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"content": "\u003cp>Little is known about how Germany’s former Chancellor Angela Merkel is spending her retirement, and that seems to be the way she likes it. Thanks to a German crime fiction series adapted for television and now proving a hit in Italy, she is back in the headlines — this time as a fictional small-town amateur sleuth.\u003c/p>\n\u003cp>As the title suggests, \u003cem>Miss Merkel \u003c/em>is a whodunnit that imagines the former chancellor as an Agatha Christie-style detective who starts solving crimes out of sheer boredom. For want of a G7 or European Union summit, Merkel is desperate to put down the garden shears and get back to solving something, anything! This time, it’s a village murder. Move over, Miss Marple!\u003c/p>\n\u003cp>[aside postid='arts_13962860']The TV adaptation stars German theater doyenne Katharina Thalbach as Merkel. Like Merkel, Thalbach is 70 and from former East Germany. She says it wasn’t too hard to prepare for the role.\u003c/p>\n\u003cp>“You could always see the burden of power in Merkel’s shoulders, how it weighed on her,” Thalbach tells NPR. “So, I focused on my shoulders, put on a wig and one of her signature colorful boxy blazers and I had the feeling I \u003cem>was \u003c/em>her. That I \u003cem>am \u003c/em>Angela Merkel!”\u003c/p>\n\u003cfigure id=\"attachment_13963552\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05%E2%80%AFPM.png\" alt=\"An elderly woman talks to a woman outside. She is wearing a purple pantsuit.\" width=\"1292\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-768x509.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the TV series, ‘Miss Merkel,’ played by Katharina Thalbach, solves a murder case while her guests listen attentively. \u003ccite>(RTL/Maor Waisburd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thalbach has met Merkel a number of times but is not sure whether the ex-chancellor is a fan of \u003cem>Miss Merkel\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The last time I saw Angela, I tried to find out whether she’s read the books or seen the series,” Thalbach recalls. “But she deftly dodged the question, saying instead that her office staff are big fans.”\u003c/p>\n\u003cp>The books’ author, David Safier, known previously for his fictional accounts of the Holocaust and his work as a scriptwriter\u003cem>,\u003c/em> says he’s also none the wiser as to what Merkel thinks of his alternative retirement plan for her.\u003c/p>\n\u003cfigure id=\"attachment_13963554\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10%E2%80%AFPM.png\" alt=\"\" width=\"1296\" height=\"866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-768x513.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Former German Chancellor Angela Merkel arrives for an onstage conversation in Berlin in 2022, the year after she retired from politics. \u003ccite>(Sean Gallup/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Probably she has read the novels,” Safier speculates. “To be honest, if there would be a crime novel where you are the hero, wouldn’t you at least read the first 10 pages?”\u003c/p>\n\u003cp>While the books are a commercial success, the small-screen adaptation by RTL — which will be \u003ca href=\"https://deadline.com/2024/07/angela-merkel-detective-series-mhz-choice-fremantle-1236025405/\">available to stream later this year in the U.S.\u003c/a> — has received lukewarm reviews in Germany. The broadsheet \u003ca href=\"https://www.faz.net/aktuell/feuilleton/medien/miss-merkel-krimi-mit-katharina-thalbach-bei-rtl-19595059.html\">\u003cem>\u003cu>Frankfurter Allgemeine Zeitung \u003c/u>\u003c/em>\u003c/a>acknowledged the star power that Thalbach’s performance brings to the production, but lamented the show’s “corny jokes.” German magazine \u003ca href=\"https://www.focus.de/kultur/kino_tv/miss-merkel-im-uckermark-krimi-schraeger-wird-es-2023-im-tv-nicht-mehr_id_188954431.html\">\u003cem>\u003cu>Fokus\u003c/u>\u003c/em>\u003c/a> suggested the production company engage Safier as the scriptwriter, seeing as he won an Emmy for a German sitcom \u003cem>Berlin, Berlin. \u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13963389']Safier came up with the idea for \u003cem>Miss Merkel\u003c/em> in 2019, on the day Merkel announced she wouldn’t be running for a fifth term. He says he sat down to watch an old rerun of \u003cem>Columbo \u003c/em>that same evening and the idea for his top-10 \u003cem>Spiegel\u003c/em> bestseller\u003ca href=\"https://bestsellerbucher.de/\">\u003cu> \u003c/u>\u003c/a>was born.\u003c/p>\n\u003cp>Safier says Angela Merkel makes for a consummate detective.\u003c/p>\n\u003cp>“Merkel is highly intelligent, much more intelligent than other politicians,” he says. “She is strongheaded. And, after 30 years in politics, she’s used to dealing with sociopaths and psychopaths.”\u003c/p>\n\u003cp>Like Miss Marple, Merkel is often underestimated — something the former chancellor used to her advantage throughout her political career. Thalbach says this particularly baffled alpha-male politicians.