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"content": "\u003cp>One of the first things you see in the reimagined \u003cem>The Crow\u003c/em> is the sight of a fallen white horse in a muddy field, bleeding badly after becoming entangled in barbed wire. It’s a metaphor, of course, and a clunky one at that — a powerful image that doesn’t really fit well and is never explained.\u003c/p>\n\u003cp>That’s a hint that director Rupert Sanders will have a tendency to consistently pick the stylish option over the honest one in this film. In his attempt to give new life to the cult hero of comics and film, he’s given us plenty of beauty at the expense of depth or coherence.\u003c/p>\n\u003cp>[aside postid='arts_13962677']The filmmakers have set their tale in a modern, generic Europe and made it very clear that this movie is based on the graphic novel by James O’Barr, but the 1994 film adaptation starring Brandon Lee hovers over it like, well, a stubborn crow.\u003c/p>\n\u003cp>Brandon, son of legendary actor and martial artist Bruce Lee, was just 28 when he died after being shot while filming a scene for \u003cem>The Crow\u003c/em>. History seems always to repeat: The new adaptation lands as another on-set death remains in the headlines.\u003c/p>\n\u003cp>Lee’s \u003cem>The Crow\u003c/em> was finished without him and he never got to see it enter Gen X memory in all its rain-drenched, gothic glory, influencing everything from alternative fashion to \u003cem>Blade\u003c/em> to Christopher Nolan’s \u003cem>Dark Knight\u003c/em> trilogy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bill Skarsgård seizes Lee’s role of Eric Draven, a man so in love that he returns from the dead to revenge his and his sweetheart’s slayings in what can be best called a sort of supernatural, romantic murderfest. (The tagline, “True love never dies,” clumsily rips off Andrew Lloyd Webber’s \u003cem>The Phantom of the Opera\u003c/em>.)\u003c/p>\n\u003cp>William Schneider, who co-wrote the screenplay with Zach Baylin, has given the story a near-operatic facelift, by introducing a devil, a Faustian bargain, blood-on-blood oaths and a godlike guide who monitors the limbo between heaven and hell, which looks like a disused, weed-covered railway station. “Kill the ones who killed you and you’ll get her back,” our hero is told.\u003c/p>\n\u003cp>[aside postid='arts_13962666']The first half drags as it sets the table for the steady beat of limbs and necks being detached at the end. Eric and his love, Shelly (played by an uneven FKA Twigs), meet in a rehab prison for wayward youth that is so well lit and appointed that it looks more like an airport lounge where the cappuccinos are $19 but the Wi-Fi is complimentary.\u003c/p>\n\u003cp>Eric is a gentle loner — tortured by a past the writers don’t bother filling in, who likes to sketch in a book (universal cinema code signaling a sensitive soul) and is heavily tattooed (he’s often shirtless). His apartment has rows of mannequins with their heads covered in plastic and his new love calls him “brilliantly broken.” He’s like a Blink-182 lyric come to life.\u003c/p>\n\u003cp>Shelly is more complex, but that’s because the writers maybe gave up on giving her a real backstory. She has a tattoo that says “Laugh now, cry later,” reads serious literature and loves dancing in her underwear. She clearly comes from wealth and has had a falling out with her mom, but has also done an unimaginably horrible thing, which viewers will learn about at the end.\u003c/p>\n\u003cp>Part of the trouble is that the lead couple cast off very little electricity, offering a love affair that’s more teen-like than all-consuming. And this is a story that needs a love capable of transcending death.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=djSKp_pwmOA\u003c/p>\n\u003cp>There are lots of cool-looking moments — mostly Skarsgård in a trench coat, stomping around the desolate concrete jungle in the rain at night — until \u003cem>The Crow\u003c/em> builds to one of the better action sequences this year, albeit another one of those heightened showdowns at the opera.\u003c/p>\n\u003cp>[aside postid='arts_13962775']By this time, Eric has donned the Crow’s heavy eye and cheek makeup. He adds to this ensemble a katana and an inability to die. As he closes in on his target, mowing down tuxedoed bad guys as arias soar, the group movements on stage are echoed by the furious fighting backstage. A few severed heads might be considered over the top at curtain call, but subtlety isn’t being applauded here.\u003c/p>\n\u003cp>If the original was plot-light but visually delicious, the new one has a better story but suffers from ideas in the films built on its predecessor, stealing a little from \u003ca href=\"https://www.kqed.org/arts/13907504/trans-fans-the-matrix-lilly-lana-wachowski\">\u003cem>The Matrix\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13867607/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>\u003c/a> and \u003cem>Kill Bill\u003c/em>. Why not create something entirely new?\u003c/p>\n\u003cp>\u003cem>The Crow\u003c/em> isn’t bad — and it gets better as it goes — but it’s an exercise in folly. It cannot escape Lee and the 1994 original even as it builds a more allegorical scaffolding for the smartphone generation. To use that very first metaphor, it’s like the trapped white horse — held down by its own painful past, never free to gallop on its own.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Crow’ is released nationwide on Aug. 23, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The filmmakers have set their tale in a modern, generic Europe and made it very clear that this movie is based on the graphic novel by James O’Barr, but the 1994 film adaptation starring Brandon Lee hovers over it like, well, a stubborn crow.\u003c/p>\n\u003cp>Brandon, son of legendary actor and martial artist Bruce Lee, was just 28 when he died after being shot while filming a scene for \u003cem>The Crow\u003c/em>. History seems always to repeat: The new adaptation lands as another on-set death remains in the headlines.\u003c/p>\n\u003cp>Lee’s \u003cem>The Crow\u003c/em> was finished without him and he never got to see it enter Gen X memory in all its rain-drenched, gothic glory, influencing everything from alternative fashion to \u003cem>Blade\u003c/em> to Christopher Nolan’s \u003cem>Dark Knight\u003c/em> trilogy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bill Skarsgård seizes Lee’s role of Eric Draven, a man so in love that he returns from the dead to revenge his and his sweetheart’s slayings in what can be best called a sort of supernatural, romantic murderfest. (The tagline, “True love never dies,” clumsily rips off Andrew Lloyd Webber’s \u003cem>The Phantom of the Opera\u003c/em>.)\u003c/p>\n\u003cp>William Schneider, who co-wrote the screenplay with Zach Baylin, has given the story a near-operatic facelift, by introducing a devil, a Faustian bargain, blood-on-blood oaths and a godlike guide who monitors the limbo between heaven and hell, which looks like a disused, weed-covered railway station. “Kill the ones who killed you and you’ll get her back,” our hero is told.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The first half drags as it sets the table for the steady beat of limbs and necks being detached at the end. Eric and his love, Shelly (played by an uneven FKA Twigs), meet in a rehab prison for wayward youth that is so well lit and appointed that it looks more like an airport lounge where the cappuccinos are $19 but the Wi-Fi is complimentary.\u003c/p>\n\u003cp>Eric is a gentle loner — tortured by a past the writers don’t bother filling in, who likes to sketch in a book (universal cinema code signaling a sensitive soul) and is heavily tattooed (he’s often shirtless). His apartment has rows of mannequins with their heads covered in plastic and his new love calls him “brilliantly broken.” He’s like a Blink-182 lyric come to life.\u003c/p>\n\u003cp>Shelly is more complex, but that’s because the writers maybe gave up on giving her a real backstory. She has a tattoo that says “Laugh now, cry later,” reads serious literature and loves dancing in her underwear. She clearly comes from wealth and has had a falling out with her mom, but has also done an unimaginably horrible thing, which viewers will learn about at the end.\u003c/p>\n\u003cp>Part of the trouble is that the lead couple cast off very little electricity, offering a love affair that’s more teen-like than all-consuming. And this is a story that needs a love capable of transcending death.\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/djSKp_pwmOA'\n title='//www.youtube.com/embed/djSKp_pwmOA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There are lots of cool-looking moments — mostly Skarsgård in a trench coat, stomping around the desolate concrete jungle in the rain at night — until \u003cem>The Crow\u003c/em> builds to one of the better action sequences this year, albeit another one of those heightened showdowns at the opera.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>By this time, Eric has donned the Crow’s heavy eye and cheek makeup. He adds to this ensemble a katana and an inability to die. As he closes in on his target, mowing down tuxedoed bad guys as arias soar, the group movements on stage are echoed by the furious fighting backstage. A few severed heads might be considered over the top at curtain call, but subtlety isn’t being applauded here.\u003c/p>\n\u003cp>If the original was plot-light but visually delicious, the new one has a better story but suffers from ideas in the films built on its predecessor, stealing a little from \u003ca href=\"https://www.kqed.org/arts/13907504/trans-fans-the-matrix-lilly-lana-wachowski\">\u003cem>The Matrix\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13867607/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>\u003c/a> and \u003cem>Kill Bill\u003c/em>. Why not create something entirely new?\u003c/p>\n\u003cp>\u003cem>The Crow\u003c/em> isn’t bad — and it gets better as it goes — but it’s an exercise in folly. It cannot escape Lee and the 1994 original even as it builds a more allegorical scaffolding for the smartphone generation. To use that very first metaphor, it’s like the trapped white horse — held down by its own painful past, never free to gallop on its own.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Crow’ is released nationwide on Aug. 23, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When producers at \u003cem>Late Night with Seth Meyers\u003c/em> told keyboardist and associate musical director Eli Janney the show would eliminate its live backing group, The 8G Band, due to budget cuts, he wasn’t all that surprised.\u003c/p>\n\u003cp>“This was a moment, honestly, we all saw coming,” said Janney, who made his name as a bassist and keyboardist for the indie rock band Girls Against Boys — and as a producer with artists like James Blunt — before musical director Fred Armisen asked him to join \u003cem>Late Night\u003c/em>’s backing group in 2014.\u003c/p>\n\u003cp>[aside postid='arts_13912923']Janney says Armisen was looking to bring an indie rock band into the world of late night TV.\u003c/p>\n\u003cp>Along with Janney on keyboards and Armisen on guitar, they had Seth Jabour on guitar, Marnie Stern on guitar, Syd Butler on bass and Kimberly Thompson on drums. But when Armisen’s performing career took off, he wound up leaving Janney in charge — returning for short stints as a guest drummer several times a year.\u003c/p>\n\u003cp>“About six months into the show, [Armisen] was like, ‘Hey I have to go work on the next season of \u003cem>Portlandia\u003c/em>, I should be back in about 30 days,” Janney said, laughing. “And then he just never came back [full time].”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thompson and Stern eventually left the band, and 8G began playing with a succession of guest drummers, including Iron Maiden’s Nicko McBrain, Styx’s Todd Sucherman and Queens of the Stone Age’s Jon Theodore. Janney said they likely performed with over 300 drummers; Taylor Hawkins of the Foo Fighters was on their schedule to appear when he died in 2022.\u003c/p>\n\u003cp>The group’s last appearance in a new episode is Thursday, with Armisen back playing drums for their final week. Ironically, Janney and Armisen were just nominated for an Emmy this year for best musical direction.\u003c/p>\n\u003cp>“I think we knew broadcast TV was shrinking in general…[and] there’s just a limit to how many people are watching after 12:30 [a.m.] at night on broadcast,” he added. “Everybody’s moving to streaming. But I thought we had a couple more years, at least.”\u003c/p>\n\u003cp>When I caught up with Janney on a Zoom call last week, he was philosophical and relatively upbeat, stressing that producers and star Seth Meyers had fought to keep the band. Instead, they’ll pre-record music that the show can use in future episodes.\u003c/p>\n\u003ch3>Looking back on more late-night bands worth remembering\u003c/h3>\n\u003cp>[aside postid='arts_13867505']As a musician and late night TV nerd, I have an accompanying obsession with the bands who back the shows, and I’ve seen lots of them live. Late night bands often embody and amplify the tone of a show — Johnny Carson’s \u003cem>Tonight Show\u003c/em> had a rollicking, old school big band, while Jimmy Fallon’s version has the urbane cool of rap/soul/funk stars The Roots.\u003c/p>\n\u003cp>Now that 8G joins the ranks of bands of the past, I’m reflecting on more late night bands that have — or will one day — go down in history. Here’s a list of the best.\u003c/p>\n\u003ch3>#1: The World’s Most Dangerous Band/CBS Orchestra\u003c/h3>\n\u003cp>\u003cem>Late Night with David Letterman (NBC) and The Late Show with David Letterman (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=RUPSilcJFrQ\u003c/p>\n\u003cp>This group was squarely in my generation — a band I was hooked on from their early days with Letterman on NBC in the mid 1980s, right up until his retirement on CBS in 2015. It began as a hip four piece packed with the best session musicians in New York, including drummer Steve Jordan (now with the Rolling Stones), bassist Will Lee and often-barefoot guitarist Hiram Bullock, led by keyboardist and \u003cem>Saturday Night Live\u003c/em> alum Paul Shaffer. Their stripped-down, funky sound was a welcome change from Carson’s massive, more traditional jazz band.\u003c/p>\n\u003cp>Over the years, the group evolved into a much larger unit with two guitar players and a horn section; P-Funk keyboard legend Bernie Worrell even played with them for a time. And the band was capable of everything from skin-tight backing of James Brown to including guest musicians like David Sanborn and trading quips with Letterman himself.\u003c/p>\n\u003cp>“I watched them all the time … and just felt like they were on another level from what I was doing,” Janney said. “Also, they seemed to be having the best f—ing time. It wasn’t uptight at all.”\u003c/p>\n\u003ch3>#2: The NBC Orchestra\u003c/h3>\n\u003cp>\u003cem>The Tonight Show Starring Johnny Carson (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=1QXdi25469U\u003c/p>\n\u003cp>So many of the traditions we associate with late night TV and music started with Carson’s big band, from a flashy, signature theme song to a group packed with ace musicians — like jazz trumpeters Clark Terry and Snooky Young. Trumpeter Carl “Doc” Severinsen led the group, wearing flashy clothes and bantering with Carson while occasionally leading bits like “Stump the Band,” where audience members tried to name songs they couldn’t play.\u003c/p>\n\u003ch3>#3: The Roots\u003c/h3>\n\u003cp>\u003cem>Late Night with Jimmy Fallon and The Tonight Show with Jimmy Fallon (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=ziwYbVx_-qg\u003c/p>\n\u003cp>It may have seemed odd to some for a rap band from Philadelphia to join \u003cem>Late Night\u003c/em> when \u003cem>SNL\u003c/em> alum Fallon took over the show from Conan O’Brien in 2009. But it made perfect sense to me — bringing a modern, genre-blending attitude to the show while featuring one of the best bands in any category. And their “Slow Jam the News” segments are still a classic. Still, NBC took a little while to agree: bandleader Questlove \u003ca href=\"https://www.npr.org/2014/07/03/328167474/questlove-and-the-roots-how-a-hip-hop-band-conquered-late-night\">\u003cu>told me they were originally signed\u003c/u>\u003c/a> to a succession of 13-week contracts, in case the network decided to make a change quickly.\u003c/p>\n\u003ch3>#4: Jon Batiste and Stay Human\u003c/h3>\n\u003cp>\u003cem>The Late Show with Stephen Colbert (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=1HiBKSOeqvg\u003c/p>\n\u003cp>No shade to current Colbert bandleader/guitarist Louis Cato — an amazing multi-instrumentalist who I first saw playing drums with David Sanborn, George Duke and Marcus Miller years ago — but the first version of Colbert’s band led by piano prodigy Batiste was a breath of fresh, innovative air. The band, which Batiste had put together with classmates from Julliard well before they landed on Colbert‘s show, effortlessly moved from jazz and R&B to pop and even classical — with a cool way of playing while walking through the audience that recalled the Second Line marching bands from Batiste’s native New Orleans.\u003c/p>\n\u003ch3>#5: David Sanborn and friends\u003c/h3>\n\u003cp>\u003cem>Sunday Night/Night Music (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=gwgOUzodS6E\u003c/p>\n\u003cp>Executive produced by \u003cem>SNL \u003c/em>showrunner Lorne Michaels, this show was an offbeat experiment which aired for two seasons beginning in 1988, featuring the late jazz saxophonist Sanborn and co-host Jools Holland with a band of ace backing musicians, performing with a wide array of different artists in one show. Bassist Marcus Miller (Miles Davis/Luther Vandross) was the musical director, with guitarist Hiram Bullock, drummer Omar Hakim (Sting/David Bowie), keyboardist Philippe Saisse and many more.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Sanborn loved to bring different types of musicians together, having jazzers Carla Bley and Steve Swallow perform with funk master Bootsy Collins. And the band’s rocking take on “See the Light” with Jeff Healey remains one of my favorite performances by the late guitar god.