisco Opera’s ‘The Handmaid’s Tale.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The lifeblood of this particular production is Irene Roberts as Offred. The mezzo-soprano’s heartrending vocal delivery is matched by a grueling physical performance in which Roberts must endure physical groping by several male cast members, dressing and undressing repeatedly (including the removal of underwear), as well as running, crouching and falling to the floor. Roberts’ performance here is consistently astonishing — the reason all eyes stayed glued to the stage throughout, even during the most harrowing of scenes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other wonderful aspect of this particular \u003cem>Handmaid’s Tale\u003c/em> is the on-stage juxtaposition of Offred’s current reality in Gilead with the life she lived before. Pre-Gilead Offred is played with a compelling naïveté by Simone McIntosh. This Offred, in her regular clothes, free to watch TV and read magazines and make love to her husband, is a shadow lurking in the background throughout the opera, as Offred mentally hangs onto the shreds of her previous life. It’s a staging quirk that could easily have failed with the wrong casting, but that’s an incredibly effective device in this production.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Truthfully, nothing about \u003cem>The Handmaid’s Tale\u003c/em> opera slouches. Sarah Cambidge’s purposefully piercing vocals make her the perfect Aunt Lydia, the dominating woman who does her best to indoctrinate the handmaids. Caroline Corrales as Offred’s best friend Moira provides a true sense of liberty and rebellion, audaciously delivering much-needed zingers throughout. And Commander Fred’s presence is all the more intimidating because of John Relyea’s deep bass delivery. This strong cast is upheld by the baton of Karen Kamensek, conducting the orchestra.\u003c/p>\n\u003cfigure id=\"attachment_13964256\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964256\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632.jpg\" alt=\"A woman kneels dejected on the floor as she is goaded and mocked by a group of other women. All but one are wearing red dresses and white bonnets.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/75A0632-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irene Roberts as Offred and Sarah Cambidge (in the green uniform) as Aunt Lydia in San Francisco Opera’s ‘The Handmaid’s Tale.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are the sets. Chloe Lamford’s designs evoke the prison state of Gilead via a series of stark and striking walls. A symbolic wall with an ever-watchful eye. The corrugated walls of the handmaid’s training compound. The stark white wall where traitors are hung. The layered, somehow infinite walls of the Commander’s house. The automated “Soul Scrolls” prayer wall, dinging away like Las Vegas slots. The sense of ceaseless confinement persists throughout, as it did in Atwood’s novel.\u003c/p>\n\u003cp>The only place where this \u003cem>Handmaid’s Tale\u003c/em> goes wrong is in a pandering (and a little confusing) tableau that gets plopped onto the stage in the last minute of the opera. This moment features a self-conscious attempt to leave things on an optimistic note. They shouldn’t have bothered. \u003cem>The Handmaid’s Tale\u003c/em> is always, in all formats, at its most powerful when it’s, well, unrelentingly bleak.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘The Handmaid’s Tale’ runs through Oct. 1, 2024, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/handmaids-tale/\">Details and tickets here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The opera will be livestreamed on Sept. 20 at 7:30 p.m. \u003ca href=\"https://www.sfopera.com/tickets/seated-reserve-page/?performanceId=7729\">Livestream tickets here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The 76th annual Emmy Awards were handed out Sunday at the Peacock Theater in downtown Los Angeles.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13953066/new-shogun-series-review-fx-james-clavell\">\u003cem>Shōgun\u003c/em>\u003c/a> set a single season record for most wins with 18. \u003cem>Shogun\u003c/em> won best drama series, and Hiroyuki Sanada and Anna Sawai won acting awards for their roles.\u003c/p>\n\u003cp>[aside postid='arts_13964232']\u003ca href=\"https://www.kqed.org/arts/13897119/a-comedic-generational-divide-gets-bridged-in-hbos-hacks\">\u003cem>Hacks\u003c/em>\u003c/a> won the award for best comedy series. \u003ca href=\"https://www.kqed.org/arts/13963546/nava-mau-baby-reindeer-emmy-awards-nomination-interview-you-netflix\">\u003cem>Baby Reindeer\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a> won four awards apiece.\u003c/p>\n\u003cp>Early winners included Ebon Moss-Bachrach, Jeremy Allen White and Liza Colón-Zayas, who won awards for their work in the comedy series \u003cem>The Bear\u003c/em>.\u003c/p>\n\u003cp>Stars presenting Emmys to their peers included: Billy Crystal, Viola Davis, Selena Gomez, Steve Martin, Maya Rudolph and Martin Sheen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Several actors and shows, including Rudolph, won last week. Rudolph won her sixth Emmy Award at last weekend’s Creative Arts Emmys for her voice work on \u003cem>Big Mouth\u003c/em>. Jamie Lee Curtis also picked up a supporting actress Emmy last weekend for her appearance on \u003cem>The Bear\u003c/em>.