\u003c/p>\n\u003cfigure id=\"attachment_13963556\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33%E2%80%AFPM.png\" alt=\"\" width=\"1292\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-768x512.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the TV series ‘Miss Merkel,’ played by Katharina Thalbach, and her husband played by Joachim Sauer, sit in the audience watching a play. \u003ccite>(RTL/Maor Waisburd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The real Merkel was brilliant at finding skeletons in the closets of her political rivals,” Thalbach asserts. “But she had none of her own: the perfect trait for an ace detective!”\u003c/p>\n\u003cp>Safier says it’s the references to Merkel’s former life as chancellor that tickle his readers.\u003c/p>\n\u003cp>In the first book, Miss Merkel attends a community theater production and remarks that “compared to six hours of Beijing Opera with Xi Jinping, everything else is a piece of cake.”\u003c/p>\n\u003cp>[aside postid='arts_13963140']“Her experience helps her to solve crime mysteries. When she’s questioning a suspect, she knows that she has to wear him down,” Safier says of his main character. “Merkel knows what it’s like to probe and ask questions over and over again. She did it until the early hours at countless EU summits.”\u003c/p>\n\u003cp>Unlike Miss Marple, Merkel is actually a Mrs. — a Frau Dr., that is, with a Ph.D. in quantum chemistry. In the TV series, Merkel’s husband asks why she’s still wearing her trademark pantsuits in retirement. Her answer could be considered classic Merkel logic: “I’ve still got 50 of them in my wardrobe.”\u003c/p>\n\u003cp>Angie nostalgia aside, Safier says that in his next book, Miss Merkel is seeing a therapist after realizing, while writing her memoirs, that she neglected to solve a number of issues during her time in office — be it Germany’s ailing railway system or relations with Russia.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Merkel was something of an enigma in office. Now, in retirement, the fictional version of her is an open book. The real version is set to be revealed in November. That’s when Safier’s next installment comes out — and when the real Merkel publishes her \u003ca href=\"https://www.panmacmillan.com/authors/angela-merkel/freedom/9781035020751\">\u003cu>autobiography\u003c/u>\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The TV adaptation stars German theater doyenne Katharina Thalbach as Merkel. Like Merkel, Thalbach is 70 and from former East Germany. She says it wasn’t too hard to prepare for the role.\u003c/p>\n\u003cp>“You could always see the burden of power in Merkel’s shoulders, how it weighed on her,” Thalbach tells NPR. “So, I focused on my shoulders, put on a wig and one of her signature colorful boxy blazers and I had the feeling I \u003cem>was \u003c/em>her. That I \u003cem>am \u003c/em>Angela Merkel!”\u003c/p>\n\u003cfigure id=\"attachment_13963552\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05%E2%80%AFPM.png\" alt=\"An elderly woman talks to a woman outside. She is wearing a purple pantsuit.\" width=\"1292\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-768x509.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the TV series, ‘Miss Merkel,’ played by Katharina Thalbach, solves a murder case while her guests listen attentively. \u003ccite>(RTL/Maor Waisburd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thalbach has met Merkel a number of times but is not sure whether the ex-chancellor is a fan of \u003cem>Miss Merkel\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The last time I saw Angela, I tried to find out whether she’s read the books or seen the series,” Thalbach recalls. “But she deftly dodged the question, saying instead that her office staff are big fans.”\u003c/p>\n\u003cp>The books’ author, David Safier, known previously for his fictional accounts of the Holocaust and his work as a scriptwriter\u003cem>,\u003c/em> says he’s also none the wiser as to what Merkel thinks of his alternative retirement plan for her.\u003c/p>\n\u003cfigure id=\"attachment_13963554\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10%E2%80%AFPM.png\" alt=\"\" width=\"1296\" height=\"866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-768x513.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Former German Chancellor Angela Merkel arrives for an onstage conversation in Berlin in 2022, the year after she retired from politics. \u003ccite>(Sean Gallup/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Probably she has read the novels,” Safier speculates. “To be honest, if there would be a crime novel where you are the hero, wouldn’t you at least read the first 10 pages?”\u003c/p>\n\u003cp>While the books are a commercial success, the small-screen adaptation by RTL — which will be \u003ca href=\"https://deadline.com/2024/07/angela-merkel-detective-series-mhz-choice-fremantle-1236025405/\">available to stream later this year in the U.S.