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When producers at \u003cem>Late Night with Seth Meyers\u003c/em> told keyboardist and associate musical director Eli Janney the show would eliminate its live backing group, The 8G Band, due to budget cuts, he wasn’t all that surprised.\u003c/p>\n\u003cp>“This was a moment, honestly, we all saw coming,” said Janney, who made his name as a bassist and keyboardist for the indie rock band Girls Against Boys — and as a producer with artists like James Blunt — before musical director Fred Armisen asked him to join \u003cem>Late Night\u003c/em>’s backing group in 2014.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Janney says Armisen was looking to bring an indie rock band into the world of late night TV.\u003c/p>\n\u003cp>Along with Janney on keyboards and Armisen on guitar, they had Seth Jabour on guitar, Marnie Stern on guitar, Syd Butler on bass and Kimberly Thompson on drums. But when Armisen’s performing career took off, he wound up leaving Janney in charge — returning for short stints as a guest drummer several times a year.\u003c/p>\n\u003cp>“About six months into the show, [Armisen] was like, ‘Hey I have to go work on the next season of \u003cem>Portlandia\u003c/em>, I should be back in about 30 days,” Janney said, laughing. “And then he just never came back [full time].”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thompson and Stern eventually left the band, and 8G began playing with a succession of guest drummers, including Iron Maiden’s Nicko McBrain, Styx’s Todd Sucherman and Queens of the Stone Age’s Jon Theodore. Janney said they likely performed with over 300 drummers; Taylor Hawkins of the Foo Fighters was on their schedule to appear when he died in 2022.\u003c/p>\n\u003cp>The group’s last appearance in a new episode is Thursday, with Armisen back playing drums for their final week. Ironically, Janney and Armisen were just nominated for an Emmy this year for best musical direction.\u003c/p>\n\u003cp>“I think we knew broadcast TV was shrinking in general…[and] there’s just a limit to how many people are watching after 12:30 [a.m.] at night on broadcast,” he added. “Everybody’s moving to streaming. But I thought we had a couple more years, at least.”\u003c/p>\n\u003cp>When I caught up with Janney on a Zoom call last week, he was philosophical and relatively upbeat, stressing that producers and star Seth Meyers had fought to keep the band. Instead, they’ll pre-record music that the show can use in future episodes.\u003c/p>\n\u003ch3>Looking back on more late-night bands worth remembering\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a musician and late night TV nerd, I have an accompanying obsession with the bands who back the shows, and I’ve seen lots of them live. Late night bands often embody and amplify the tone of a show — Johnny Carson’s \u003cem>Tonight Show\u003c/em> had a rollicking, old school big band, while Jimmy Fallon’s version has the urbane cool of rap/soul/funk stars The Roots.\u003c/p>\n\u003cp>Now that 8G joins the ranks of bands of the past, I’m reflecting on more late night bands that have — or will one day — go down in history. Here’s a list of the best.\u003c/p>\n\u003ch3>#1: The World’s Most Dangerous Band/CBS Orchestra\u003c/h3>\n\u003cp>\u003cem>Late Night with David Letterman (NBC) and The Late Show with David Letterman (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/RUPSilcJFrQ'\n title='//www.youtube.com/embed/RUPSilcJFrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This group was squarely in my generation — a band I was hooked on from their early days with Letterman on NBC in the mid 1980s, right up until his retirement on CBS in 2015. It began as a hip four piece packed with the best session musicians in New York, including drummer Steve Jordan (now with the Rolling Stones), bassist Will Lee and often-barefoot guitarist Hiram Bullock, led by keyboardist and \u003cem>Saturday Night Live\u003c/em> alum Paul Shaffer. Their stripped-down, funky sound was a welcome change from Carson’s massive, more traditional jazz band.\u003c/p>\n\u003cp>Over the years, the group evolved into a much larger unit with two guitar players and a horn section; P-Funk keyboard legend Bernie Worrell even played with them for a time. And the band was capable of everything from skin-tight backing of James Brown to including guest musicians like David Sanborn and trading quips with Letterman himself.\u003c/p>\n\u003cp>“I watched them all the time … and just felt like they were on another level from what I was doing,” Janney said. “Also, they seemed to be having the best f—ing time. It wasn’t uptight at all.”\u003c/p>\n\u003ch3>#2: The NBC Orchestra\u003c/h3>\n\u003cp>\u003cem>The Tonight Show Starring Johnny Carson (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/1QXdi25469U'\n title='//www.youtube.com/embed/1QXdi25469U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So many of the traditions we associate with late night TV and music started with Carson’s big band, from a flashy, signature theme song to a group packed with ace musicians — like jazz trumpeters Clark Terry and Snooky Young. Trumpeter Carl “Doc” Severinsen led the group, wearing flashy clothes and bantering with Carson while occasionally leading bits like “Stump the Band,” where audience members tried to name songs they couldn’t play.\u003c/p>\n\u003ch3>#3: The Roots\u003c/h3>\n\u003cp>\u003cem>Late Night with Jimmy Fallon and The Tonight Show with Jimmy Fallon (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/ziwYbVx_-qg'\n title='//www.youtube.com/embed/ziwYbVx_-qg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It may have seemed odd to some for a rap band from Philadelphia to join \u003cem>Late Night\u003c/em> when \u003cem>SNL\u003c/em> alum Fallon took over the show from Conan O’Brien in 2009. But it made perfect sense to me — bringing a modern, genre-blending attitude to the show while featuring one of the best bands in any category. And their “Slow Jam the News” segments are still a classic. Still, NBC took a little while to agree: bandleader Questlove \u003ca href=\"https://www.npr.org/2014/07/03/328167474/questlove-and-the-roots-how-a-hip-hop-band-conquered-late-night\">\u003cu>told me they were originally signed\u003c/u>\u003c/a> to a succession of 13-week contracts, in case the network decided to make a change quickly.\u003c/p>\n\u003ch3>#4: Jon Batiste and Stay Human\u003c/h3>\n\u003cp>\u003cem>The Late Show with Stephen Colbert (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/1HiBKSOeqvg'\n title='//www.youtube.com/embed/1HiBKSOeqvg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>No shade to current Colbert bandleader/guitarist Louis Cato — an amazing multi-instrumentalist who I first saw playing drums with David Sanborn, George Duke and Marcus Miller years ago — but the first version of Colbert’s band led by piano prodigy Batiste was a breath of fresh, innovative air. The band, which Batiste had put together with classmates from Julliard well before they landed on Colbert‘s show, effortlessly moved from jazz and R&B to pop and even classical — with a cool way of playing while walking through the audience that recalled the Second Line marching bands from Batiste’s native New Orleans.\u003c/p>\n\u003ch3>#5: David Sanborn and friends\u003c/h3>\n\u003cp>\u003cem>Sunday Night/Night Music (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/gwgOUzodS6E'\n title='//www.youtube.com/embed/gwgOUzodS6E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Executive produced by \u003cem>SNL \u003c/em>showrunner Lorne Michaels, this show was an offbeat experiment which aired for two seasons beginning in 1988, featuring the late jazz saxophonist Sanborn and co-host Jools Holland with a band of ace backing musicians, performing with a wide array of different artists in one show. Bassist Marcus Miller (Miles Davis/Luther Vandross) was the musical director, with guitarist Hiram Bullock, drummer Omar Hakim (Sting/David Bowie), keyboardist Philippe Saisse and many more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sanborn loved to bring different types of musicians together, having jazzers Carla Bley and Steve Swallow perform with funk master Bootsy Collins. And the band’s rocking take on “See the Light” with Jeff Healey remains one of my favorite performances by the late guitar god.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "presidential-election-celebrity-endorsements-2024-trump-harris-taylor-swift",
"title": "Everyone Wants Taylor Swift’s Vote — But Celebrity Endorsements Are Complicated",
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"headTitle": "Everyone Wants Taylor Swift’s Vote — But Celebrity Endorsements Are Complicated | KQED",
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"content": "\u003cp>There’s been a lot of wishful thinking lately about who Taylor Swift might endorse for President.\u003c/p>\n\u003cp>“You cannot make this up!” said TikToker Johnny Palmadessa in one of the many hopeful — if not fact-based — social media videos posted recently. “Taylor Swift is getting ready to endorse Kamala Harris!”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@johnnypalmadessa/video/7400430047162666282\" data-video-id=\"7400430047162666282\">\n\u003csection>\u003ca title=\"@johnnypalmadessa\" href=\"https://www.tiktok.com/@johnnypalmadessa?refer=embed\" target=\"_blank\" rel=\"noopener\">@johnnypalmadessa\u003c/a> Taylor Swift might be endorsing Kamala Harris soon! She picked this photo for a reason. \u003ca title=\"kamalaharris\" href=\"https://www.tiktok.com/tag/kamalaharris?refer=embed\" target=\"_blank\" rel=\"noopener\">#KamalaHarris\u003c/a> \u003ca title=\"taylorswift\" href=\"https://www.tiktok.com/tag/taylorswift?refer=embed\" target=\"_blank\" rel=\"noopener\">#TaylorSwift\u003c/a> \u003ca title=\"legal\" href=\"https://www.tiktok.com/tag/legal?refer=embed\" target=\"_blank\" rel=\"noopener\">#Legal\u003c/a> \u003ca title=\"law\" href=\"https://www.tiktok.com/tag/law?refer=embed\" target=\"_blank\" rel=\"noopener\">#Law\u003c/a> \u003ca title=\"donaldtrump\" href=\"https://www.tiktok.com/tag/donaldtrump?refer=embed\" target=\"_blank\" rel=\"noopener\">#DonaldTrump\u003c/a> \u003ca title=\"♬ original sound - Johnny Palmadessa\" href=\"https://www.tiktok.com/music/original-sound-7400429951364729643?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Johnny Palmadessa\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>And Republican presidential nominee Donald Trump \u003ca href=\"https://truthsocial.com/@realDonaldTrump/posts/112984762512136574\">reposted an AI-generated image\u003c/a> of the pop star wearing an Uncle Sam outfit, in which he accepted her seeming endorsement of his campaign. The post appeared on the politician’s Truth Social network earlier this week. (He’s since \u003ca href=\"https://x.com/Grady_Trimble/status/1826405658172031219\">denied \u003c/a>he knows anything about the images.)\u003c/p>\n\u003cp>In reality, Swift has not endorsed Trump or any other candidate in this election cycle so far.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/606x888+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fa9%2Fa7%2Fcd83044743528cce61c49c6484d9%2Fscreenshot-2024-08-22-at-09-26-18.png\" alt=\"Donald Trump reposted this AI-generated image of Taylor Swift on social media.\">\u003cfigcaption>Donald Trump reposted this AI-generated image of Taylor Swift on social media. \u003ccite> (Truth Social)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But other celebrities have already come out in support of Harris and Trump in the run-up to the November election.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The best chance we have to give our babies a better life is to elect Donald Trump President of the United States,” said Amber Rose in a speech at the Republican National Convention.\u003c/p>\n\u003cp>Meanwhile, Megan Thee Stallion shared her enthusiasm for Kamala Harris in a performance at a recent rally. “We’re about to make history with the first female president!” she said.\u003c/p>\n\u003ch3>Why celebrity endorsements matter\u003c/h3>\n\u003cp>Celebrity endorsements are as much a thing in politics as they are in consumer products.\u003c/p>\n\u003cp>[aside postid='news_11999092']“Celebrities draw increased engagement, increased attention, and they increase conversation,” said Ashley Spillane, the author of a \u003ca href=\"https://ash.harvard.edu/resources/celebrities-strengthening-our-culture-of-democracy/\">new study\u003c/a> from Harvard’s Kennedy School on celebrity engagement in politics — focusing on civic participation. “And no matter the political party or the candidate, there is a real hunger to be affiliated with the celebrities that can do that.”\u003c/p>\n\u003cp>Spillane said her research shows you don’t have to be a star as big as Swift to influence voters.\u003c/p>\n\u003cp>“Some of the other folks with a smaller base were having just as significant an impact because they have an incredibly engaged base of support as well,” she said.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>There’s a long history of big names throwing their weight behind White House hopefuls. It extends back to 1920 when film stars Mary Pickford and Al Jolson endorsed Warren G. Harding.\u003c/p>\n\u003cp>Frank Sinatra \u003ca href=\"https://www.youtube.com/watch?v=RBeIZN8pYK8\">explained his support\u003c/a> of future president Ronald Reagan at a fundraising event in Boston in 1979.\u003c/p>\n\u003cp>“Why do I support Governor Reagan?” Sinatra said. “Because I think he’s the proper man to be President of the United States. Because it’s so screwed up now, we need someone to straighten it out.”\u003c/p>\n\u003cp>[aside postid='arts_13961732']Oprah Winfrey \u003ca href=\"https://www.youtube.com/watch?v=_atVBYMW0AY\">offered her reasons\u003c/a> for backing Barack Obama on \u003cem>The\u003c/em> \u003cem>Larry King Show\u003c/em> in 2007. “What he stands for, what he has proven he can stand for, what he has shown, was worth me going out on a limb for,” Winfrey said.\u003c/p>\n\u003cp>A \u003ca href=\"https://www.kellogg.northwestern.edu/faculty/garthwaite/htm/celebrityendorsements_garthwaitemoore.pdf\">2008 study\u003c/a> from Northwestern University assessed the impact of Winfrey’s endorsement of Obama. It showed the media star was responsible for around one million additional votes for the 44th president.\u003c/p>\n\u003ch3>Celebrity endorsements can be tricky\u003c/h3>\n\u003cp>But other research tells a different story.\u003c/p>\n\u003cp>For instance, a \u003ca href=\"https://news.ncsu.edu/2010/04/wmscobbcelebrity/\">2010 report\u003c/a> from North Carolina State University found celebrity endorsements by George Clooney and Angelina Jolie did not help political candidates.\u003c/p>\n\u003cp>And having famous people cheerleading for your political campaign isn’t foolproof.\u003c/p>\n\u003cp>“It could backfire,” said Wharton School of Business professor of neuroscience, psychology, and marketing Michael Platt, the author of a \u003ca href=\"https://knowledge.wharton.upenn.edu/article/the-marketing-psychology-behind-celebrity-endorsements/\">2023 study\u003c/a> on celebrity endorsement. “Maybe it’s a celebrity that you don’t like or is not aligned with you politically.”\u003c/p>\n\u003cp>There’s also the potential problem of the celebrity being \u003cem>too\u003c/em> famous. Platt calls this the “Vampire Effect.”\u003c/p>\n\u003cp>“They suck up all our attention, right?” he said. “Which means there’s less attention, less processing, that’s given to the candidate that you might be endorsing.”\u003c/p>\n\u003ch3>The rise of fake AI celebrity endorsements\u003c/h3>\n\u003cp>The rise of social media and deep-fakes created by artificial intelligence, such as those of Swift falsely appearing to endorse Trump, is also an issue.\u003c/p>\n\u003cp>[aside postid='arts_13962624']“There have been manipulated celebrity photographs since the beginning of photography, certainly, but the rampant use of AI and its ubiquity are what is new,” said Douglas Mirell, an entertainment lawyer with the Los Angeles firm Greenberg Glusker who works to curb unauthorized uses of AI. “It is so pervasive and so potentially manipulable, that people can’t tell what’s true and what’s not true. So AI really does create a much more serious threat to the fundamental touchstone of democracy, which is truth-telling.”\u003c/p>\n\u003cp>Mirell said the impact of AI-generated images on election results remains to be seen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When we’re talking about people like Taylor Swift or Beyoncé, their endorsements would be potentially very important,” he said. “And that’s why I think everyone really needs to be concerned about this issue.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s been a lot of wishful thinking lately about who Taylor Swift might endorse for President.\u003c/p>\n\u003cp>“You cannot make this up!” said TikToker Johnny Palmadessa in one of the many hopeful — if not fact-based — social media videos posted recently. “Taylor Swift is getting ready to endorse Kamala Harris!”\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@johnnypalmadessa/video/7400430047162666282\" data-video-id=\"7400430047162666282\">\n\u003csection>\u003ca title=\"@johnnypalmadessa\" href=\"https://www.tiktok.com/@johnnypalmadessa?refer=embed\" target=\"_blank\" rel=\"noopener\">@johnnypalmadessa\u003c/a> Taylor Swift might be endorsing Kamala Harris soon! She picked this photo for a reason. \u003ca title=\"kamalaharris\" href=\"https://www.tiktok.com/tag/kamalaharris?refer=embed\" target=\"_blank\" rel=\"noopener\">#KamalaHarris\u003c/a> \u003ca title=\"taylorswift\" href=\"https://www.tiktok.com/tag/taylorswift?refer=embed\" target=\"_blank\" rel=\"noopener\">#TaylorSwift\u003c/a> \u003ca title=\"legal\" href=\"https://www.tiktok.com/tag/legal?refer=embed\" target=\"_blank\" rel=\"noopener\">#Legal\u003c/a> \u003ca title=\"law\" href=\"https://www.tiktok.com/tag/law?refer=embed\" target=\"_blank\" rel=\"noopener\">#Law\u003c/a> \u003ca title=\"donaldtrump\" href=\"https://www.tiktok.com/tag/donaldtrump?refer=embed\" target=\"_blank\" rel=\"noopener\">#DonaldTrump\u003c/a> \u003ca title=\"♬ original sound - Johnny Palmadessa\" href=\"https://www.tiktok.com/music/original-sound-7400429951364729643?