\u003c/p>\n\u003cp>Here’s a list of winners at Sunday’s Emmys:\u003c/p>\n\u003cp>\u003cstrong>Drama series\u003c/strong>\u003cbr>\n\u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Comedy series\u003c/strong>\u003cbr>\n\u003cem>Hacks\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Limited, anthology series, movie\u003c/strong>\u003cbr>\n\u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actor in a drama series\u003c/strong>\u003cbr>\nHiroyuki Sanada, \u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actress in a drama series\u003c/strong>\u003cbr>\nAnna Sawai, \u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actor in a drama series\u003c/strong>\u003cbr>\nBilly Crudup, \u003cem>The Morning Show\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actress in a drama series\u003c/strong>\u003cbr>\nElizabeth Debicki, \u003cem>The Crown\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actor in a comedy series\u003c/strong>\u003cbr>\nJeremy Allen White, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actress in a comedy series\u003c/strong>\u003cbr>\nJean Smart, \u003cem>Hacks\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actress in a comedy series\u003c/strong>\u003cbr>\nLiza Colón-Zayas, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actor in a comedy series\u003c/strong>\u003cbr>\nEbon Moss-Bachrach, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actor in a limited, anthology series or movie\u003c/strong>\u003cbr>\nRichard Gadd, \u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actress in a limited, anthology series or movie\u003c/strong>\u003cbr>\nJodie Foster, \u003cem>True Detective: Night Country\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actress limited, anthology series or movie\u003c/strong>\u003cbr>\nJessica Gunning, \u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actor in a limited, anthology series or movie\u003c/strong>\u003cbr>\nLamorne Morris, \u003cem>Fargo\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Reality competition program\u003c/strong>\u003cbr>\n\u003cem>The Traitors\u003c/em>, Peacock\u003c/p>\n\u003cp>\u003cstrong>Scripted variety series\u003c/strong>\u003cbr>\n\u003cem>Last Week Tonight with John Oliver\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Talk series\u003c/strong>\u003cbr>\n\u003cem>The Daily Show\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a variety special\u003c/strong>\u003cbr>\nAlex Edelman, \u003cem>Just for Us\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a comedy series\u003c/strong>\u003cbr>\nLucia Aniello, Paul W. Downs and Jen Statsky, \u003cem>Hacks\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a drama series\u003c/strong>\u003cbr>\nWill Smith, \u003cem>Slow Horses\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a limited series, anthology or movie\u003c/strong>\u003cbr>\nRichard Gadd, \u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing for a limited or anthology series\u003c/strong>\u003cbr>\nSteven Zaillian, \u003cem>Ripley\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing for a comedy series\u003c/strong>\u003cbr>\nChristopher Storer, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing for a drama series\u003c/strong>\u003cbr>\nFrederick E.O. Toye, \u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Governors award\u003c/strong>\u003cbr>\nGreg Berlanti\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.kqed.org/arts/13897119/a-comedic-generational-divide-gets-bridged-in-hbos-hacks\">\u003cem>Hacks\u003c/em>\u003c/a> won the award for best comedy series. \u003ca href=\"https://www.kqed.org/arts/13963546/nava-mau-baby-reindeer-emmy-awards-nomination-interview-you-netflix\">\u003cem>Baby Reindeer\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a> won four awards apiece.\u003c/p>\n\u003cp>Early winners included Ebon Moss-Bachrach, Jeremy Allen White and Liza Colón-Zayas, who won awards for their work in the comedy series \u003cem>The Bear\u003c/em>.\u003c/p>\n\u003cp>Stars presenting Emmys to their peers included: Billy Crystal, Viola Davis, Selena Gomez, Steve Martin, Maya Rudolph and Martin Sheen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Several actors and shows, including Rudolph, won last week. Rudolph won her sixth Emmy Award at last weekend’s Creative Arts Emmys for her voice work on \u003cem>Big Mouth\u003c/em>. Jamie Lee Curtis also picked up a supporting actress Emmy last weekend for her appearance on \u003cem>The Bear\u003c/em>.