\u003c/a> — has received lukewarm reviews in Germany. The broadsheet \u003ca href=\"https://www.faz.net/aktuell/feuilleton/medien/miss-merkel-krimi-mit-katharina-thalbach-bei-rtl-19595059.html\">\u003cem>\u003cu>Frankfurter Allgemeine Zeitung \u003c/u>\u003c/em>\u003c/a>acknowledged the star power that Thalbach’s performance brings to the production, but lamented the show’s “corny jokes.” German magazine \u003ca href=\"https://www.focus.de/kultur/kino_tv/miss-merkel-im-uckermark-krimi-schraeger-wird-es-2023-im-tv-nicht-mehr_id_188954431.html\">\u003cem>\u003cu>Fokus\u003c/u>\u003c/em>\u003c/a> suggested the production company engage Safier as the scriptwriter, seeing as he won an Emmy for a German sitcom \u003cem>Berlin, Berlin. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Safier came up with the idea for \u003cem>Miss Merkel\u003c/em> in 2019, on the day Merkel announced she wouldn’t be running for a fifth term. He says he sat down to watch an old rerun of \u003cem>Columbo \u003c/em>that same evening and the idea for his top-10 \u003cem>Spiegel\u003c/em> bestseller\u003ca href=\"https://bestsellerbucher.de/\">\u003cu> \u003c/u>\u003c/a>was born.\u003c/p>\n\u003cp>Safier says Angela Merkel makes for a consummate detective.\u003c/p>\n\u003cp>“Merkel is highly intelligent, much more intelligent than other politicians,” he says. “She is strongheaded. And, after 30 years in politics, she’s used to dealing with sociopaths and psychopaths.”\u003c/p>\n\u003cp>Like Miss Marple, Merkel is often underestimated — something the former chancellor used to her advantage throughout her political career. Thalbach says this particularly baffled alpha-male politicians.\u003c/p>\n\u003cfigure id=\"attachment_13963556\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33%E2%80%AFPM.png\" alt=\"\" width=\"1292\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-768x512.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the TV series ‘Miss Merkel,’ played by Katharina Thalbach, and her husband played by Joachim Sauer, sit in the audience watching a play. \u003ccite>(RTL/Maor Waisburd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The real Merkel was brilliant at finding skeletons in the closets of her political rivals,” Thalbach asserts. “But she had none of her own: the perfect trait for an ace detective!”\u003c/p>\n\u003cp>Safier says it’s the references to Merkel’s former life as chancellor that tickle his readers.\u003c/p>\n\u003cp>In the first book, Miss Merkel attends a community theater production and remarks that “compared to six hours of Beijing Opera with Xi Jinping, everything else is a piece of cake.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Her experience helps her to solve crime mysteries. When she’s questioning a suspect, she knows that she has to wear him down,” Safier says of his main character. “Merkel knows what it’s like to probe and ask questions over and over again. She did it until the early hours at countless EU summits.”\u003c/p>\n\u003cp>Unlike Miss Marple, Merkel is actually a Mrs. — a Frau Dr., that is, with a Ph.D. in quantum chemistry. In the TV series, Merkel’s husband asks why she’s still wearing her trademark pantsuits in retirement. Her answer could be considered classic Merkel logic: “I’ve still got 50 of them in my wardrobe.”\u003c/p>\n\u003cp>Angie nostalgia aside, Safier says that in his next book, Miss Merkel is seeing a therapist after realizing, while writing her memoirs, that she neglected to solve a number of issues during her time in office — be it Germany’s ailing railway system or relations with Russia.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Merkel was something of an enigma in office. Now, in retirement, the fictional version of her is an open book. The real version is set to be revealed in November. That’s when Safier’s next installment comes out — and when the real Merkel publishes her \u003ca href=\"https://www.panmacmillan.com/authors/angela-merkel/freedom/9781035020751\">\u003cu>autobiography\u003c/u>\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13963408\" class=\"wp-caption aligncenter\" style=\"max-width: 1558px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963408\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover.png\" alt=\"A book cover featuring an illustration of a man with wild hair, smoking a pipe and tumbling backwards.\" width=\"1558\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover.png 1558w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover-800x1027.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover-1020x1309.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover-160x205.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover-768x986.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover-1197x1536.png 1197w\" sizes=\"(max-width: 1558px) 100vw, 1558px\">\u003cfigcaption class=\"wp-caption-text\">‘How Albert Fell Down the Rabbit Hole and Came Up With the Universe,’ by Ken Krimstein. \u003ccite>(Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s April 1, 1911, and 32-year-old Albert Einstein — former bureaucrat at the Swiss Patent Office, with a half-decade old doctorate in physics from the University of Zurich — sits in a train car with his two sons and his wife, fellow physicist and mathematician Mileva Marić. They are traveling from Zurich to Prague, where Einstein has landed a job as a full professor in theoretical physics, teaching in the German section of what is now Charles University. He has a few things on his mind, including money troubles, but most critical is his unfinished theory of relativity. When they leave the city 15 months later, Einstein will have cracked the code.