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Johnny Palmadessa\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And Republican presidential nominee Donald Trump \u003ca href=\"https://truthsocial.com/@realDonaldTrump/posts/112984762512136574\">reposted an AI-generated image\u003c/a> of the pop star wearing an Uncle Sam outfit, in which he accepted her seeming endorsement of his campaign. The post appeared on the politician’s Truth Social network earlier this week. (He’s since \u003ca href=\"https://x.com/Grady_Trimble/status/1826405658172031219\">denied \u003c/a>he knows anything about the images.)\u003c/p>\n\u003cp>In reality, Swift has not endorsed Trump or any other candidate in this election cycle so far.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/606x888+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fa9%2Fa7%2Fcd83044743528cce61c49c6484d9%2Fscreenshot-2024-08-22-at-09-26-18.png\" alt=\"Donald Trump reposted this AI-generated image of Taylor Swift on social media.\">\u003cfigcaption>Donald Trump reposted this AI-generated image of Taylor Swift on social media. \u003ccite> (Truth Social)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But other celebrities have already come out in support of Harris and Trump in the run-up to the November election.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The best chance we have to give our babies a better life is to elect Donald Trump President of the United States,” said Amber Rose in a speech at the Republican National Convention.\u003c/p>\n\u003cp>Meanwhile, Megan Thee Stallion shared her enthusiasm for Kamala Harris in a performance at a recent rally. “We’re about to make history with the first female president!” she said.\u003c/p>\n\u003ch3>Why celebrity endorsements matter\u003c/h3>\n\u003cp>Celebrity endorsements are as much a thing in politics as they are in consumer products.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Celebrities draw increased engagement, increased attention, and they increase conversation,” said Ashley Spillane, the author of a \u003ca href=\"https://ash.harvard.edu/resources/celebrities-strengthening-our-culture-of-democracy/\">new study\u003c/a> from Harvard’s Kennedy School on celebrity engagement in politics — focusing on civic participation. “And no matter the political party or the candidate, there is a real hunger to be affiliated with the celebrities that can do that.”\u003c/p>\n\u003cp>Spillane said her research shows you don’t have to be a star as big as Swift to influence voters.\u003c/p>\n\u003cp>“Some of the other folks with a smaller base were having just as significant an impact because they have an incredibly engaged base of support as well,” she said.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>There’s a long history of big names throwing their weight behind White House hopefuls. It extends back to 1920 when film stars Mary Pickford and Al Jolson endorsed Warren G. Harding.\u003c/p>\n\u003cp>Frank Sinatra \u003ca href=\"https://www.youtube.com/watch?v=RBeIZN8pYK8\">explained his support\u003c/a> of future president Ronald Reagan at a fundraising event in Boston in 1979.\u003c/p>\n\u003cp>“Why do I support Governor Reagan?” Sinatra said. “Because I think he’s the proper man to be President of the United States. Because it’s so screwed up now, we need someone to straighten it out.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Oprah Winfrey \u003ca href=\"https://www.youtube.com/watch?v=_atVBYMW0AY\">offered her reasons\u003c/a> for backing Barack Obama on \u003cem>The\u003c/em> \u003cem>Larry King Show\u003c/em> in 2007. “What he stands for, what he has proven he can stand for, what he has shown, was worth me going out on a limb for,” Winfrey said.\u003c/p>\n\u003cp>A \u003ca href=\"https://www.kellogg.northwestern.edu/faculty/garthwaite/htm/celebrityendorsements_garthwaitemoore.pdf\">2008 study\u003c/a> from Northwestern University assessed the impact of Winfrey’s endorsement of Obama. It showed the media star was responsible for around one million additional votes for the 44th president.\u003c/p>\n\u003ch3>Celebrity endorsements can be tricky\u003c/h3>\n\u003cp>But other research tells a different story.\u003c/p>\n\u003cp>For instance, a \u003ca href=\"https://news.ncsu.edu/2010/04/wmscobbcelebrity/\">2010 report\u003c/a> from North Carolina State University found celebrity endorsements by George Clooney and Angelina Jolie did not help political candidates.\u003c/p>\n\u003cp>And having famous people cheerleading for your political campaign isn’t foolproof.\u003c/p>\n\u003cp>“It could backfire,” said Wharton School of Business professor of neuroscience, psychology, and marketing Michael Platt, the author of a \u003ca href=\"https://knowledge.wharton.upenn.edu/article/the-marketing-psychology-behind-celebrity-endorsements/\">2023 study\u003c/a> on celebrity endorsement. “Maybe it’s a celebrity that you don’t like or is not aligned with you politically.”\u003c/p>\n\u003cp>There’s also the potential problem of the celebrity being \u003cem>too\u003c/em> famous. Platt calls this the “Vampire Effect.”\u003c/p>\n\u003cp>“They suck up all our attention, right?” he said. “Which means there’s less attention, less processing, that’s given to the candidate that you might be endorsing.”\u003c/p>\n\u003ch3>The rise of fake AI celebrity endorsements\u003c/h3>\n\u003cp>The rise of social media and deep-fakes created by artificial intelligence, such as those of Swift falsely appearing to endorse Trump, is also an issue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There have been manipulated celebrity photographs since the beginning of photography, certainly, but the rampant use of AI and its ubiquity are what is new,” said Douglas Mirell, an entertainment lawyer with the Los Angeles firm Greenberg Glusker who works to curb unauthorized uses of AI. “It is so pervasive and so potentially manipulable, that people can’t tell what’s true and what’s not true. So AI really does create a much more serious threat to the fundamental touchstone of democracy, which is truth-telling.”\u003c/p>\n\u003cp>Mirell said the impact of AI-generated images on election results remains to be seen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When we’re talking about people like Taylor Swift or Beyoncé, their endorsements would be potentially very important,” he said. “And that’s why I think everyone really needs to be concerned about this issue.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Between the Temples’ Is About the Joys and Hazards of Loving Other Humans",
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"content": "\u003cp>“The greatest thing you’ll ever learn, is just to love and be loved in return.” So sang Nat King Cole in 1948’s “Nature Boy.”\u003c/p>\n\u003cp>[aside postid='arts_13962259']What Mr. Cole failed to mention was just how challenging that task might prove to be in reality — especially for the more mature folks in the dating pool. As youth fades, baggage collects and personalities harden, finding a love that is mutual, uncomplicated and, well, \u003cem>great\u003c/em>, can be a mighty big challenge. And that many-splendored thing is what \u003cem>Between the Temples\u003c/em> is all about.\u003c/p>\n\u003cp>In this ’70s-style drama, Jason Schwartzman plays Ben, a Jewish cantor who has lost his wife, his singing voice and, for the most part, his will to participate in life. One night at the local tavern, while attempting to drown his grief with mudslides (his embarrassing beverage of choice), he stands up to the wrong townie and gets a punch in the chops for his trouble. The person who comes to his aid is the kooky but naturally kind Carla (Carol Kane in dazzling form). Ben recognizes Carla as his former school music teacher and soon, that old thread begins to tie their lives back together.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DeqBcFAOOoU\u003c/p>\n\u003cp>Ostensibly, the storyline of \u003cem>Between the Temples\u003c/em> revolves around Carla’s desire to have a bat mitzvah — a right of passage she was denied by the Communist parents she grew up with. Ben (reluctantly) agrees to help the unconventional septuagenarian with the process and soon he finds himself with a spring in his step that’s been absent since his wife’s sudden death. Ben and Carla impart wisdom, kindness, music and the occasional hallucinogen to each other, and both of their lives are much improved for it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, the people closest to Ben — in particular his infuriating stepmother, Judith (Dolly De Leon) — are pushing hard for Ben to find love with the rabbi’s beautiful daughter, Gabby (Madeline Weinstein). Gabby herself is recovering from a major heartbreak and both her and Ben’s parents assume that two sads might make a happy. Gabby is keen to the point of trying to latch on to Ben’s deceased wife in ways that are almost vampiric. She is also entirely incapable of grasping Ben’s friendship with Carla — but she’s not the only one. Carla’s son Nat (a brilliantly objectionable Matthew Shear) is aghast at the mere sight of a younger man in his mom’s home, further complicated by the fact that Ben is wearing Nat’s pajamas at the time.\u003c/p>\n\u003cp>[aside postid='arts_13962666']\u003cem>Between the Temples\u003c/em> is one of those movies that’s about nothing and everything all at once. It’s about complicated humans muddling through and grasping for joy wherever they can find it. It’s about being seen and accepted for who you are. It’s about reaching a point in life when being impervious to other people’s judgments becomes perfectly natural. It’s also very funny in a variety of unexpected ways.\u003c/p>\n\u003cp>If you loved \u003cem>Harold and Maude\u003c/em>, \u003cem>Withnail and I\u003c/em> and \u003cem>Annie Hall\u003c/em>, you’ll appreciate \u003cem>Between the Temples\u003c/em>’ low-key but unerringly oddball characters, complex companionships and dry humor. And if you’ve ever loved and lost and then loved again? \u003cem>Between the Temples\u003c/em> will leave you renewed and aglow, just like its central characters.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Between the Temples’ opens in Bay Area theaters on Aug. 23, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The greatest thing you’ll ever learn, is just to love and be loved in return.” So sang Nat King Cole in 1948’s “Nature Boy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What Mr. Cole failed to mention was just how challenging that task might prove to be in reality — especially for the more mature folks in the dating pool. As youth fades, baggage collects and personalities harden, finding a love that is mutual, uncomplicated and, well, \u003cem>great\u003c/em>, can be a mighty big challenge. And that many-splendored thing is what \u003cem>Between the Temples\u003c/em> is all about.\u003c/p>\n\u003cp>In this ’70s-style drama, Jason Schwartzman plays Ben, a Jewish cantor who has lost his wife, his singing voice and, for the most part, his will to participate in life. One night at the local tavern, while attempting to drown his grief with mudslides (his embarrassing beverage of choice), he stands up to the wrong townie and gets a punch in the chops for his trouble. The person who comes to his aid is the kooky but naturally kind Carla (Carol Kane in dazzling form). Ben recognizes Carla as his former school music teacher and soon, that old thread begins to tie their lives back together.\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/DeqBcFAOOoU'\n title='//www.youtube.com/embed/DeqBcFAOOoU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ostensibly, the storyline of \u003cem>Between the Temples\u003c/em> revolves around Carla’s desire to have a bat mitzvah — a right of passage she was denied by the Communist parents she grew up with. Ben (reluctantly) agrees to help the unconventional septuagenarian with the process and soon he finds himself with a spring in his step that’s been absent since his wife’s sudden death. Ben and Carla impart wisdom, kindness, music and the occasional hallucinogen to each other, and both of their lives are much improved for it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, the people closest to Ben — in particular his infuriating stepmother, Judith (Dolly De Leon) — are pushing hard for Ben to find love with the rabbi’s beautiful daughter, Gabby (Madeline Weinstein). Gabby herself is recovering from a major heartbreak and both her and Ben’s parents assume that two sads might make a happy. Gabby is keen to the point of trying to latch on to Ben’s deceased wife in ways that are almost vampiric. She is also entirely incapable of grasping Ben’s friendship with Carla — but she’s not the only one. Carla’s son Nat (a brilliantly objectionable Matthew Shear) is aghast at the mere sight of a younger man in his mom’s home, further complicated by the fact that Ben is wearing Nat’s pajamas at the time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Between the Temples\u003c/em> is one of those movies that’s about nothing and everything all at once. It’s about complicated humans muddling through and grasping for joy wherever they can find it. It’s about being seen and accepted for who you are. It’s about reaching a point in life when being impervious to other people’s judgments becomes perfectly natural. It’s also very funny in a variety of unexpected ways.\u003c/p>\n\u003cp>If you loved \u003cem>Harold and Maude\u003c/em>, \u003cem>Withnail and I\u003c/em> and \u003cem>Annie Hall\u003c/em>, you’ll appreciate \u003cem>Between the Temples\u003c/em>’ low-key but unerringly oddball characters, complex companionships and dry humor. And if you’ve ever loved and lost and then loved again? \u003cem>Between the Temples\u003c/em> will leave you renewed and aglow, just like its central characters.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Between the Temples’ opens in Bay Area theaters on Aug. 23, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you were too young to watch NBC’s groundbreaking police drama, \u003cem>Homicide: Life on the Street\u003c/em> when it first debuted in 1993, you may wonder why there’s still so much fuss about the show more than three decades later.\u003c/p>\n\u003cp>That’s because so much of what \u003cem>Homicide\u003c/em> presented was stuff you just didn’t see on network television back then: shaky, kinetic camera work; working stiff police detectives cracking jokes at gruesome murder scenes instead of solemnly vowing justice; serialized stories that arced over several episodes; heart-rending killings that never got solved. It was a cop show without gun battles or car chases, with a bracing shot of street-level realism, filmed mostly in Baltimore.\u003c/p>\n\u003cp>[aside postid='arts_13962204']TV fans can step back in time Monday, when NBCUniversal rights a longtime injustice and makes all seven seasons of \u003cem>Homicide: Life on the Street \u003c/em>available on its streaming service, Peacock – along with 2000’s \u003cem>Homicide: the Movie\u003c/em>. There’s a total 122 episodes, plus the TV movie.\u003c/p>\n\u003cp>One person glad to see these episodes finally arrive on streaming is Tom Fontana, who served as executive producer and showrunner for \u003cem>Homicide\u003c/em>, helping develop its singular storytelling style.\u003c/p>\n\u003cp>He wasn’t directly involved with bringing the series to Peacock, though Fontana says he and fellow \u003cem>Homicide\u003c/em> producers Barry Levinson and Gail Mutrux had been bugging the company to put the show online for years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We could never understand why they [didn’t do it sooner],” adds the producer, who created the prison drama \u003cem>Oz\u003c/em>, HBO’s first original drama series, and most recently co-created the AMC drama \u003cem>Monsieur Spade\u003c/em>. “We kept getting different reasons from different NBC executives.”\u003c/p>\n\u003cp>In a tweet in June, \u003cem>Homicide\u003c/em> producer and writer David Simon — a former \u003cem>Baltimore Sun\u003c/em> cops reporter who wrote the book the show was based on, \u003cem>Homicide: A Year on the Killing Streets\u003c/em> — hinted that music rights were central to the delay.\u003c/p>\n\u003cp>https://twitter.com/AoDespair/status/1802819920939635097\u003c/p>\n\u003cp>In an emailed statement to NPR, NBCUniversal noted that it took “many years” for NBCUniversal Global TV Distribution and Universal TV to secure the rights and clearances needed and to remaster the series for HD and 4K, noting the HD versions will be available Monday with the 4K version to follow. The show’s crossover episodes with another classic NBC police drama, \u003cem>Law & Order\u003c/em>, will not be included on Peacock. But the episodes on streaming will include “most” of the original music.\u003c/p>\n\u003ch3>Resurfacing groundbreaking 1990s TV\u003c/h3>\n\u003cp>Watching \u003cem>Homicide\u003c/em> episodes reveals a series seriously ahead of its time, created by Paul Attanasio and focused on recreating Simon’s incisive look at the city’s murder police.\u003c/p>\n\u003cp>Here, viewers were introduced to The Box, the interrogation room where detectives often solved cases by cajoling confessions from suspects, like canny used car dealers pushing wary customers to sign on the dotted line.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3DH4FdxKCNg\u003c/p>\n\u003cp>Or The Board, a large, dry-erase display with every detective’s name, followed by the case number and last names of the murder victims in the crimes they were working — solved cases written in black, open cases in red. “You look up there, you know exactly where you stand,” says Yaphet Kotto’s world weary, Italian African American squad leader, Al Giardello. “About how many things in life can you say that?”\u003c/p>\n\u003cp>The \u003cem>Homicide\u003c/em> series was where Simon learned to write TV scripts before creating his own groundbreaking shows for HBO, including \u003cem>The Wire\u003c/em>. Fontana recalls, “I remember saying to [Simon], on the first day, ‘You know how in a newspaper article, you have to answer who, what, when, where in the first paragraph? TV writing is the opposite; you put off answering those questions as long as you possibly can’ … I think that was probably the only really good advice I gave him.”