\u003c/p>\n\u003cp>Here’s a list of winners at Sunday’s Emmys:\u003c/p>\n\u003cp>\u003cstrong>Drama series\u003c/strong>\u003cbr>\n\u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Comedy series\u003c/strong>\u003cbr>\n\u003cem>Hacks\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Limited, anthology series, movie\u003c/strong>\u003cbr>\n\u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actor in a drama series\u003c/strong>\u003cbr>\nHiroyuki Sanada, \u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actress in a drama series\u003c/strong>\u003cbr>\nAnna Sawai, \u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actor in a drama series\u003c/strong>\u003cbr>\nBilly Crudup, \u003cem>The Morning Show\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actress in a drama series\u003c/strong>\u003cbr>\nElizabeth Debicki, \u003cem>The Crown\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actor in a comedy series\u003c/strong>\u003cbr>\nJeremy Allen White, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actress in a comedy series\u003c/strong>\u003cbr>\nJean Smart, \u003cem>Hacks\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actress in a comedy series\u003c/strong>\u003cbr>\nLiza Colón-Zayas, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actor in a comedy series\u003c/strong>\u003cbr>\nEbon Moss-Bachrach, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actor in a limited, anthology series or movie\u003c/strong>\u003cbr>\nRichard Gadd, \u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actress in a limited, anthology series or movie\u003c/strong>\u003cbr>\nJodie Foster, \u003cem>True Detective: Night Country\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actress limited, anthology series or movie\u003c/strong>\u003cbr>\nJessica Gunning, \u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actor in a limited, anthology series or movie\u003c/strong>\u003cbr>\nLamorne Morris, \u003cem>Fargo\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Reality competition program\u003c/strong>\u003cbr>\n\u003cem>The Traitors\u003c/em>, Peacock\u003c/p>\n\u003cp>\u003cstrong>Scripted variety series\u003c/strong>\u003cbr>\n\u003cem>Last Week Tonight with John Oliver\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Talk series\u003c/strong>\u003cbr>\n\u003cem>The Daily Show\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a variety special\u003c/strong>\u003cbr>\nAlex Edelman, \u003cem>Just for Us\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a comedy series\u003c/strong>\u003cbr>\nLucia Aniello, Paul W. Downs and Jen Statsky, \u003cem>Hacks\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a drama series\u003c/strong>\u003cbr>\nWill Smith, \u003cem>Slow Horses\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a limited series, anthology or movie\u003c/strong>\u003cbr>\nRichard Gadd, \u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing for a limited or anthology series\u003c/strong>\u003cbr>\nSteven Zaillian, \u003cem>Ripley\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing for a comedy series\u003c/strong>\u003cbr>\nChristopher Storer, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing for a drama series\u003c/strong>\u003cbr>\nFrederick E.O. Toye, \u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Governors award\u003c/strong>\u003cbr>\nGreg Berlanti\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Emmy Awards on Sunday night didn’t offer up one single show that outperformed all the rest. Instead, a few shows split most of the major categories, without too many surprises. (There was perhaps one). Hosts Eugene and Dan Levy did their best to keep things moving, and as always, everyone was very thankful. Here are a few takeaways from the ceremony and the Emmy season.\u003c/p>\n\u003ch3>‘Shōgun’ was the sweeping historical drama that swept the top categories.\u003c/h3>\n\u003cfigure id=\"attachment_13964235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun.png\" alt=\"A large group of men and women in evening wear on an awards stage.\" width=\"2000\" height=\"1309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1536x1005.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1920x1257.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The team from ‘Shōgun’ accepts the Emmy award for outstanding drama series. \u003ccite>(Phil McCarten/Invision/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Shōgun \u003c/em>is the biggest Emmy winner this year, after 14 awards last weekend at the Creative Arts ceremony and four on Sunday night. The show took home outstanding drama series, in addition to awards for lead actor Hiroyuki Sanada, lead actress Anna Sawai, and director Frederick E.O. Toye.\u003c/p>\n\u003cp>Sweeping historical epics are not as popular as they once were, and over and over, FX and Hulu were praised for being willing to support an expensive period piece that was largely in Japanese with subtitles. It’s going to be interesting to see whether there is any effort in the next couple of years to pursue these sweeping epic series like the ones that used to air in the ’70s and ’80s, like \u003cem>North and South \u003c/em>or \u003cem>The Thorn Birds\u003c/em>.\u003c/p>\n\u003ch3>It’s hard to make an exciting awards show when it’s too soon after the last show.\u003c/h3>\n\u003cp>The last Emmy Awards \u003ca href=\"https://www.npr.org/2024/01/16/1224865471/emmys-awards-succession-beef-the-bear\">\u003cu>were only in January of this year\u003c/u>\u003c/a>, after being delayed by the actors’ and writers’ strikes. Thus, we just did all of the celebrating of beloved shows, the saluting of people who are in \u003cem>The Bear \u003c/em>and \u003cem>Hacks\u003c/em>, and discussions of how important television is to people. It might seem like the difference between a year and 8.5 months isn’t that much, but it did indeed feel like we just did this, and it felt a little lifeless as a result. Not because there’s anything wrong with the winners, but just because … you know, we just did this.