\u003c/p>\n\u003cp>What happens over the course of this long, mysterious year in Prague is the question driving Ken Krimstein’s new graphic novel \u003cem>Einstein in Kafkaland\u003c/em>. Part biography, part historical fiction, Krimstein playfully explores the possibilities, building, with footnotes, on a thorough archive of letters, diaries, and other research. The result, a thought-provoking work made up of comics suffused in a gentle mix of aquamarine watercolors, is equal parts joyful and ruminative. (Think: \u003cem>Alice in Wonderland \u003c/em>meets \u003cem>The Lives of the Poets \u003c/em>meets \u003cem>Krazy Kat.\u003c/em>) The full subtitle to the book — \u003cem>How Albert Fell Down the Rabbit Hole and Came Up with the Universe\u003c/em> — signals the lavish whimsy that goes a long way towards making this such a delightful, inspiring read.\u003c/p>\n\u003cfigure id=\"attachment_13963410\" class=\"wp-caption aligncenter\" style=\"max-width: 1482px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2.png\" alt=\"An illustration of a small figure standing at a huge window frame where there is the enormous bearded face of a man talking.\" width=\"1482\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2.png 1482w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2-800x1080.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2-1020x1377.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2-160x216.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2-768x1036.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2-1138x1536.png 1138w\" sizes=\"(max-width: 1482px) 100vw, 1482px\">\u003cfigcaption class=\"wp-caption-text\">Turns out that Albert Einstein and Franz Kafka lived in Prague at the same time and had the same circle of friends. \u003ccite>(Ken Krimstein/Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout, cartoon-Einstein sports his characteristic pipe alongside a signature frizzy head of hair. But it’s his obsessive ruminations that perhaps most effectively signal what has become Einstein-the-character, a culmination of all the gossip, public appearances, private words, and first-hand accounts of one of the best-known scientists to have ever lived.\u003c/p>\n\u003cp>[aside postid='arts_13963016']Krimstein pairs Einstein’s story with that of Franz Kafka, who was 28, virtually unpublished, and living with his parents in a house in Prague when Einstein arrived for his short but impactful stay. What binds the two together, in addition to an alleged one-time meeting at a weekly salon, is a complementary preoccupation with getting at the truth — “the true truth” — against all odds, and against many other people’s better judgements. For both, a journey to find this truth, whether in science or literature, is one that will sometimes alienate as painfully as it may ultimately bind them to others.\u003c/p>\n\u003cp>During Einstein’s time in Prague, a time in which he works out his theory of relativity, Kafka will have his own breakthrough. In one long feverish night he will pen the short story, most often known in English as “The Judgment,” which will launch an unparalleled writing career forever transforming art and literature. Like Einstein’s completed theory of relativity, Kafka, too, will offer the world a new way of thinking. It’s a way of thinking that, our narrator assures us, “we’re all still struggling to catch up to.”\u003c/p>\n\u003cfigure id=\"attachment_13963409\" class=\"wp-caption aligncenter\" style=\"max-width: 1441px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963409\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein.png\" alt=\"A page of watercolored panels depicting Albert Einstein gazing pensively out of a window.\" width=\"1441\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein.png 1441w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-800x1110.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-1020x1416.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-160x222.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-768x1066.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-1107x1536.png 1107w\" sizes=\"(max-width: 1441px) 100vw, 1441px\">\u003cfigcaption class=\"wp-caption-text\">A moment from ‘Einstein in Kafkaland.’ \u003ccite>(Ken Krimstein/Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite his title, Krimstein centers his book unevenly, focusing mainly on Einstein, and taking us step by step through the meditations that lead to his discovery. Nonetheless, along the way he also provides readers with glimpses into the life of the perpetually melancholic insomniac insurance clerk, Kafka. We witness, for example, an early morning swimming routine with his best bud — and future literary executor — Max Brod. But what Kafka’s presence in the narrative most crucially enables are imagined conversations between him and Einstein. In these, the two puzzle, and sometimes commiserate, over what it means to see the world differently from everyone else. What happens when you believe so confidently in your own hard-won perceptions that you risk killing the heroes that brought you there?