\u003c/p>\n\u003cp>[aside postid='arts_13960383']Fontana’s notes to Simon may also explain why the structure of \u003cem>Homicide\u003c/em>’s episodes were so unusual for network TV. Characters didn’t directly say what was happening every moment, unlike so many police procedurals back then, which seemed to fear confusing audiences. Fontana says they would stick little “easter egg” style moments in episodes — with little regard for whether the audience understood them or not. In one story, for example, a man accused of racism seems to perceive color differently watching a TV set.\u003c/p>\n\u003cp>Given that viewers couldn’t watch the episodes on demand, or stop and rewind to catch things they might have missed, it was a bold choice. It also meant \u003cem>Homicide\u003c/em> emerged as a series perfect for streaming, made long before streaming platforms actually existed.\u003c/p>\n\u003cfigure id=\"attachment_13962863\" class=\"wp-caption aligncenter\" style=\"max-width: 972px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962863\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59%E2%80%AFAM.png\" alt=\"Standing in front of an old red brick building are seven men of various ages and races and two white women. Almost everyone is wearing a suit.\" width=\"972\" height=\"1296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM.png 972w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM-800x1067.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM-768x1024.png 768w\" sizes=\"(max-width: 972px) 100vw, 972px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Homicide: Life on the Street.’ \u003ccite>(NBCUniversal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘A community of detectives’\u003c/h3>\n\u003cp>The new episodes retain the show’s signature look in screeners provided by Peacock; songs by Miles Davis and the band Bleach seem to appear intact. Still, there is one longtime fan of the show who won’t be watching the new episodes on streaming: Fontana himself.\u003c/p>\n\u003cp>“I’m told the show holds up really well, but I’m not brave enough to watch it again,” he says. “I think the show feels real because we were talking about a community of detectives. And we didn’t want them all to sound like Dick Tracy or whatever. ”\u003c/p>\n\u003cp>Everyone from Oscar winner Melissa Leo to legendary indie film director and Baltimore institution \u003ca href=\"https://www.kqed.org/arts/13953095/john-waters-aubrey-plaza-liarmouth\">John Waters\u003c/a> appeared on the show. \u003ca href=\"https://www.kqed.org/pop/104553/exploring-not-explaining-the-mind-of-robin-williams\">Robin Williams\u003c/a> guested in a landmark episode called “Bop Gun,” playing the husband of a woman killed while they were visiting the city, horrified to overhear detectives joking about her murder with the easy familiarity of those who work close to death. (Williams’ appearance, Simon later \u003ca href=\"https://davidsimon.com/robin-williams-a-brief-encounter/\">\u003cu>wrote on his website\u003c/u>\u003c/a>, likely saved the show and cemented his TV writing career).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AkGfJbLZtLU&t=1s\u003c/p>\n\u003cp>Vincent D’Onofrio also pops up in an episode Fontana cites as one of his favorites, called “Subway,” playing a man pushed onto a subway platform and pinned between the platform and the train. As the episode progresses, he slowly realizes he will die the moment they move the train car away.\u003c/p>\n\u003ch3>Catching up on the work of departed acting legends\u003c/h3>\n\u003cp>Perhaps best of all, fans can now see a long line of powerful actors who have since died — performers who delivered some of their best work on \u003cem>Homicide\u003c/em> — including Kotto, Ned Beatty, Jon Polito, Richard Belzer and Andre Braugher.\u003c/p>\n\u003cp>Braugher shone as Det. Frank Pembleton, a hotshot known for closing cases by pushing suspects to confess in The Box. “What you will be privileged to witness is not an interrogation, but an act of salesmanship — as silver-tongued and thieving as ever moved used cars, Florida swampland or Bibles,” he tells a rookie observer in \u003cem>Homicide’s\u003c/em> first episode. “But what I am selling is a long prison term. To a client who has no genuine use for the product. ”\u003c/p>\n\u003cp>[aside postid='arts_13959986']NBCUniversal says fan reaction over the deaths last year of Belzer and Braugher — beloved actors whose later work included \u003cem>Law & Order: SVU \u003c/em>and \u003ca href=\"https://www.kqed.org/pop/103753/saving-brooklyn-nine-nine-was-business-but-the-love-of-it-is-real\">\u003cem>Brooklyn Nine-Nine\u003c/em>\u003c/a> — “was just another indicator that we should continue on our path” to bring \u003cem>Homicide\u003c/em> to streaming now. Fontana notes it doesn’t hurt that Netflix also recently saw success with episodes of older series such as USA Network’s \u003cem>Suits \u003c/em>and Showtime’s \u003cem>Your Honor\u003c/em>, hinting that NBC’s Peacock might also benefit from elevating a classic series the company already owns.\u003c/p>\n\u003cp>But ask him why people are still interested in the show, about 25 years after the series ended, and the notoriously modest Fontana comes up short. “I’ve been trying to figure it out,” he says. “It’s unfortunate that the stories we told are still relevant. But it might engage a younger audience, because they can say, ‘Hey, prejudice, and misogyny and inequality are still part of day to day life.’”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Homicide: Life on the Street’ begins streaming on Peacock on Aug. 19, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In an emailed statement to NPR, NBCUniversal noted that it took “many years” for NBCUniversal Global TV Distribution and Universal TV to secure the rights and clearances needed and to remaster the series for HD and 4K, noting the HD versions will be available Monday with the 4K version to follow. The show’s crossover episodes with another classic NBC police drama, \u003cem>Law & Order\u003c/em>, will not be included on Peacock. But the episodes on streaming will include “most” of the original music.\u003c/p>\n\u003ch3>Resurfacing groundbreaking 1990s TV\u003c/h3>\n\u003cp>Watching \u003cem>Homicide\u003c/em> episodes reveals a series seriously ahead of its time, created by Paul Attanasio and focused on recreating Simon’s incisive look at the city’s murder police.\u003c/p>\n\u003cp>Here, viewers were introduced to The Box, the interrogation room where detectives often solved cases by cajoling confessions from suspects, like canny used car dealers pushing wary customers to sign on the dotted line.\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/3DH4FdxKCNg'\n title='//www.youtube.com/embed/3DH4FdxKCNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Or The Board, a large, dry-erase display with every detective’s name, followed by the case number and last names of the murder victims in the crimes they were working — solved cases written in black, open cases in red. “You look up there, you know exactly where you stand,” says Yaphet Kotto’s world weary, Italian African American squad leader, Al Giardello. “About how many things in life can you say that?”\u003c/p>\n\u003cp>The \u003cem>Homicide\u003c/em> series was where Simon learned to write TV scripts before creating his own groundbreaking shows for HBO, including \u003cem>The Wire\u003c/em>. Fontana recalls, “I remember saying to [Simon], on the first day, ‘You know how in a newspaper article, you have to answer who, what, when, where in the first paragraph? TV writing is the opposite; you put off answering those questions as long as you possibly can’ … I think that was probably the only really good advice I gave him.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Fontana’s notes to Simon may also explain why the structure of \u003cem>Homicide\u003c/em>’s episodes were so unusual for network TV. Characters didn’t directly say what was happening every moment, unlike so many police procedurals back then, which seemed to fear confusing audiences. Fontana says they would stick little “easter egg” style moments in episodes — with little regard for whether the audience understood them or not. In one story, for example, a man accused of racism seems to perceive color differently watching a TV set.\u003c/p>\n\u003cp>Given that viewers couldn’t watch the episodes on demand, or stop and rewind to catch things they might have missed, it was a bold choice. It also meant \u003cem>Homicide\u003c/em> emerged as a series perfect for streaming, made long before streaming platforms actually existed.\u003c/p>\n\u003cfigure id=\"attachment_13962863\" class=\"wp-caption aligncenter\" style=\"max-width: 972px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962863\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59%E2%80%AFAM.png\" alt=\"Standing in front of an old red brick building are seven men of various ages and races and two white women. Almost everyone is wearing a suit.\" width=\"972\" height=\"1296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM.png 972w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM-800x1067.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM-768x1024.png 768w\" sizes=\"(max-width: 972px) 100vw, 972px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Homicide: Life on the Street.’ \u003ccite>(NBCUniversal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘A community of detectives’\u003c/h3>\n\u003cp>The new episodes retain the show’s signature look in screeners provided by Peacock; songs by Miles Davis and the band Bleach seem to appear intact. Still, there is one longtime fan of the show who won’t be watching the new episodes on streaming: Fontana himself.\u003c/p>\n\u003cp>“I’m told the show holds up really well, but I’m not brave enough to watch it again,” he says. “I think the show feels real because we were talking about a community of detectives. And we didn’t want them all to sound like Dick Tracy or whatever. ”\u003c/p>\n\u003cp>Everyone from Oscar winner Melissa Leo to legendary indie film director and Baltimore institution \u003ca href=\"https://www.kqed.org/arts/13953095/john-waters-aubrey-plaza-liarmouth\">John Waters\u003c/a> appeared on the show. \u003ca href=\"https://www.kqed.org/pop/104553/exploring-not-explaining-the-mind-of-robin-williams\">Robin Williams\u003c/a> guested in a landmark episode called “Bop Gun,” playing the husband of a woman killed while they were visiting the city, horrified to overhear detectives joking about her murder with the easy familiarity of those who work close to death. (Williams’ appearance, Simon later \u003ca href=\"https://davidsimon.com/robin-williams-a-brief-encounter/\">\u003cu>wrote on his website\u003c/u>\u003c/a>, likely saved the show and cemented his TV writing career).\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/AkGfJbLZtLU'\n title='//www.youtube.com/embed/AkGfJbLZtLU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Vincent D’Onofrio also pops up in an episode Fontana cites as one of his favorites, called “Subway,” playing a man pushed onto a subway platform and pinned between the platform and the train. As the episode progresses, he slowly realizes he will die the moment they move the train car away.\u003c/p>\n\u003ch3>Catching up on the work of departed acting legends\u003c/h3>\n\u003cp>Perhaps best of all, fans can now see a long line of powerful actors who have since died — performers who delivered some of their best work on \u003cem>Homicide\u003c/em> — including Kotto, Ned Beatty, Jon Polito, Richard Belzer and Andre Braugher.\u003c/p>\n\u003cp>Braugher shone as Det. Frank Pembleton, a hotshot known for closing cases by pushing suspects to confess in The Box. “What you will be privileged to witness is not an interrogation, but an act of salesmanship — as silver-tongued and thieving as ever moved used cars, Florida swampland or Bibles,” he tells a rookie observer in \u003cem>Homicide’s\u003c/em> first episode. “But what I am selling is a long prison term. To a client who has no genuine use for the product. ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>NBCUniversal says fan reaction over the deaths last year of Belzer and Braugher — beloved actors whose later work included \u003cem>Law & Order: SVU \u003c/em>and \u003ca href=\"https://www.kqed.org/pop/103753/saving-brooklyn-nine-nine-was-business-but-the-love-of-it-is-real\">\u003cem>Brooklyn Nine-Nine\u003c/em>\u003c/a> — “was just another indicator that we should continue on our path” to bring \u003cem>Homicide\u003c/em> to streaming now. Fontana notes it doesn’t hurt that Netflix also recently saw success with episodes of older series such as USA Network’s \u003cem>Suits \u003c/em>and Showtime’s \u003cem>Your Honor\u003c/em>, hinting that NBC’s Peacock might also benefit from elevating a classic series the company already owns.\u003c/p>\n\u003cp>But ask him why people are still interested in the show, about 25 years after the series ended, and the notoriously modest Fontana comes up short. “I’ve been trying to figure it out,” he says. “It’s unfortunate that the stories we told are still relevant. But it might engage a younger audience, because they can say, ‘Hey, prejudice, and misogyny and inequality are still part of day to day life.’”\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>‘Homicide: Life on the Street’ begins streaming on Peacock on Aug. 19, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Moon Unit Zappa Memoir Rides Messy Legacy of Father’s Genius on Journey to Self-Love",
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"content": "\u003cp>Moon Unit Zappa got the question a lot, particularly during the “Valley Girl” years: “What was it like growing up with \u003ca href=\"https://www.kqed.org/news/3279/mothers-of-preservation-frank-zappa-film-project-focuses-on-restoration-2\">Frank Zappa\u003c/a> for a dad?”\u003c/p>\n\u003cp>The eldest daughter of the quirky and unconventional musical visionary, who died at 52 in 1993, gives the world an extended, nuanced, often funny, many times painful answer to that question in her new memoir, \u003cem>Earth to Moon\u003c/em>, to be released Tuesday.\u003c/p>\n\u003cfigure id=\"attachment_13962848\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962848\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-9.43.27%E2%80%AFAM.png\" alt=\"A book cover depicting a cartoon girl walking on the moon's surface. Earth if visible beyond.\" width=\"834\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-9.43.27 AM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-9.43.27 AM-800x1166.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-9.43.27 AM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-9.43.27 AM-768x1120.png 768w\" sizes=\"auto, (max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Earth to Moon’ by Moon Unit Zappa. \u003ccite>(Dey Street Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book’s title carries the power of her life’s journey. Her mother, Frank’s second wife Gail, often used the phrase to scold her as a child — “Earth to Moon, the Earth doesn’t revolve around you” — but as Moon, now 56, matures, it comes to symbolize the grounding energy of appreciating her place on the planet. She punctuates her book with clever, space-themed sections, photos and old journal entries.\u003c/p>\n\u003cp>[aside postid='arts_13962315']“Love yourself, love yourself, love yourself” is one of her “big takeaways.”\u003c/p>\n\u003cp>Moon Unit’s hurts are many. She describes a childhood wrought with confusion and disappointment, in which she acted to nurture and protect her younger siblings — Dweezil, Ahmet and Diva — even as her own big life questions remained largely unaddressed by her preoccupied father and volatile mother.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Take sex. She was regularly exposed to her father’s scantily clad groupies, nudity around the house and being able to hear her parents’ love-making (and arguing) through the walls, yet had no clue how to use a tampon. It was the same with money. Although Moon accrued a nest egg from her and her father’s Grammy-nominated 1982 hit “Valley Girl” large enough to buy her own house (“Like, omigod!”), she never had “normal” childhood experiences like allowance and chores and struggled to hold a steady job.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qb21lsCQ3EM\u003c/p>\n\u003cp>Growing up in 1970s Hollywood meant hanging with plenty of fellow celebrities, though. Actors Justine and Jason Bateman are friends, they know Michael J. Fox as “Mike,” her brother Dweezil dates Molly Ringwald (and later VJs on MTV), and, in one hilarious scene, she chases her heartthrob, Jon Bon Jovi, to a fundraiser only to discover they’re star-crossed. Moon also relieves her stress by attending live comedy shows with the likes of newcomers Chris Rock and Janeane Garofalo.\u003c/p>\n\u003cp>[aside postid='arts_13962790']In his 1989 \u003cem>The Real Frank Zappa Book\u003c/em>, Frank admits he’s grumpy, has a bad attitude toward “typical familyism,” has no “friends,” and no time for “social activities.” (Quote marks, his.) “I do, however, have a wonderful wife and four totally unbelievable children, and that, folks, is way better,” he writes. Frank Zappa explains that he chooses to treat his children like people — as in, like adults — and believes, “Whatever they’re going to do in life, they’s going to do regardless of home instruction.”\u003c/p>\n\u003cp>Moon Unit describes those traits left her with a yearning — for more of his time, his attention, his validation. She and her mother frequently clash as they navigate Frank’s long absences, affairs, and occasional bomb drops (say, a possible run for president, or “Moon, I have cancer.”)\u003c/p>\n\u003cp>In one poignant episode, Moon describes being a child and being overcome with a fear of death. She dares to venture to Frank’s basement lair to seek her father’s comfort and he rebuffs her, telling her just not to think about it. Back in her room, she imagines what it would be like to be her dad and just not be afraid. She listens to his music and pretends he’s telling her a story.\u003c/p>\n\u003cp>“I listen to the notes of his song-story and my breathing slows down. My body feels heavy now,” she writes. “My eyes close to the night and the dark. I keep listening and let my daddy’s music wrap around me like tangled seaweed, and the music and my steady heartbeat intertwine until sleep pulls me under.”