\u003c/p>\n\u003ch3>‘Baby Reindeer’ cleaned up, and its creator hopes it will prove a point.\u003c/h3>\n\u003cfigure id=\"attachment_13964236\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer.png\" alt=\"A white man in a tuxedo holds up two awards triumphantly.\" width=\"2000\" height=\"1340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-1020x683.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-768x515.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-1536x1029.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-1920x1286.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richard Gadd, winner of the outstanding limited or anthology series for ‘Baby Reindeer.’ \u003ccite>(Robyn Beck/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Netflix series created by Richard Gadd won awards for lead actor, supporting actress, writing, and outstanding limited series. It may be in the \u003ca href=\"https://www.npr.org/2024/09/13/nx-s1-5104147/baby-reindeer-netflix-martha-lawsuit\">\u003cu>middle of a lawsuit\u003c/u>\u003c/a> from the woman who says she inspired the stalker played by Jessica Gunning, but that didn’t bother Emmy voters, who gave Gadd three opportunities to make speeches. He took the opportunity to point out that the show didn’t have established intellectual property, didn’t have established stars, and became a hit anyway. It would be lovely to think that Netflix — and other outlets — will take the lesson that risks can pay off.\u003c/p>\n\u003ch3>‘Hacks’ came up big, and ‘The Bear’ may have run into a category problem.\u003c/h3>\n\u003cfigure id=\"attachment_13964237\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964237\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean.png\" alt=\"A mature woman in an evening gown stands on stage holding an award before a large audience.\" width=\"2000\" height=\"1375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-800x550.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-1020x701.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-768x528.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-1536x1056.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-1920x1320.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jean Smart won the Emmy for outstanding lead actress in a comedy series for her performance in ‘Hacks.’ \u003ccite>(Danny Moloshok/Invision/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Bear\u003c/em>, which was a sensation at the Emmys in January, did very well in the comedy categories. It won for lead actor (Jeremy Allen White), it won for supporting actor (Ebon Moss Bachrach), it won for supporting actress (Liza Colón-Zayas), and it won for directing, for the episode “Fishes.” (Keep in mind that these are awards for season two, not the most recent season.) The one acting category in which \u003cem>The Bear\u003c/em> didn’t win was lead actress, where Ayo Edebiri lost to Jean Smart after winning in the supporting actress category last year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was a bit of a sign of things to come during the ceremony: \u003cem>Hacks \u003c/em>also picked up the critical award for comedy writing (for the episode “Bulletproof”). And then, unlike at the most recent Emmys, \u003cem>The Bear \u003c/em>did not win outstanding comedy series; \u003cem>Hacks \u003c/em>did. Given that there was a biting joke in the monologue from hosts Eugene and Dan Levy about the widespread sense that \u003cem>The Bear \u003c/em>doesn’t belong in the comedy category in the first place, and given the laugh it got, it may be that some people who were perfectly happy to reward the wonderful performances on the show were ultimately hesitant to give the award for outstanding comedy series to something they don’t consider a comedy.\u003c/p>\n\u003ch3>The shtick between awards was … fine?\u003c/h3>\n\u003cfigure id=\"attachment_13964238\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads.png\" alt=\"A Black man, a Latino man and a white man, all wearing nice suits, sit on a leather couch together.\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-1920x1279.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">TV dads Damon Wayans, left, George Lopez and Jesse Tyler Ferguson presented the Emmy Award for Outstanding lead actor in a comedy series. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>As with many awards shows, Emmys night featured a recurring bit between awards presentations. This evening featured a series of groups of actors who had some connection to each other: TV moms, TV dads, TV doctors, TV lawyers, TV coaches. There was even a pairing of Ron Howard and Henry Winkler to mark the 50th (!!) anniversary of \u003cem>Happy Days\u003c/em>. But these moments always seem to be somehow less than the sum of their parts, and this year was no exception. There are a lot of TV dads; just picking three and having them present together on a set that looks like a living room to deliver patter that sounds exactly like the patter on every other awards show doesn’t really celebrate anything except whoever booked the talent for the telecast. One point for having Winkler punch the jukebox on the diner set to get it to play, though, just like Fonzie used to do. That was fun.