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Krimstein, a well-published cartoonist whose previous work includes another delightful graphic biography, \u003cem>The Three Escapes of Hannah Arendt\u003c/em>, luxuriates in intellectual history shoulder to shoulder with juicy biographical details. He depicts Einstein debating with his foe, Max Abraham; taking fantastical trips into a four-dimensional world with Euclid; and walking and talking with Austrian physicist, and dear friend, Paul Ehrenfest. And he exposes, too, scenes of the future Nobel Prize winner in the bath, trying to kill off bedbugs; or engaging with his young children, and wife, in Gedankenexperiments (thought experiments), to help him think through the problems that continually occupy him.\u003c/p>\n\u003cp>[aside postid='arts_13962965']At its heart, \u003cem>Einstein in Kafkaland \u003c/em>is the story of ordinary genius. It unwraps the ways in which genius so often arises out of ordinary circumstances. Perhaps even more compellingly, the book tracks how unimaginable discoveries develop following exchanges with others — friends and family, colleagues and nemeses, neighbors and role models. Aberrations aside, works of genius most wholly emerge in dialogue.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Einstein in Kafkaland: How Albert Fell Down the Rabbit Hole and Came Up With the Universe’ by Ken Krimstein is out now, via Bloomsbury Publishing.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, N.Y.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13963408\" class=\"wp-caption aligncenter\" style=\"max-width: 1558px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963408\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover.png\" alt=\"A book cover featuring an illustration of a man with wild hair, smoking a pipe and tumbling backwards.\" width=\"1558\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover.png 1558w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover-800x1027.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover-1020x1309.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover-160x205.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover-768x986.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/kafkaland-cover-1197x1536.png 1197w\" sizes=\"(max-width: 1558px) 100vw, 1558px\">\u003cfigcaption class=\"wp-caption-text\">‘How Albert Fell Down the Rabbit Hole and Came Up With the Universe,’ by Ken Krimstein. \u003ccite>(Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s April 1, 1911, and 32-year-old Albert Einstein — former bureaucrat at the Swiss Patent Office, with a half-decade old doctorate in physics from the University of Zurich — sits in a train car with his two sons and his wife, fellow physicist and mathematician Mileva Marić. They are traveling from Zurich to Prague, where Einstein has landed a job as a full professor in theoretical physics, teaching in the German section of what is now Charles University. He has a few things on his mind, including money troubles, but most critical is his unfinished theory of relativity. When they leave the city 15 months later, Einstein will have cracked the code.\u003c/p>\n\u003cp>What happens over the course of this long, mysterious year in Prague is the question driving Ken Krimstein’s new graphic novel \u003cem>Einstein in Kafkaland\u003c/em>. Part biography, part historical fiction, Krimstein playfully explores the possibilities, building, with footnotes, on a thorough archive of letters, diaries, and other research. The result, a thought-provoking work made up of comics suffused in a gentle mix of aquamarine watercolors, is equal parts joyful and ruminative. (Think: \u003cem>Alice in Wonderland \u003c/em>meets \u003cem>The Lives of the Poets \u003c/em>meets \u003cem>Krazy Kat.\u003c/em>) The full subtitle to the book — \u003cem>How Albert Fell Down the Rabbit Hole and Came Up with the Universe\u003c/em> — signals the lavish whimsy that goes a long way towards making this such a delightful, inspiring read.\u003c/p>\n\u003cfigure id=\"attachment_13963410\" class=\"wp-caption aligncenter\" style=\"max-width: 1482px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963410\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2.png\" alt=\"An illustration of a small figure standing at a huge window frame where there is the enormous bearded face of a man talking.\" width=\"1482\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2.png 1482w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2-800x1080.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2-1020x1377.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2-160x216.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2-768x1036.