\u003c/p>\n\u003cp>Perhaps her biggest disappointment is her mother’s now well-publicized decision to make Ahmet and Diva “the sole and exclusive managers of all business” related to Frank after her death. She and Dweezil were given no rights to decisions about the family home, their father or their last name, which prompted deep soul-searching.\u003c/p>\n\u003cp>[aside postid='arts_13962650']Moon says she remains estranged from her two youngest siblings, and for different reasons from Dweezil, but she writes that she is finding her way to healing. She is a mother, a writer, an actor, a comic, an artist, a podcaster and a “tea baroness.”\u003c/p>\n\u003cp>Among the things that she’s learned is that growing up doesn’t end when you become an adult. She writes, “The way out is through. Make peace with what hurts and head toward joy.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Earth to Moon’ by Moon Unit Zappa is released nationwide on Aug. 20, 2024, via Dey Street Books.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Moon Unit Zappa got the question a lot, particularly during the “Valley Girl” years: “What was it like growing up with \u003ca href=\"https://www.kqed.org/news/3279/mothers-of-preservation-frank-zappa-film-project-focuses-on-restoration-2\">Frank Zappa\u003c/a> for a dad?”\u003c/p>\n\u003cp>The eldest daughter of the quirky and unconventional musical visionary, who died at 52 in 1993, gives the world an extended, nuanced, often funny, many times painful answer to that question in her new memoir, \u003cem>Earth to Moon\u003c/em>, to be released Tuesday.\u003c/p>\n\u003cfigure id=\"attachment_13962848\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962848\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-9.43.27%E2%80%AFAM.png\" alt=\"A book cover depicting a cartoon girl walking on the moon's surface. Earth if visible beyond.\" width=\"834\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-9.43.27 AM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-9.43.27 AM-800x1166.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-9.43.27 AM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-9.43.27 AM-768x1120.png 768w\" sizes=\"auto, (max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘Earth to Moon’ by Moon Unit Zappa. \u003ccite>(Dey Street Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book’s title carries the power of her life’s journey. Her mother, Frank’s second wife Gail, often used the phrase to scold her as a child — “Earth to Moon, the Earth doesn’t revolve around you” — but as Moon, now 56, matures, it comes to symbolize the grounding energy of appreciating her place on the planet. She punctuates her book with clever, space-themed sections, photos and old journal entries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Love yourself, love yourself, love yourself” is one of her “big takeaways.”\u003c/p>\n\u003cp>Moon Unit’s hurts are many. She describes a childhood wrought with confusion and disappointment, in which she acted to nurture and protect her younger siblings — Dweezil, Ahmet and Diva — even as her own big life questions remained largely unaddressed by her preoccupied father and volatile mother.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Take sex. She was regularly exposed to her father’s scantily clad groupies, nudity around the house and being able to hear her parents’ love-making (and arguing) through the walls, yet had no clue how to use a tampon. It was the same with money. Although Moon accrued a nest egg from her and her father’s Grammy-nominated 1982 hit “Valley Girl” large enough to buy her own house (“Like, omigod!”), she never had “normal” childhood experiences like allowance and chores and struggled to hold a steady job.\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/Qb21lsCQ3EM'\n title='//www.youtube.com/embed/Qb21lsCQ3EM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Growing up in 1970s Hollywood meant hanging with plenty of fellow celebrities, though. Actors Justine and Jason Bateman are friends, they know Michael J. Fox as “Mike,” her brother Dweezil dates Molly Ringwald (and later VJs on MTV), and, in one hilarious scene, she chases her heartthrob, Jon Bon Jovi, to a fundraiser only to discover they’re star-crossed. Moon also relieves her stress by attending live comedy shows with the likes of newcomers Chris Rock and Janeane Garofalo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In his 1989 \u003cem>The Real Frank Zappa Book\u003c/em>, Frank admits he’s grumpy, has a bad attitude toward “typical familyism,” has no “friends,” and no time for “social activities.” (Quote marks, his.) “I do, however, have a wonderful wife and four totally unbelievable children, and that, folks, is way better,” he writes. Frank Zappa explains that he chooses to treat his children like people — as in, like adults — and believes, “Whatever they’re going to do in life, they’s going to do regardless of home instruction.”\u003c/p>\n\u003cp>Moon Unit describes those traits left her with a yearning — for more of his time, his attention, his validation. She and her mother frequently clash as they navigate Frank’s long absences, affairs, and occasional bomb drops (say, a possible run for president, or “Moon, I have cancer.”)\u003c/p>\n\u003cp>In one poignant episode, Moon describes being a child and being overcome with a fear of death. She dares to venture to Frank’s basement lair to seek her father’s comfort and he rebuffs her, telling her just not to think about it. Back in her room, she imagines what it would be like to be her dad and just not be afraid. She listens to his music and pretends he’s telling her a story.\u003c/p>\n\u003cp>“I listen to the notes of his song-story and my breathing slows down. My body feels heavy now,” she writes. “My eyes close to the night and the dark. I keep listening and let my daddy’s music wrap around me like tangled seaweed, and the music and my steady heartbeat intertwine until sleep pulls me under.”\u003c/p>\n\u003cp>Perhaps her biggest disappointment is her mother’s now well-publicized decision to make Ahmet and Diva “the sole and exclusive managers of all business” related to Frank after her death. She and Dweezil were given no rights to decisions about the family home, their father or their last name, which prompted deep soul-searching.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Moon says she remains estranged from her two youngest siblings, and for different reasons from Dweezil, but she writes that she is finding her way to healing. She is a mother, a writer, an actor, a comic, an artist, a podcaster and a “tea baroness.”\u003c/p>\n\u003cp>Among the things that she’s learned is that growing up doesn’t end when you become an adult. She writes, “The way out is through. Make peace with what hurts and head toward joy.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Earth to Moon’ by Moon Unit Zappa is released nationwide on Aug. 20, 2024, via Dey Street Books.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>The Union\u003c/em>, an action comedy with Mark Wahlberg and Halle Berry, should have been more fun. Or more exciting. It certainly had a lot working in its favor, including big stars and a budget for globetrotting.\u003c/p>\n\u003cp>But it’s lacking a certain charm that could help it be something more than the Netflix movie playing in the background.\u003c/p>\n\u003cp>[aside postid='arts_13962705']\u003cem>The Union\u003c/em>, streaming Friday, is a fairy tale — a very male one, about a middle-aged everyman (Wahlberg) whose life never quite got started and who gets recruited to be a spy out of the blue. Mike is a broke construction worker still living in his hometown of Patterson, New Jersey, (yes, there are Springsteen songs) with his mother, hanging with his old friends in bars. His biggest win of late was a one-night stand with his 7th grade English teacher and the one event on his calendar is his friend’s wedding in a few weeks where he’s the best man.\u003c/p>\n\u003cp>That’s all to say that for Mike, it is a breath of fresh air when his old high school girlfriend Roxanne (Berry), walks into the bar one evening looking like a punk rock superhero. Glamorous and confident, she has clearly found a life outside of Patterson. The problem, or a problem I think, is that we already know what she does. Instead of putting the audience in Mike’s shoes, as the fish out of water trying to figure out why he’s woken up in a luxury suite in London after meeting his high school ex in his hometown bar, \u003cem>The Union\u003c/em> starts on Roxanne. It begins with a kind of \u003cem>Mission: Impossible\u003c/em>-style extraction gone wrong, in Trieste, Italy, where most of her team ends up dead.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vea9SdnRMyg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The idea came from Stephen Levinson, Wahlberg’s longtime business partner, who together helped bring another middle of the road Netflix action-comedy to life in \u003cem>Spenser Confidential\u003c/em>. And it was directed very basically by Julian Farino, a journeyman director who helmed many episodes of \u003cem>Entourage\u003c/em>, and written by Joe Barton and David Guggenheim. And there is a sort of charming fantasy about the notion that anyone could be an international spy given the opportunity and a few weeks of training. In the movies, women get to find out they’re secret royalty and men get to find out they’re secretly great spies.\u003c/p>\n\u003cp>[aside postid='arts_13962666']\u003cem>The Union\u003c/em> never quite hits its stride tonally. It’s not silly enough to be a comedy, but I think that’s what it would prefer to be. J.K. Simmons is given too little to work with as the head of this secret agency, which also employs underwritten characters played by Jackie Earle Haley, Adewale Akinnuoye-Agbaje and Alice Lee. One of the more moderately successful running jokes is that Mike’s undercover character is from Boston (get it?). A hulking English henchman even has a heart to heart with him about \u003cem>Good Will Hunting\u003c/em>.\u003c/p>\n\u003cp>Berry and Wahlberg are fine together, with an easy rapport, but zero chemistry. This would not be problem if the movie wasn’t also trying to be a will-they-won’t-they romance between a woman who forgot her roots and a guy who needs to. I never quite bought into the idea that either of them are actually still thinking about their high school relationship and what went wrong. There’s been a lot of life in the interim to dwell on decisions you made at 17. Not everyone can be Cary Grant and Katharine Hepburn, or even Helen Hunt and Bill Paxton — but maybe the story should have changed to suit these actors.\u003c/p>\n\u003cp>There’s just not enough there — action, comedy, romance, art — to demand (or, rather, earn) your full attention.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Union’ begins streaming on Netflix on Aug. 16, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Union\u003c/em>, streaming Friday, is a fairy tale — a very male one, about a middle-aged everyman (Wahlberg) whose life never quite got started and who gets recruited to be a spy out of the blue. Mike is a broke construction worker still living in his hometown of Patterson, New Jersey, (yes, there are Springsteen songs) with his mother, hanging with his old friends in bars. His biggest win of late was a one-night stand with his 7th grade English teacher and the one event on his calendar is his friend’s wedding in a few weeks where he’s the best man.\u003c/p>\n\u003cp>That’s all to say that for Mike, it is a breath of fresh air when his old high school girlfriend Roxanne (Berry), walks into the bar one evening looking like a punk rock superhero. Glamorous and confident, she has clearly found a life outside of Patterson. The problem, or a problem I think, is that we already know what she does. Instead of putting the audience in Mike’s shoes, as the fish out of water trying to figure out why he’s woken up in a luxury suite in London after meeting his high school ex in his hometown bar, \u003cem>The Union\u003c/em> starts on Roxanne. It begins with a kind of \u003cem>Mission: Impossible\u003c/em>-style extraction gone wrong, in Trieste, Italy, where most of her team ends up dead.\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/vea9SdnRMyg'\n title='//www.youtube.com/embed/vea9SdnRMyg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The idea came from Stephen Levinson, Wahlberg’s longtime business partner, who together helped bring another middle of the road Netflix action-comedy to life in \u003cem>Spenser Confidential\u003c/em>. And it was directed very basically by Julian Farino, a journeyman director who helmed many episodes of \u003cem>Entourage\u003c/em>, and written by Joe Barton and David Guggenheim. And there is a sort of charming fantasy about the notion that anyone could be an international spy given the opportunity and a few weeks of training. In the movies, women get to find out they’re secret royalty and men get to find out they’re secretly great spies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Union\u003c/em> never quite hits its stride tonally. It’s not silly enough to be a comedy, but I think that’s what it would prefer to be. J.K. Simmons is given too little to work with as the head of this secret agency, which also employs underwritten characters played by Jackie Earle Haley, Adewale Akinnuoye-Agbaje and Alice Lee. One of the more moderately successful running jokes is that Mike’s undercover character is from Boston (get it?). A hulking English henchman even has a heart to heart with him about \u003cem>Good Will Hunting\u003c/em>.\u003c/p>\n\u003cp>Berry and Wahlberg are fine together, with an easy rapport, but zero chemistry. This would not be problem if the movie wasn’t also trying to be a will-they-won’t-they romance between a woman who forgot her roots and a guy who needs to. I never quite bought into the idea that either of them are actually still thinking about their high school relationship and what went wrong. There’s been a lot of life in the interim to dwell on decisions you made at 17. Not everyone can be Cary Grant and Katharine Hepburn, or even Helen Hunt and Bill Paxton — but maybe the story should have changed to suit these actors.\u003c/p>\n\u003cp>There’s just not enough there — action, comedy, romance, art — to demand (or, rather, earn) your full attention.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Union’ begins streaming on Netflix on Aug. 16, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-athletes-paralympic-games-paris-2024",
"title": "Bay Area Athletes to Watch at the Paris 2024 Paralympic Games",
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"content": "\u003cp>The 2024 Olympic Games may be over (see: \u003ca href=\"https://www.youtube.com/watch?v=9CahdsQFjwQ\">Tom Cruise on a motorcycle\u003c/a>), but it’ll soon be time for the \u003ca href=\"https://www.paralympic.org/paris-2024\">Paris Paralympics\u003c/a>. Running Aug. 28–Sept. 8, the Paralympics involve 4,000 athletes from 177 countries duking it out across 22 sports and 549 medal events. \u003c/p>\n\u003cp>As always, Team USA, already in possession of more gold paralympic medals than any other country on Earth, looks set for success. And in case you want to play regional favorites, here are the incredible Bay Area athletes to root for.\u003c/p>\n\u003ch2>Mark Barr\u003c/h2>\n\u003cp>Hailing from Davis, Mark Barr possesses a fortitude that is borderline unfathomable. Always a sporty kid, he survived bone cancer at the age of 14, but lost his right leg to the disease. After his surgery, a nurse at the hospital — herself an amputee — told him about the Paralympics and encouraged him to go for the gold. Just four years later, Barr was competing in the 2004 games in Athens. (That nurse inspired him in more ways than one — Barr later became an ICU nurse too.)\u003c/p>\n\u003cp>[aside postid='news_11993783']Seeking an even greater challenge at the end of college, Barr decided to transition to triathlons. Once he acquired a prothesis allowing him to do so from the \u003ca href=\"https://www.challengedathletes.org/\">Challenged Athletes Foundation\u003c/a>, there was no stopping him. In 2018, Barr was undefeated in the World Paratriathlon Series and won an ESPY award. Last year, he ticked off another life goal: becoming a dad.\u003c/p>\n\u003ch2>Hannah Chadwick\u003c/h2>\n\u003cp>UC Davis graduate Hannah Chadwick has been blind since birth, but she’s never let that hold her back. She is, after all, a tandem cyclist — one who didn’t even take up the sport until 2019. Her late arrival to cycling has done nothing to slow her down. Last year, the 32-year-old took home two gold medals from the Parapan American Games after winning the 1,000-meter and 3,000-meter races with her cycling partner of one year, Skyler Espinoza. Now the duo are heading to the Paralympics for the very first time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though born in China, Chadwick moved to Northern California at the age of 12, having been adopted by American parents.\u003c/p>\n\u003cp>“Growing up in Humboldt County taught me the importance of how to create and maintain a support network,” \u003ca href=\"https://lostcoastoutpost.com/2023/aug/16/chadwick/\">she told the \u003cem>Lost Coast Outpost\u003c/em>\u003c/a> last year. “I’m so grateful to everyone that encouraged me along the way. I was given many opportunities, and I’m so thankful to be a part of the community.”\u003c/p>\n\u003cfigure id=\"attachment_13962404\" class=\"wp-caption aligncenter\" style=\"max-width: 1870px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962404\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-scaled.jpg\" alt=\"Two women in professional cycling gear cheer expressively as they ride a tandem bicycle on a race track.\" width=\"1870\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-scaled.jpg 1870w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-800x1095.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1020x1396.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-768x1051.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1122x1536.