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Emmy Awards on Sunday night didn’t offer up one single show that outperformed all the rest. Instead, a few shows split most of the major categories, without too many surprises. (There was perhaps one). Hosts Eugene and Dan Levy did their best to keep things moving, and as always, everyone was very thankful. Here are a few takeaways from the ceremony and the Emmy season.\u003c/p>\n\u003ch3>‘Shōgun’ was the sweeping historical drama that swept the top categories.\u003c/h3>\n\u003cfigure id=\"attachment_13964235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun.png\" alt=\"A large group of men and women in evening wear on an awards stage.\" width=\"2000\" height=\"1309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1536x1005.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1920x1257.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The team from ‘Shōgun’ accepts the Emmy award for outstanding drama series. \u003ccite>(Phil McCarten/Invision/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Shōgun \u003c/em>is the biggest Emmy winner this year, after 14 awards last weekend at the Creative Arts ceremony and four on Sunday night. The show took home outstanding drama series, in addition to awards for lead actor Hiroyuki Sanada, lead actress Anna Sawai, and director Frederick E.O. Toye.\u003c/p>\n\u003cp>Sweeping historical epics are not as popular as they once were, and over and over, FX and Hulu were praised for being willing to support an expensive period piece that was largely in Japanese with subtitles. It’s going to be interesting to see whether there is any effort in the next couple of years to pursue these sweeping epic series like the ones that used to air in the ’70s and ’80s, like \u003cem>North and South \u003c/em>or \u003cem>The Thorn Birds\u003c/em>.\u003c/p>\n\u003ch3>It’s hard to make an exciting awards show when it’s too soon after the last show.\u003c/h3>\n\u003cp>The last Emmy Awards \u003ca href=\"https://www.npr.org/2024/01/16/1224865471/emmys-awards-succession-beef-the-bear\">\u003cu>were only in January of this year\u003c/u>\u003c/a>, after being delayed by the actors’ and writers’ strikes. Thus, we just did all of the celebrating of beloved shows, the saluting of people who are in \u003cem>The Bear \u003c/em>and \u003cem>Hacks\u003c/em>, and discussions of how important television is to people. It might seem like the difference between a year and 8.5 months isn’t that much, but it did indeed feel like we just did this, and it felt a little lifeless as a result. Not because there’s anything wrong with the winners, but just because … you know, we just did this.\u003c/p>\n\u003ch3>‘Baby Reindeer’ cleaned up, and its creator hopes it will prove a point.\u003c/h3>\n\u003cfigure id=\"attachment_13964236\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer.png\" alt=\"A white man in a tuxedo holds up two awards triumphantly.\" width=\"2000\" height=\"1340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-1020x683.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-768x515.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-1536x1029.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-1920x1286.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richard Gadd, winner of the outstanding limited or anthology series for ‘Baby Reindeer.’ \u003ccite>(Robyn Beck/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Netflix series created by Richard Gadd won awards for lead actor, supporting actress, writing, and outstanding limited series. It may be in the \u003ca href=\"https://www.npr.org/2024/09/13/nx-s1-5104147/baby-reindeer-netflix-martha-lawsuit\">\u003cu>middle of a lawsuit\u003c/u>\u003c/a> from the woman who says she inspired the stalker played by Jessica Gunning, but that didn’t bother Emmy voters, who gave Gadd three opportunities to make speeches. He took the opportunity to point out that the show didn’t have established intellectual property, didn’t have established stars, and became a hit anyway. It would be lovely to think that Netflix — and other outlets — will take the lesson that risks can pay off.\u003c/p>\n\u003ch3>‘Hacks’ came up big, and ‘The Bear’ may have run into a category problem.\u003c/h3>\n\u003cfigure id=\"attachment_13964237\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964237\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean.png\" alt=\"A mature woman in an evening gown stands on stage holding an award before a large audience.\" width=\"2000\" height=\"1375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-800x550.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-1020x701.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-768x528.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-1536x1056.