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-2-1138x1536.png 1138w\" sizes=\"(max-width: 1482px) 100vw, 1482px\">\u003cfigcaption class=\"wp-caption-text\">Turns out that Albert Einstein and Franz Kafka lived in Prague at the same time and had the same circle of friends. \u003ccite>(Ken Krimstein/Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout, cartoon-Einstein sports his characteristic pipe alongside a signature frizzy head of hair. But it’s his obsessive ruminations that perhaps most effectively signal what has become Einstein-the-character, a culmination of all the gossip, public appearances, private words, and first-hand accounts of one of the best-known scientists to have ever lived.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Krimstein pairs Einstein’s story with that of Franz Kafka, who was 28, virtually unpublished, and living with his parents in a house in Prague when Einstein arrived for his short but impactful stay. What binds the two together, in addition to an alleged one-time meeting at a weekly salon, is a complementary preoccupation with getting at the truth — “the true truth” — against all odds, and against many other people’s better judgements. For both, a journey to find this truth, whether in science or literature, is one that will sometimes alienate as painfully as it may ultimately bind them to others.\u003c/p>\n\u003cp>During Einstein’s time in Prague, a time in which he works out his theory of relativity, Kafka will have his own breakthrough. In one long feverish night he will pen the short story, most often known in English as “The Judgment,” which will launch an unparalleled writing career forever transforming art and literature. Like Einstein’s completed theory of relativity, Kafka, too, will offer the world a new way of thinking. It’s a way of thinking that, our narrator assures us, “we’re all still struggling to catch up to.”\u003c/p>\n\u003cfigure id=\"attachment_13963409\" class=\"wp-caption aligncenter\" style=\"max-width: 1441px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963409\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein.png\" alt=\"A page of watercolored panels depicting Albert Einstein gazing pensively out of a window.\" width=\"1441\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein.png 1441w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-800x1110.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-1020x1416.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-160x222.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-768x1066.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/ein-1107x1536.png 1107w\" sizes=\"(max-width: 1441px) 100vw, 1441px\">\u003cfigcaption class=\"wp-caption-text\">A moment from ‘Einstein in Kafkaland.’ \u003ccite>(Ken Krimstein/Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite his title, Krimstein centers his book unevenly, focusing mainly on Einstein, and taking us step by step through the meditations that lead to his discovery. Nonetheless, along the way he also provides readers with glimpses into the life of the perpetually melancholic insomniac insurance clerk, Kafka. We witness, for example, an early morning swimming routine with his best bud — and future literary executor — Max Brod. But what Kafka’s presence in the narrative most crucially enables are imagined conversations between him and Einstein. In these, the two puzzle, and sometimes commiserate, over what it means to see the world differently from everyone else. What happens when you believe so confidently in your own hard-won perceptions that you risk killing the heroes that brought you there?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Krimstein, a well-published cartoonist whose previous work includes another delightful graphic biography, \u003cem>The Three Escapes of Hannah Arendt\u003c/em>, luxuriates in intellectual history shoulder to shoulder with juicy biographical details. He depicts Einstein debating with his foe, Max Abraham; taking fantastical trips into a four-dimensional world with Euclid; and walking and talking with Austrian physicist, and dear friend, Paul Ehrenfest. And he exposes, too, scenes of the future Nobel Prize winner in the bath, trying to kill off bedbugs; or engaging with his young children, and wife, in Gedankenexperiments (thought experiments), to help him think through the problems that continually occupy him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At its heart, \u003cem>Einstein in Kafkaland \u003c/em>is the story of ordinary genius. It unwraps the ways in which genius so often arises out of ordinary circumstances. Perhaps even more compellingly, the book tracks how unimaginable discoveries develop following exchanges with others — friends and family, colleagues and nemeses, neighbors and role models. Aberrations aside, works of genius most wholly emerge in dialogue.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Einstein in Kafkaland: How Albert Fell Down the Rabbit Hole and Came Up With the Universe’ by Ken Krimstein is out now, via Bloomsbury Publishing.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, N.Y.