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1496x2048.jpg 1496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1920x2628.jpg 1920w\" sizes=\"auto, (max-width: 1870px) 100vw, 1870px\">\u003cfigcaption class=\"wp-caption-text\">Hannah Chadwick and Skyler Espinoza celebrate winning bronze in the women’s B para-cycling sprint finals at the UCI Cycling World Championships on Aug. 6, 2023. \u003ccite>(ADRIAN DENNIS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Skyler Espinoza\u003c/h2>\n\u003cp>Menlo Park-based Skyler Espinoza acts as Chadwick’s “pilot” on the race track — but cycling wasn’t always her first sport of choice. Throughout college, and during her time as a graduate student at Stanford, Espinoza was a rower. Even after graduating, she stayed at Stanford as a rowing coach. Espinoza came to cycling only after back surgery prompted her to get on a bike as part of her physiotherapy. She hasn’t looked back since.\u003c/p>\n\u003cp>[aside postid='arts_13962267']“I think the pilot role really speaks to my values a lot in terms of supporting other athletes in sports,” \u003ca href=\"https://www.usparacycling.org/news/2023/october/31/skyler-espinoza-joe-christiansen-reach-world-stage-as-tandem-team-pilots\">Espinoza told U.S. Paracycling\u003c/a> last year. “It’s a teammate role, it’s a little bit of a mentor role and coaching role because I’ve been an athlete for a long time and Hannah is a relatively new athlete. It’s been a really great opportunity.”\u003c/p>\n\u003ch2>Noah Jaffe\u003c/h2>\n\u003cp>This born-and-raised Californian has been a competitive swimmer since he was just 10 years old. Clearly, starting young pays off. Jaffe absolutely smashed his competitions at last year’s Paralympic Swimming World Championships: not only did he win four medals, including a gold, he also broke the American record for the 100-meter freestyle race.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ULkzw9KB17c\u003c/p>\n\u003cp>That success inspired him to take a year out from his biochemistry studies at UC Berkeley and focus on training for the Paralympics, which he’s currently doing at the U.S. Olympic and Paralympic Training Center in Colorado.\u003c/p>\n\u003cp>“Being around a lot of Paralympic athletes … is new to me,” he recently told TeamUSA.com. “I’ve always trained with able-bodied athletes, so having that community and knowing this is a place for me, and being able to connect with them both in practice and outside of practice has been great.”\u003c/p>\n\u003cp>Jaffe was born with spastic quadriplegic cerebral palsy, which restricts movement in both of his legs and right arm. Once he’s completed his studies, his goal is to work with young people living with similar conditions. \u003c/p>\n\u003ch2>Mohamed Lahna\u003c/h2>\n\u003cp>[aside postid='arts_13962574']Born in Casablanca, educated in San Mateo and a current resident of Hayward, Mohamed Lahna simply cannot stop taking on new challenges — possibly because he’s making up for lost time. As a small child, he used crutches to play sports with friends. Through his teens, Lahna wasn’t allowed to participate in gym glass, having used an unbendable prosthetic made of wood and leather. He didn’t ride a bike until he was 23 years old. And yet, since he received his first running prosthetic in 2011, Lahna has been incapable of slowing down.\u003c/p>\n\u003cp>Within two years of getting that prosthetic, Lahna won his first International Triathlon Union paratriathlon. He also quickly discovered he was the kind of guy who could swim the Strait of Gibraltar, run marathons across the Sahara Desert, complete Ironman competitions and ride a bicycle from South America’s lowest point to its highest peak. Lahna will be competing in the triathlon in Paris — don’t expect a leisurely pace.\u003c/p>\n\u003cfigure id=\"attachment_13962402\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962402\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-scaled.jpg\" alt=\"Female athletes raise their hands in celebration from the floor of a volleyball court. All are visible from behind except for one woman in the center of the image.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bethany Zummo (C) celebrates a point with her team mates during a women’s sitting volleyball match at the Tokyo 2020 Paralympic Games. \u003ccite>(Dean Mouhtaropoulos/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bethany Zummo\u003c/h2>\n\u003cp>This 31-year-old volleyball wizard from Dublin grew up playing standing volleyball despite losing her right foot at age 2. That turned out to be perfect training for her current job coaching girls at NorCal Volleyball Club in Livermore. It helps that Zummo is also currently at the top of her game in sitting volleyball, having won gold medals at the two Paralympics she has so far competed in — Rio 2016 and Tokyo 2021.\u003c/p>\n\u003cp>Zummo now revels in being able to play both versions of the sport.\u003c/p>\n\u003cp>“I didn’t want to play sitting volleyball or an adaptive sport because I thought it was weird,” she once said, recalling her formative years. “I thought it was different, and all I wanted to do was fit in. I just want to be able to show my girls that it is so much more fun to stand out and be different. They don’t have to put so much pressure on themselves to be perfect … I’ve been exactly where they are.”\u003c/p>\n\u003cp>The next generation is clearly in great hands.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 2024 Paralympic Games begin streaming on Peacock on Aug. 28, 2024. Select events will also be available to view via CNBC, E!, NBC and USA Network.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Meet our local Paralympians, including a UC Berkeley biochemistry student, a volleyball coach and a Davis ICU nurse. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 2024 Olympic Games may be over (see: \u003ca href=\"https://www.youtube.com/watch?v=9CahdsQFjwQ\">Tom Cruise on a motorcycle\u003c/a>), but it’ll soon be time for the \u003ca href=\"https://www.paralympic.org/paris-2024\">Paris Paralympics\u003c/a>. Running Aug. 28–Sept. 8, the Paralympics involve 4,000 athletes from 177 countries duking it out across 22 sports and 549 medal events. \u003c/p>\n\u003cp>As always, Team USA, already in possession of more gold paralympic medals than any other country on Earth, looks set for success. And in case you want to play regional favorites, here are the incredible Bay Area athletes to root for.\u003c/p>\n\u003ch2>Mark Barr\u003c/h2>\n\u003cp>Hailing from Davis, Mark Barr possesses a fortitude that is borderline unfathomable. Always a sporty kid, he survived bone cancer at the age of 14, but lost his right leg to the disease. After his surgery, a nurse at the hospital — herself an amputee — told him about the Paralympics and encouraged him to go for the gold. Just four years later, Barr was competing in the 2004 games in Athens. (That nurse inspired him in more ways than one — Barr later became an ICU nurse too.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Seeking an even greater challenge at the end of college, Barr decided to transition to triathlons. Once he acquired a prothesis allowing him to do so from the \u003ca href=\"https://www.challengedathletes.org/\">Challenged Athletes Foundation\u003c/a>, there was no stopping him. In 2018, Barr was undefeated in the World Paratriathlon Series and won an ESPY award. Last year, he ticked off another life goal: becoming a dad.\u003c/p>\n\u003ch2>Hannah Chadwick\u003c/h2>\n\u003cp>UC Davis graduate Hannah Chadwick has been blind since birth, but she’s never let that hold her back. She is, after all, a tandem cyclist — one who didn’t even take up the sport until 2019. Her late arrival to cycling has done nothing to slow her down. Last year, the 32-year-old took home two gold medals from the Parapan American Games after winning the 1,000-meter and 3,000-meter races with her cycling partner of one year, Skyler Espinoza. Now the duo are heading to the Paralympics for the very first time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though born in China, Chadwick moved to Northern California at the age of 12, having been adopted by American parents.\u003c/p>\n\u003cp>“Growing up in Humboldt County taught me the importance of how to create and maintain a support network,” \u003ca href=\"https://lostcoastoutpost.com/2023/aug/16/chadwick/\">she told the \u003cem>Lost Coast Outpost\u003c/em>\u003c/a> last year. “I’m so grateful to everyone that encouraged me along the way. I was given many opportunities, and I’m so thankful to be a part of the community.”\u003c/p>\n\u003cfigure id=\"attachment_13962404\" class=\"wp-caption aligncenter\" style=\"max-width: 1870px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962404\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-scaled.jpg\" alt=\"Two women in professional cycling gear cheer expressively as they ride a tandem bicycle on a race track.\" width=\"1870\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-scaled.jpg 1870w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-800x1095.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1020x1396.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-768x1051.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1122x1536.jpg 1122w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1496x2048.jpg 1496w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1581496968-1920x2628.jpg 1920w\" sizes=\"auto, (max-width: 1870px) 100vw, 1870px\">\u003cfigcaption class=\"wp-caption-text\">Hannah Chadwick and Skyler Espinoza celebrate winning bronze in the women’s B para-cycling sprint finals at the UCI Cycling World Championships on Aug. 6, 2023. \u003ccite>(ADRIAN DENNIS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Skyler Espinoza\u003c/h2>\n\u003cp>Menlo Park-based Skyler Espinoza acts as Chadwick’s “pilot” on the race track — but cycling wasn’t always her first sport of choice. Throughout college, and during her time as a graduate student at Stanford, Espinoza was a rower. Even after graduating, she stayed at Stanford as a rowing coach. Espinoza came to cycling only after back surgery prompted her to get on a bike as part of her physiotherapy. She hasn’t looked back since.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I think the pilot role really speaks to my values a lot in terms of supporting other athletes in sports,” \u003ca href=\"https://www.usparacycling.org/news/2023/october/31/skyler-espinoza-joe-christiansen-reach-world-stage-as-tandem-team-pilots\">Espinoza told U.S. Paracycling\u003c/a> last year. “It’s a teammate role, it’s a little bit of a mentor role and coaching role because I’ve been an athlete for a long time and Hannah is a relatively new athlete. It’s been a really great opportunity.”\u003c/p>\n\u003ch2>Noah Jaffe\u003c/h2>\n\u003cp>This born-and-raised Californian has been a competitive swimmer since he was just 10 years old. Clearly, starting young pays off. Jaffe absolutely smashed his competitions at last year’s Paralympic Swimming World Championships: not only did he win four medals, including a gold, he also broke the American record for the 100-meter freestyle race.\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/ULkzw9KB17c'\n title='//www.youtube.com/embed/ULkzw9KB17c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That success inspired him to take a year out from his biochemistry studies at UC Berkeley and focus on training for the Paralympics, which he’s currently doing at the U.S. Olympic and Paralympic Training Center in Colorado.\u003c/p>\n\u003cp>“Being around a lot of Paralympic athletes … is new to me,” he recently told TeamUSA.com. “I’ve always trained with able-bodied athletes, so having that community and knowing this is a place for me, and being able to connect with them both in practice and outside of practice has been great.”\u003c/p>\n\u003cp>Jaffe was born with spastic quadriplegic cerebral palsy, which restricts movement in both of his legs and right arm. Once he’s completed his studies, his goal is to work with young people living with similar conditions. \u003c/p>\n\u003ch2>Mohamed Lahna\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Born in Casablanca, educated in San Mateo and a current resident of Hayward, Mohamed Lahna simply cannot stop taking on new challenges — possibly because he’s making up for lost time. As a small child, he used crutches to play sports with friends. Through his teens, Lahna wasn’t allowed to participate in gym glass, having used an unbendable prosthetic made of wood and leather. He didn’t ride a bike until he was 23 years old. And yet, since he received his first running prosthetic in 2011, Lahna has been incapable of slowing down.\u003c/p>\n\u003cp>Within two years of getting that prosthetic, Lahna won his first International Triathlon Union paratriathlon. He also quickly discovered he was the kind of guy who could swim the Strait of Gibraltar, run marathons across the Sahara Desert, complete Ironman competitions and ride a bicycle from South America’s lowest point to its highest peak. Lahna will be competing in the triathlon in Paris — don’t expect a leisurely pace.\u003c/p>\n\u003cfigure id=\"attachment_13962402\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962402\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-scaled.jpg\" alt=\"Female athletes raise their hands in celebration from the floor of a volleyball court. All are visible from behind except for one woman in the center of the image.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/GettyImages-1338385347-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Bethany Zummo (C) celebrates a point with her team mates during a women’s sitting volleyball match at the Tokyo 2020 Paralympic Games. \u003ccite>(Dean Mouhtaropoulos/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bethany Zummo\u003c/h2>\n\u003cp>This 31-year-old volleyball wizard from Dublin grew up playing standing volleyball despite losing her right foot at age 2. That turned out to be perfect training for her current job coaching girls at NorCal Volleyball Club in Livermore. It helps that Zummo is also currently at the top of her game in sitting volleyball, having won gold medals at the two Paralympics she has so far competed in — Rio 2016 and Tokyo 2021.\u003c/p>\n\u003cp>Zummo now revels in being able to play both versions of the sport.\u003c/p>\n\u003cp>“I didn’t want to play sitting volleyball or an adaptive sport because I thought it was weird,” she once said, recalling her formative years. “I thought it was different, and all I wanted to do was fit in. I just want to be able to show my girls that it is so much more fun to stand out and be different. They don’t have to put so much pressure on themselves to be perfect … I’ve been exactly where they are.”\u003c/p>\n\u003cp>The next generation is clearly in great hands.\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 2024 Paralympic Games begin streaming on Peacock on Aug. 28, 2024. Select events will also be available to view via CNBC, E!, NBC and USA Network.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "jackpot-is-cartoonish-mayhem-with-a-winning-star-in-awkwafina",
"title": "‘Jackpot!’ Is Cartoonish Mayhem With a Winning Star in Awkwafina",
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"headTitle": "‘Jackpot!’ Is Cartoonish Mayhem With a Winning Star in Awkwafina | KQED",
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"content": "\u003cp>Finally, a movie for everyone who read \u003ca href=\"https://www.kqed.org/arts/13935438/scariest-shirley-jackson-short-stories-summer-people-tooth-charles\">Shirley Jackson\u003c/a>’s \u003cem>The Lottery\u003c/em> and wished it had been a comedy.\u003c/p>\n\u003cp>Paul Feig’s \u003cem>Jackpot!\u003c/em> is a farcical twist on an old story that, if it doesn’t remind people of Jackson’s short story will surely sound familiar to those who enjoyed \u003cem>The Purge\u003c/em> and its sequels. In a near-future California, buying a lottery ticket enters you a chance to win billions. But there’s a catch.\u003c/p>\n\u003cp>[aside postid='arts_13962677']Everyone else is free to try to kill the winner and take the prizemoney. The “winner” has until sundown to survive and keep their money. The only rule: No guns. Hovering drones keep an eye on winners, helping violent mobs find their way to him or her. This state-sponsored \u003ca href=\"https://www.kqed.org/pop/tag/the-hunger-games\">Hunger Game\u003c/a> is the new low for a government depleted of funds. Meanwhile, the local TV news chipperly announces a few new billionaires every day.\u003c/p>\n\u003cp>My principle disappointment with \u003cem>Jackpot!\u003c/em> is that they didn’t go with a title like \u003cem>Mega Murders\u003c/em> or its original name: \u003cem>Grand Theft Lotto\u003c/em>. This is a very high concept for a comedy, one that Feig and screenwriter Rob Yescombe lean into to craft a mildly entertaining, streaming-only comedy that’s only a touch less disposable than a losing Powerball ticket.\u003c/p>\n\u003cp>Mostly, \u003cem>Jackpot!\u003c/em> is an action-comedy vehicle that pairs Awkwafina and John Cena for a romp through a few clever economic inequality gags and a lot of cartoonish mayhem. At the least, it’s a more satirical, silly take on a dystopian genre that usually receives more somber treatments. \u003cem>Mockingjay — Part 1\u003c/em> certainly never had John Cena trying to stomp out a groin on fire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zkkQYR9yYZo\u003c/p>\n\u003cp>\u003cem>Jackpot!\u003c/em>, which debuts Thursday on Prime Video, stars Awkwafina as Katie Kim, a former child actor who, out of midlife desperation, has returned to Los Angeles in 2030 to try to break back into the movie business. A Hollywood where half the town is out for blood is, of course, not such a far-fetched, futuristic concept. That backdrop of raging competitiveness is a running gag in \u003cem>Jackpot!\u003c/em> Katie is at an audition when she’s announced as the lottery winner, immediately sending the other auditioning actors after her head.\u003c/p>\n\u003cp>As the quickly forming mob closes in on Katie, a pinstripe suit-clad man comes to the rescue, pledging to protect her for a 10% fee. Noel Cassidy (John Cena) is his name, and, as the two make their getaway, a buddy comedy ensues. Aside from the main task of staying alive, the abiding tension of the movie is how much Katie can trust Noel, and why this very sincere special agent is so dedicated to saving lives. Not only does Noel keep Katie from harm, he makes sure to put a helmet on anyone’s head before kicking them out of a moving car.\u003c/p>\n\u003cp>[aside postid='arts_13962666']Awkwafina’s sarcasm plays well off Cena’s nice-guy earnestness. In one scene, she says he looks like “a bulldog that a witch cast a spell on and turned into a human.” Any comedy with her in the lead role has a fairly high floor, yet \u003cem>Jackpot!\u003c/em> never pays off. It’s amiably disordered but the high-concept always feels like a ridiculous goof, and its predictable machinations grow increasingly tiresome. Still, this is the rare film where you can say Machine Gun Kelly (whose panic room comes in handy for Katie and Noel) is a surprisingly perfect tonal fit. (Later, a turtlenecked Simu Liu turns up as the smarmy head of a larger, better funder protection agency.)\u003c/p>\n\u003cp>Feig, the director of \u003cem>Bridesmaids\u003c/em>, \u003cem>Spy\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/122753/the_heat_is_absolutely_revolutionary_for_being_mostly_ordinary\">\u003cem>The Heat\u003c/em>\u003c/a> and 2016’s \u003ca href=\"https://www.kqed.org/pop/30573/why-are-we-treating-the-new-ghostbusters-like-a-cult-classic-on-opening-weekend\">\u003cem>Ghostbusters\u003c/em>\u003c/a>, may be more adept at balancing broad comedy and action sequences than any other working filmmaker. But the big-screen comedy heyday he was once so central to has largely faded in recent years, as studios have grown disappointingly reluctant to gamble with laughs in theaters. It’s hard not to see \u003cem>Jackpot!\u003c/em> — which pales next to Feig’s better films — as an example of this diminished era for theatrical comedies. Then again, as Awkwafina notes in \u003cem>Jackpot!\u003c/em> Hollywood stardom isn’t what it once was. Now, she says, even wrestlers and YouTubers can do it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Jackpot!’ begins streaming on Prime Video on Aug. 15, 2024.\u003c/em>\u003c/p>\n\n",