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-1920x1320.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jean Smart won the Emmy for outstanding lead actress in a comedy series for her performance in ‘Hacks.’ \u003ccite>(Danny Moloshok/Invision/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Bear\u003c/em>, which was a sensation at the Emmys in January, did very well in the comedy categories. It won for lead actor (Jeremy Allen White), it won for supporting actor (Ebon Moss Bachrach), it won for supporting actress (Liza Colón-Zayas), and it won for directing, for the episode “Fishes.” (Keep in mind that these are awards for season two, not the most recent season.) The one acting category in which \u003cem>The Bear\u003c/em> didn’t win was lead actress, where Ayo Edebiri lost to Jean Smart after winning in the supporting actress category last year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was a bit of a sign of things to come during the ceremony: \u003cem>Hacks \u003c/em>also picked up the critical award for comedy writing (for the episode “Bulletproof”). And then, unlike at the most recent Emmys, \u003cem>The Bear \u003c/em>did not win outstanding comedy series; \u003cem>Hacks \u003c/em>did. Given that there was a biting joke in the monologue from hosts Eugene and Dan Levy about the widespread sense that \u003cem>The Bear \u003c/em>doesn’t belong in the comedy category in the first place, and given the laugh it got, it may be that some people who were perfectly happy to reward the wonderful performances on the show were ultimately hesitant to give the award for outstanding comedy series to something they don’t consider a comedy.\u003c/p>\n\u003ch3>The shtick between awards was … fine?\u003c/h3>\n\u003cfigure id=\"attachment_13964238\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads.png\" alt=\"A Black man, a Latino man and a white man, all wearing nice suits, sit on a leather couch together.\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-1920x1279.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">TV dads Damon Wayans, left, George Lopez and Jesse Tyler Ferguson presented the Emmy Award for Outstanding lead actor in a comedy series. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>As with many awards shows, Emmys night featured a recurring bit between awards presentations. This evening featured a series of groups of actors who had some connection to each other: TV moms, TV dads, TV doctors, TV lawyers, TV coaches. There was even a pairing of Ron Howard and Henry Winkler to mark the 50th (!!) anniversary of \u003cem>Happy Days\u003c/em>. But these moments always seem to be somehow less than the sum of their parts, and this year was no exception. There are a lot of TV dads; just picking three and having them present together on a set that looks like a living room to deliver patter that sounds exactly like the patter on every other awards show doesn’t really celebrate anything except whoever booked the talent for the telecast. One point for having Winkler punch the jukebox on the diner set to get it to play, though, just like Fonzie used to do. That was fun.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-penguin-batman-spinoff-hbo-max-review-colin-farrell",
"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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"excerpt": "Wait: Another Batman-without-Batman show? Try not to judge. Its willingness to step outside of the comics makes this one special.",
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"title": "‘The Penguin’ on Max Is a Truly Great Batman Spin-Off | KQED",
"description": "Wait: Another Batman-without-Batman show? Try not to judge. Its willingness to step outside of the comics makes this one special.",
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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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"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>\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>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": "\u003cdiv class=\"post-body\">\u003cp>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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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>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>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>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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\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/FjzxI6uf8H8'\n title='//www.youtube.com/embed/FjzxI6uf8H8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>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>\u003c/p>\u003c/div>",
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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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"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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"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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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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