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"title": "‘Jackpot!’ Movie Review: Cartoon Mayhem With Awkwafina | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Finally, a movie for everyone who read \u003ca href=\"https://www.kqed.org/arts/13935438/scariest-shirley-jackson-short-stories-summer-people-tooth-charles\">Shirley Jackson\u003c/a>’s \u003cem>The Lottery\u003c/em> and wished it had been a comedy.\u003c/p>\n\u003cp>Paul Feig’s \u003cem>Jackpot!\u003c/em> is a farcical twist on an old story that, if it doesn’t remind people of Jackson’s short story will surely sound familiar to those who enjoyed \u003cem>The Purge\u003c/em> and its sequels. In a near-future California, buying a lottery ticket enters you a chance to win billions. But there’s a catch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Everyone else is free to try to kill the winner and take the prizemoney. The “winner” has until sundown to survive and keep their money. The only rule: No guns. Hovering drones keep an eye on winners, helping violent mobs find their way to him or her. This state-sponsored \u003ca href=\"https://www.kqed.org/pop/tag/the-hunger-games\">Hunger Game\u003c/a> is the new low for a government depleted of funds. Meanwhile, the local TV news chipperly announces a few new billionaires every day.\u003c/p>\n\u003cp>My principle disappointment with \u003cem>Jackpot!\u003c/em> is that they didn’t go with a title like \u003cem>Mega Murders\u003c/em> or its original name: \u003cem>Grand Theft Lotto\u003c/em>. This is a very high concept for a comedy, one that Feig and screenwriter Rob Yescombe lean into to craft a mildly entertaining, streaming-only comedy that’s only a touch less disposable than a losing Powerball ticket.\u003c/p>\n\u003cp>Mostly, \u003cem>Jackpot!\u003c/em> is an action-comedy vehicle that pairs Awkwafina and John Cena for a romp through a few clever economic inequality gags and a lot of cartoonish mayhem. At the least, it’s a more satirical, silly take on a dystopian genre that usually receives more somber treatments. \u003cem>Mockingjay — Part 1\u003c/em> certainly never had John Cena trying to stomp out a groin on fire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zkkQYR9yYZo'\n title='//www.youtube.com/embed/zkkQYR9yYZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Jackpot!\u003c/em>, which debuts Thursday on Prime Video, stars Awkwafina as Katie Kim, a former child actor who, out of midlife desperation, has returned to Los Angeles in 2030 to try to break back into the movie business. A Hollywood where half the town is out for blood is, of course, not such a far-fetched, futuristic concept. That backdrop of raging competitiveness is a running gag in \u003cem>Jackpot!\u003c/em> Katie is at an audition when she’s announced as the lottery winner, immediately sending the other auditioning actors after her head.\u003c/p>\n\u003cp>As the quickly forming mob closes in on Katie, a pinstripe suit-clad man comes to the rescue, pledging to protect her for a 10% fee. Noel Cassidy (John Cena) is his name, and, as the two make their getaway, a buddy comedy ensues. Aside from the main task of staying alive, the abiding tension of the movie is how much Katie can trust Noel, and why this very sincere special agent is so dedicated to saving lives. Not only does Noel keep Katie from harm, he makes sure to put a helmet on anyone’s head before kicking them out of a moving car.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Awkwafina’s sarcasm plays well off Cena’s nice-guy earnestness. In one scene, she says he looks like “a bulldog that a witch cast a spell on and turned into a human.” Any comedy with her in the lead role has a fairly high floor, yet \u003cem>Jackpot!\u003c/em> never pays off. It’s amiably disordered but the high-concept always feels like a ridiculous goof, and its predictable machinations grow increasingly tiresome. Still, this is the rare film where you can say Machine Gun Kelly (whose panic room comes in handy for Katie and Noel) is a surprisingly perfect tonal fit. (Later, a turtlenecked Simu Liu turns up as the smarmy head of a larger, better funder protection agency.)\u003c/p>\n\u003cp>Feig, the director of \u003cem>Bridesmaids\u003c/em>, \u003cem>Spy\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/122753/the_heat_is_absolutely_revolutionary_for_being_mostly_ordinary\">\u003cem>The Heat\u003c/em>\u003c/a> and 2016’s \u003ca href=\"https://www.kqed.org/pop/30573/why-are-we-treating-the-new-ghostbusters-like-a-cult-classic-on-opening-weekend\">\u003cem>Ghostbusters\u003c/em>\u003c/a>, may be more adept at balancing broad comedy and action sequences than any other working filmmaker. But the big-screen comedy heyday he was once so central to has largely faded in recent years, as studios have grown disappointingly reluctant to gamble with laughs in theaters. It’s hard not to see \u003cem>Jackpot!\u003c/em> — which pales next to Feig’s better films — as an example of this diminished era for theatrical comedies. Then again, as Awkwafina notes in \u003cem>Jackpot!\u003c/em> Hollywood stardom isn’t what it once was. Now, she says, even wrestlers and YouTubers can do it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Jackpot!’ begins streaming on Prime Video on Aug. 15, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Paint Is Dry on Banksy’s Nine Days of Animal-Themed London Street Art",
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"content": "\u003cp>On the 10th day, after creating the mountain goat, elephants, pelicans, a rhinoceros and a gorilla, among other animals, Banksy rested.\u003c/p>\n\u003cp>The elusive street artist’s menagerie that appeared around London over nine consecutive days apparently came to a conclusion after a final mural surprised staff who arrived early to feed the animals Tuesday at the London Zoo.\u003c/p>\n\u003cp>[aside postid='arts_13925194']There was nothing new posted Wednesday on the artist’s website or his Instagram page, where his avid fans typically learn of his recent work. Those who live close enough often rush out to view it and snap photos — sometimes before it can be snapped up.\u003c/p>\n\u003cp>The zoo mural depicting a gorilla lifting up the entrance gate as birds took flight, a sea lion waddled away and three sets of eyes peered out from the darkness inside, was the last in the series, the BBC reported. A spokesperson for Banksy did not return multiple messages by The Associated Press.\u003c/p>\n\u003cp>Fans of the artist, whose real identity is not known, continued to debate the meanings of the paintings online. Some suggested the animals represented people and that the murals spoke to the Israel-Palestinian war. Others said they referred to the recent riots in Britain blamed on the far-right.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/WUTangKids/status/1821885856325472442\u003c/p>\n\u003cp>Banksy, who has been known to advocate for human and animal rights, could have been suggesting the creatures needed to be liberated from incarceration, some said. Others suggested more innocent whimsy: the final painting was the big reveal of where all those other animals came from.\u003c/p>\n\u003cp>Jasper Tordoff, the Banksy expert at MyArtBroker, said there had been a theory as the number of animals multiplied successively from one to two to three in the first works that the artist was creating a Noah’s Ark theme that mirrored his previous religious satire. But that theory seemed shot when the fourth work was a lone wolf that “came out of nowhere,” he said.\u003c/p>\n\u003cp>[aside postid='arts_13887999']Banksy’s art is often pointedly political and Tordoff said these recent murals, created using stencils and spray paint, are clever but simple works that are meant to be fun. The artist’s company told the Observer that the series was meant to bring some joy during a period of dark news.\u003c/p>\n\u003cp>But Tordoff said Banksy may be making a commentary on human nature and the desire for possessions as at least one of the works has been stolen and others moved to preserve them.\u003c/p>\n\u003cp>“We’re in this pantomime of Banksy. We’re part of this installation in a way,” Tordoff said. “Banksy undoubtedly knew that all of this would be covered with photographs and CCTV about what the public reaction is, and that might be part of it, because that’s been just as entertaining in my view.”\u003c/p>\n\u003cp>Here’s a look at the nine works that were mostly painted as silhouettes:\u003c/p>\n\u003cp>— Aug. 5: A mountain goat perched on a narrow building buttress and looking down as crumbling rocks appear to fall in west London.\u003c/p>\n\u003cp>— Aug. 6: Two elephants painted on boarded-up windows on the side of a rowhouse in Chelsea face each other and reach out with their trunks. Followers on Instagram suggest they are the proverbial “elephants in the room” — that can’t be missed but no one wants to discuss them.\u003c/p>\n\u003cp>— Aug. 7: Three monkeys swing and hang on the side of a railway bridge in east London. Some fans say they represent the “see no, hear no, speak no evil” wise monkeys from ancient Japan.\u003c/p>\n\u003cp>https://twitter.com/mark_samuels/status/1821220436337730012\u003c/p>\n\u003cp>— Aug. 8: A lone howling wolf on a satellite dish breaks up what had appeared to be an ascending sequence of animals. The dish art had a short shelf life as masked men showed up with a ladder and climbed up on the roof above a storefront in south London, removed it and ran away.\u003c/p>\n\u003cp>— Aug. 9: Two pelicans were painted perched on the sign for a fish and chip shop in northeast London. One of the birds has its beak pointed upward and is catching a fish in its big mouth while the second one appears to be snapping up a fish that is part of the sign. The owners of the shop, which is closed until September, said on Instagram that it was “over the moon” Banksy decorated their shop. “Contrary to some beliefs, we didn’t ask him to do this, but are very grateful he did!” Bonners Fish Bar wrote.\u003c/p>\n\u003cp>— Aug. 10: A big cat stretches out on a dilapidated plywood billboard in north London. Crowds that had gathered to see it booed as contractors arrived to remove it for security reasons.\u003c/p>\n\u003cp>https://twitter.com/MyKindofLondon/status/1822663568807923715\u003c/p>\n\u003cp>— Aug. 11: The windows of a small police guard post were painted with a circling school of piranhas so that it appeared to look like a fish tank. This is the only work in the series painted in color. The sentry box near the Old Bailey criminal courthouse was taken to City of London corporate offices to protect it, a spokesperson said. It will eventually be placed where it can be viewed by the public.\u003c/p>\n\u003cp>— Aug. 12: A rhinoceros painted on a brick wall appeared to be mounting a small Nissan car parked in front of it on the sidewalk. The rhino was later tagged with graffiti and the car was removed.\u003c/p>\n\u003cp>https://twitter.com/StreetArtUtopia/status/1822988803562213607\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>— Aug. 13: The zoo mural was discovered early Tuesday, said Dan Simmonds, animal operations manager at the zoo. “I’ve worked here for about 20 years, and this definitely wins the prize for my most surprising arrival at work,” he said. “A massive surprise for me. But indeed for all of London, indeed all of the world.” A day later, cyclists and runners stopped to snap selfies and photos of the painting that was behind barriers, protected by an acrylic shield and overseen by three security guards.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Banksy’s art is often pointedly political and Tordoff said these recent murals, created using stencils and spray paint, are clever but simple works that are meant to be fun. The artist’s company told the Observer that the series was meant to bring some joy during a period of dark news.\u003c/p>\n\u003cp>But Tordoff said Banksy may be making a commentary on human nature and the desire for possessions as at least one of the works has been stolen and others moved to preserve them.\u003c/p>\n\u003cp>“We’re in this pantomime of Banksy. We’re part of this installation in a way,” Tordoff said. “Banksy undoubtedly knew that all of this would be covered with photographs and CCTV about what the public reaction is, and that might be part of it, because that’s been just as entertaining in my view.”\u003c/p>\n\u003cp>Here’s a look at the nine works that were mostly painted as silhouettes:\u003c/p>\n\u003cp>— Aug. 5: A mountain goat perched on a narrow building buttress and looking down as crumbling rocks appear to fall in west London.\u003c/p>\n\u003cp>— Aug. 6: Two elephants painted on boarded-up windows on the side of a rowhouse in Chelsea face each other and reach out with their trunks. Followers on Instagram suggest they are the proverbial “elephants in the room” — that can’t be missed but no one wants to discuss them.\u003c/p>\n\u003cp>— Aug. 7: Three monkeys swing and hang on the side of a railway bridge in east London. Some fans say they represent the “see no, hear no, speak no evil” wise monkeys from ancient Japan.\u003c/p>\u003c/p>\u003c/div>",
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"title": "‘Blink Twice’ Is the New ‘Get Out,’ Geared Towards Women",
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"content": "\u003cp>\u003cem>Blink Twice\u003c/em> is the kind of movie you want to rewatch the moment it’s over. Not because it’s perfect. Rather, because it’s so densely packed — with symbolism, with striking tableaus, with \u003cem>messages\u003c/em> — you want to make sure you didn’t miss anything. Truth is, there’s so much going on here, you probably did.\u003c/p>\n\u003cp>\u003cem>Blink Twice\u003c/em> begins with Frida (Naomi Ackie) and Jess (Alia Shawkat) sneaking into an important gala being held by controversial tech billionaire Slater King (Channing Tatum). Frida is harboring a crush on Slater after meeting him while waiting tables at the gala the previous year. Slater, it quickly becomes clear, seems to be interested in Frida. (\u003cem>Blink Twice\u003c/em> benefits from the fact that Ackie and Tatum absolutely crackle together in these early scenes.)\u003c/p>\n\u003cfigure id=\"attachment_13962672\" class=\"wp-caption aligncenter\" style=\"max-width: 1878px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962672\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blink-twice.png\" alt=\"A group of attractive people wearing formal evening wear gather on a grand set of outdoor steps and cheer.\" width=\"1878\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blink-twice.png 1878w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blink-twice-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blink-twice-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blink-twice-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blink-twice-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blink-twice-1536x977.png 1536w\" sizes=\"(max-width: 1878px) 100vw, 1878px\">\u003cfigcaption class=\"wp-caption-text\">The exceptional cast of ‘Blink Twice’ includes Channing Tatum, Naomi Ackie, Alia Shawkat, Adria Arjona and Christian Slater. \u003ccite>(MGM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a night spent hanging with Slater’s entourage, Slater invites Frida and Jess to join a group escapade to Slater’s private island. The two, eager for an adventure, immediately take him up on the offer. They land the following morning at his beautiful resort/home, where all guests are provided with matching clothes and toiletries, and asked to surrender their phones.\u003c/p>\n\u003cp>[aside postid='arts_13962187']For days on end, an endless supply of champagne flows, many drugs are imbibed, ample pool time is enjoyed and lavish meals are served every night. Something, however, is clearly amiss on the island. The staff are strangely mute, except for one exceptionally creepy woman who is tasked with killing a specific breed of snake on the island. “Red robin,” she spits at Frida every time they cross paths. “Red robin!” It’s a warning of some kind, of course — one that immediately brings to mind the pained expressions of the house staff in \u003cem>Get Out\u003c/em>.\u003c/p>\n\u003cp>That’s not the only way in which \u003cem>Blink Twice\u003c/em> resembles \u003cem>Get Out\u003c/em>. This, too, is a thriller concerned with mind control, hierarchical power and being trapped by other people’s manipulations and machinations. Whereas the villains of \u003cem>Get Out\u003c/em> target their victims’ race, in \u003cem>Blink Twice\u003c/em> the target is gender. Despite ample buildup, when the truth of what happens nightly on the island is finally revealed, it is genuinely shocking. It also comes with a few visuals that — word of warning — will probably haunt female viewers for days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aMcmfonGWY4\u003c/p>\n\u003cp>\u003cem>Blink Twice\u003c/em> marks Zoë Kravitz’s directorial debut, and if the masterful and striking scene-building here is anything to go by, she has a solid future behind the camera. \u003cem>Blink Twice\u003c/em> is also blessed with an exceptional cast whose group chemistry is believable to the point of immersive. A surprising standout is Adria Arjona, who puts in a star-making turn as Sarah, a reality TV star whose island awakening feels viscerally real and propels the latter half of the movie. Christian Slater and Haley Joel Osment, playing pals of tech billionaire Slater, excellently portray slightly dorky men at different stages of mid-life crises. As for Tatum, he’s never been better.\u003c/p>\n\u003cp>If there are criticisms to be made of \u003cem>Blink Twice\u003c/em>, it’s that the movie packs too much into its run time. The attempts at comic relief often fall flat, and while the ending of the movie is satisfying as it’s unfurling, even a modicum of closer examination reveals some significant plot holes. That said, \u003cem>Blink Twice\u003c/em> has salient points to make about trauma, patriarchy, capitalism and female solidarity. It may be a little busy, but viewers are at zero risk of boredom.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Blink Twice’ is released nationwide on Aug. 23, 2024. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Blink Twice\u003c/em> is the kind of movie you want to rewatch the moment it’s over. Not because it’s perfect. Rather, because it’s so densely packed — with symbolism, with striking tableaus, with \u003cem>messages\u003c/em> — you want to make sure you didn’t miss anything. Truth is, there’s so much going on here, you probably did.\u003c/p>\n\u003cp>\u003cem>Blink Twice\u003c/em> begins with Frida (Naomi Ackie) and Jess (Alia Shawkat) sneaking into an important gala being held by controversial tech billionaire Slater King (Channing Tatum). Frida is harboring a crush on Slater after meeting him while waiting tables at the gala the previous year. Slater, it quickly becomes clear, seems to be interested in Frida. (\u003cem>Blink Twice\u003c/em> benefits from the fact that Ackie and Tatum absolutely crackle together in these early scenes.)\u003c/p>\n\u003cfigure id=\"attachment_13962672\" class=\"wp-caption aligncenter\" style=\"max-width: 1878px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962672\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blink-twice.png\" alt=\"A group of attractive people wearing formal evening wear gather on a grand set of outdoor steps and cheer.\" width=\"1878\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blink-twice.png 1878w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blink-twice-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blink-twice-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blink-twice-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blink-twice-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/blink-twice-1536x977.png 1536w\" sizes=\"(max-width: 1878px) 100vw, 1878px\">\u003cfigcaption class=\"wp-caption-text\">The exceptional cast of ‘Blink Twice’ includes Channing Tatum, Naomi Ackie, Alia Shawkat, Adria Arjona and Christian Slater. \u003ccite>(MGM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a night spent hanging with Slater’s entourage, Slater invites Frida and Jess to join a group escapade to Slater’s private island. The two, eager for an adventure, immediately take him up on the offer. They land the following morning at his beautiful resort/home, where all guests are provided with matching clothes and toiletries, and asked to surrender their phones.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For days on end, an endless supply of champagne flows, many drugs are imbibed, ample pool time is enjoyed and lavish meals are served every night. Something, however, is clearly amiss on the island. The staff are strangely mute, except for one exceptionally creepy woman who is tasked with killing a specific breed of snake on the island. “Red robin,” she spits at Frida every time they cross paths. “Red robin!” It’s a warning of some kind, of course — one that immediately brings to mind the pained expressions of the house staff in \u003cem>Get Out\u003c/em>.\u003c/p>\n\u003cp>That’s not the only way in which \u003cem>Blink Twice\u003c/em> resembles \u003cem>Get Out\u003c/em>. This, too, is a thriller concerned with mind control, hierarchical power and being trapped by other people’s manipulations and machinations. Whereas the villains of \u003cem>Get Out\u003c/em> target their victims’ race, in \u003cem>Blink Twice\u003c/em> the target is gender. Despite ample buildup, when the truth of what happens nightly on the island is finally revealed, it is genuinely shocking. It also comes with a few visuals that — word of warning — will probably haunt female viewers for days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aMcmfonGWY4'\n title='//www.youtube.com/embed/aMcmfonGWY4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Blink Twice\u003c/em> marks Zoë Kravitz’s directorial debut, and if the masterful and striking scene-building here is anything to go by, she has a solid future behind the camera. \u003cem>Blink Twice\u003c/em> is also blessed with an exceptional cast whose group chemistry is believable to the point of immersive. A surprising standout is Adria Arjona, who puts in a star-making turn as Sarah, a reality TV star whose island awakening feels viscerally real and propels the latter half of the movie. Christian Slater and Haley Joel Osment, playing pals of tech billionaire Slater, excellently portray slightly dorky men at different stages of mid-life crises. As for Tatum, he’s never been better.\u003c/p>\n\u003cp>If there are criticisms to be made of \u003cem>Blink Twice\u003c/em>, it’s that the movie packs too much into its run time. The attempts at comic relief often fall flat, and while the ending of the movie is satisfying as it’s unfurling, even a modicum of closer examination reveals some significant plot holes. That said, \u003cem>Blink Twice\u003c/em> has salient points to make about trauma, patriarchy, capitalism and female solidarity. It may be a little busy, but viewers are at zero risk of boredom.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Blink Twice’ is released nationwide on Aug. 23, 2024. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“In space, no one can hear you scream,” went the tagline for the original \u003cem>Alien\u003c/em> in 1979, a terrifying thought on multiple levels.\u003c/p>\n\u003cp>There may indeed be a scientific rationale for a space scream to be inaudible, but isn’t it scarier to simply realize nobody’s around to hear you? That was the case for Sigourney Weaver’s Ripley, once she became the last one standing against the fearsome Xenomorph. Nobody could hear her scream — nobody human, that is — because, duh, everyone was dead.\u003c/p>\n\u003cp>[aside postid='arts_13258142']In any case, hearing won’t be a problem here on Earth at any multiplex showing \u003cem>Alien: Romulus\u003c/em>, the much-anticipated new installment to the \u003cem>Alien\u003c/em> franchise (not a sequel, but we’ll get to that in a minute.) This is a very big, very (very!) loud, very jumpy horror flick, and the screams will come, and they’ll be audible. Which is precisely what \u003cem>Alien\u003c/em> fans are surely waiting for.\u003c/p>\n\u003cp>And speaking of Ripley, no, neither she (nor Weaver) are present in this new version by Fede Álvarez, closer in feel to the horror roots of Ridley Scott’s original than James Cameron’s more action-focused 1986 \u003cem>Aliens\u003c/em>. But now we have Rain Carradine, played by rising star Cailee Spaeny (\u003ca href=\"https://www.kqed.org/arts/13936970/priscilla-movie-review-sofia-coppola-jacob-elordi-cailee-spaeny\">\u003cem>Priscilla\u003c/em>\u003c/a>), a new-generation Ripley in everything but name. Spaeny takes up the mantle of badass space fighter with aplomb, and is easily the best part of a movie that, like the 1979 original, is short on character development.\u003c/p>\n\u003cp>There are many other parallels (and winking nods) to the original (Scott is a co-producer here). But like we said, don’t call it a sequel. In fact it’s an “interquel,” which wouldn’t be a bad horror film title in itself. The dictionary explains that it’s neither sequel nor prequel, but rather a “middlequel” between installments, known as “quels.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just kidding! It’s not in the dictionary. But it’s worth noting that Álvarez, in placing his movie between existing versions to form a new trilogy, yet aiming also for standalone entertainment, risks some tonal confusion. Not that you’ll be able to hear your thoughts, should this occur to you.\u003c/p>\n\u003cp>The premise is new, sort of. Álvarez, who co-wrote the screenplay with Rodo Sayagues, has said he got the idea from a deleted scene from Cameron’s film, in which young kids were seen amongst workers in a mining colony, and wondering what their lives would be like when they reached their 20s.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x0XDEhP4MQs\u003c/p>\n\u003cp>At the beginning, we find out: life is bleak indeed in the colony on Jackson’s Star, owned by the worker-exploiting Weyland-Yutani firm.\u003c/p>\n\u003cp>Rain’s miner parents have died of lung ailments. They’ve left her a caring brother, Andy, who is actually a “synthetic,” or humanoid robot. The “human” element is crucial because it allows an empathetic David Jonsson, in the role, to connect to the audience in a way that otherwise only Spaeny does — the rest of the cast is given virtually nothing to work with.\u003c/p>\n\u003cp>[aside postid='arts_13962187']In any case, the two are not long for Jackson’s Star. After Rain is turned down for a travel permit to finally escape dark colony life, she and Andy join a risky venture.\u003c/p>\n\u003cp>There’s an (apparently) decommissioned space station hovering above, and if they can raid it of hardware and other loot, they can bypass the brutal wait for permits and finally make it to a new home. And so, reluctantly, the two agree to join the others — Rain’s ex-boyfriend Tyler (Archie Renaux), his sister Kay (Isabela Merced), Bjorn (Spike Fearn) and Navarro (Aileen Wu) — on a bumpy flight to the Renaissance station.\u003c/p>\n\u003cp>Surely we’re not spoiling much to say that it’s best not to get attached to anybody.\u003c/p>\n\u003cp>Because, we all know what’s waiting up there, don’t we? It’s already been teased in the opening, with the rickety old station looking much like USCSS Nostromo, that ill-fated space tug in the original.\u003c/p>\n\u003cp>We hardly needed the hint, though. This is an \u003cem>Alien\u003c/em> movie and it’s all about the Xenomorph, that terrifying creature who is diabolically “perfect,” able to survive in any atmosphere and to multiply, obviously, in the most disgusting of ways.\u003c/p>\n\u003cp>It’s not really a party — or a movie — until the creatures show up. And that, they do. Much has been made of this film’s use of practical effects, rather than a CGI-created universe. The actors have said this — as well as shooting in a linear fashion — helped them feel the genuine horror needed for their portrayals.\u003c/p>\n\u003cp>Does all this elevate the film beyond any of its predecessors? Like so many franchises that depend on intense fandom, that truly depends from what vantage point you’re joining in. Fans of the original will appreciate the many respectful echoes of that film (and perhaps the fact that, thank the lord, there’s no longer a gratuitous skimpy panty scene.) Fans of Cameron’s take will appreciate the action that comes later in the film.\u003c/p>\n\u003cp>And while some will applaud the wild, outlandish, creative and possibly ridiculous swerve of those final minutes — not to spoil it — others may even laugh rather than scream.\u003c/p>\n\u003cp>It’s all good, though. In space, probably no one can hear you laugh, either.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Alien: Romulus’ is released nationwide on Aug. 16, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In any case, hearing won’t be a problem here on Earth at any multiplex showing \u003cem>Alien: Romulus\u003c/em>, the much-anticipated new installment to the \u003cem>Alien\u003c/em> franchise (not a sequel, but we’ll get to that in a minute.) This is a very big, very (very!) loud, very jumpy horror flick, and the screams will come, and they’ll be audible. Which is precisely what \u003cem>Alien\u003c/em> fans are surely waiting for.\u003c/p>\n\u003cp>And speaking of Ripley, no, neither she (nor Weaver) are present in this new version by Fede Álvarez, closer in feel to the horror roots of Ridley Scott’s original than James Cameron’s more action-focused 1986 \u003cem>Aliens\u003c/em>. But now we have Rain Carradine, played by rising star Cailee Spaeny (\u003ca href=\"https://www.kqed.org/arts/13936970/priscilla-movie-review-sofia-coppola-jacob-elordi-cailee-spaeny\">\u003cem>Priscilla\u003c/em>\u003c/a>), a new-generation Ripley in everything but name. Spaeny takes up the mantle of badass space fighter with aplomb, and is easily the best part of a movie that, like the 1979 original, is short on character development.\u003c/p>\n\u003cp>There are many other parallels (and winking nods) to the original (Scott is a co-producer here). But like we said, don’t call it a sequel. In fact it’s an “interquel,” which wouldn’t be a bad horror film title in itself. The dictionary explains that it’s neither sequel nor prequel, but rather a “middlequel” between installments, known as “quels.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just kidding! It’s not in the dictionary. But it’s worth noting that Álvarez, in placing his movie between existing versions to form a new trilogy, yet aiming also for standalone entertainment, risks some tonal confusion. Not that you’ll be able to hear your thoughts, should this occur to you.\u003c/p>\n\u003cp>The premise is new, sort of. Álvarez, who co-wrote the screenplay with Rodo Sayagues, has said he got the idea from a deleted scene from Cameron’s film, in which young kids were seen amongst workers in a mining colony, and wondering what their lives would be like when they reached their 20s.\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/x0XDEhP4MQs'\n title='//www.youtube.com/embed/x0XDEhP4MQs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the beginning, we find out: life is bleak indeed in the colony on Jackson’s Star, owned by the worker-exploiting Weyland-Yutani firm.\u003c/p>\n\u003cp>Rain’s miner parents have died of lung ailments. They’ve left her a caring brother, Andy, who is actually a “synthetic,” or humanoid robot. The “human” element is crucial because it allows an empathetic David Jonsson, in the role, to connect to the audience in a way that otherwise only Spaeny does — the rest of the cast is given virtually nothing to work with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In any case, the two are not long for Jackson’s Star. After Rain is turned down for a travel permit to finally escape dark colony life, she and Andy join a risky venture.\u003c/p>\n\u003cp>There’s an (apparently) decommissioned space station hovering above, and if they can raid it of hardware and other loot, they can bypass the brutal wait for permits and finally make it to a new home. And so, reluctantly, the two agree to join the others — Rain’s ex-boyfriend Tyler (Archie Renaux), his sister Kay (Isabela Merced), Bjorn (Spike Fearn) and Navarro (Aileen Wu) — on a bumpy flight to the Renaissance station.\u003c/p>\n\u003cp>Surely we’re not spoiling much to say that it’s best not to get attached to anybody.\u003c/p>\n\u003cp>Because, we all know what’s waiting up there, don’t we? It’s already been teased in the opening, with the rickety old station looking much like USCSS Nostromo, that ill-fated space tug in the original.\u003c/p>\n\u003cp>We hardly needed the hint, though. This is an \u003cem>Alien\u003c/em> movie and it’s all about the Xenomorph, that terrifying creature who is diabolically “perfect,” able to survive in any atmosphere and to multiply, obviously, in the most disgusting of ways.\u003c/p>\n\u003cp>It’s not really a party — or a movie — until the creatures show up. And that, they do. Much has been made of this film’s use of practical effects, rather than a CGI-created universe. The actors have said this — as well as shooting in a linear fashion — helped them feel the genuine horror needed for their portrayals.\u003c/p>\n\u003cp>Does all this elevate the film beyond any of its predecessors? Like so many franchises that depend on intense fandom, that truly depends from what vantage point you’re joining in. Fans of the original will appreciate the many respectful echoes of that film (and perhaps the fact that, thank the lord, there’s no longer a gratuitous skimpy panty scene.) Fans of Cameron’s take will appreciate the action that comes later in the film.\u003c/p>\n\u003cp>And while some will applaud the wild, outlandish, creative and possibly ridiculous swerve of those final minutes — not to spoil it — others may even laugh rather than scream.\u003c/p>\n\u003cp>It’s all good, though. In space, probably no one can hear you laugh, either.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Alien: Romulus’ is released nationwide on Aug. 16, 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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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
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