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Is there anything worse than an actor with a cause?” asks an annoyed Jane Wyman, Ronald Reagan’s first wife, early in \u003cem>Reagan\u003c/em>, the new biopic starring Dennis Quaid.\u003c/p>\n\u003cp>Well, after watching two more hours of this story, an adoring look back at the man who served two terms as our 40th president, we can report that there is definitely one thing worse: An actor without a movie.\u003c/p>\n\u003cp>[aside postid='arts_13962898']Let’s not blame the star, though. Quaid, who has played more than one president, has certainly got the charismatic grin, the pomaded hair and especially that distinctive, folksy voice down — close your eyes, and it sounds VERY familiar. If he were to appear on \u003cem>Saturday Night Live\u003c/em> in the role, it would feel like a casting coup akin to Larry David as Bernie Sanders.\u003c/p>\n\u003cp>But this is not an \u003cem>SNL\u003c/em> skit, despite the fact that Jon Voight appears throughout with a heavy Russian accent as a KGB spy, but we’ll get to that. This is a 135-minute film that demands a lot more depth. And, so, to co-opt a political phrase from Bill Clinton, whom Quaid also has played: It’s the script, stupid.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J_vdTwQP1a8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lovingly directed by Sean McNamara with a screenplay by Howard Klausner, \u003cem>Reagan\u003c/em> begins with a chilling event (and a parallel to a recent one): the assassination attempt on Reagan in Washington in March 1981, only two months after he became president.\u003c/p>\n\u003cp>There are those who say Reagan cemented his relationship with the public by surviving that attempt; he famously told wife Nancy from his bed: “Honey, I forgot to duck.” In any case, the filmmakers use the event to set up their story, and will return to it later on, chronologically.\u003c/p>\n\u003cp>But their early point is that Reagan came away from the scare with a divine plan. “My mother used to say that everything in life happens for a reason, even the most disheartening setbacks,” he says. And as he will tell Tip O’Neill, the House speaker, everything from then on will be part of that divine plan.\u003c/p>\n\u003cp>[aside postid='arts_13963339']The yet broader point here is that Reagan, according to this film, was basically solely responsible for the eventual downfall of the Soviet Union, because he showed the people of the world what freedom meant. “I knew that he was the one,” says Viktor Petrovich, the retired spy played by Voight as a narrator figure throughout — meaning the one who would bring it all down. The script is based on Paul Kengor’s \u003cem>The Crusader: Ronald Reagan and the Fall of Communism\u003c/em>, and Kengor has said Viktor is based on a number of KGB agents and analysts who tracked Reagan for years.\u003c/p>\n\u003cp>That point is made early and often. The rest is a history reel, with lots of glorious, loving lighting around our star. We go back to his younger years, learning about his mother and what she taught him about faith, and then his Hollywood years as an actor, Screen Actors Guild president (and a Democrat) before fully committing to politics, and the GOP.\u003c/p>\n\u003cp>We also see a newly divorced Reagan meet a winsome Nancy Davis, who will become his second wife, loving partner and constant companion. Like Quaid, Penelope Ann Miller is a perfectly fine actor who has little nuance to work with here. Together, they embark on the path to political stardom, starting with the California governorship. When they arrive at a neighbor’s home to campaign, the housewife at the door hears Reagan’s “RR” initials and thinks he’s Roy Rogers.\u003c/p>\n\u003cp>But a decade and change later, Reagan is sworn in as president, beginning his eight years in office. “It became my obsession to understand what was beneath the facade,” says Voight’s Petrovich, explaining why Reagan was so consequential.\u003c/p>\n\u003cp>Maybe, then, he could let us know?\u003c/p>\n\u003cp>Because when this movie ends, with the president’s death in 2004 a decade after announcing he had Alzheimer’s disease, we don’t know a lot more than when we began about a figure so influential in American politics.\u003c/p>\n\u003cp>Sure, we get all the great hits. ”Mr. Gorbachev, tear down this wall!” we see him say in 1987 in Berlin, a scene with much buildup.\u003c/p>\n\u003cp>[aside postid='arts_13962724']And it’s fun to see the famous debate lines, like “There you go again,” to Jimmy Carter in 1980, and of course his famously deft deflection of the age issue in 1984, with Walter Mondale. “I will not make age an issue of this campaign,” the 73-year-old president told his questioner. “I am not going to exploit for political purposes my opponent’s youth and inexperience.”\u003c/p>\n\u003cp>The line, which made Mondale himself laugh, got Reagan back on track in the race. The movie, not so much.\u003c/p>\n\u003cp>“History is never about when, why, how — it always comes down to ‘who,’” says Voight’s Petrovich. However historians feel about that, we would have gladly taken a more incisive look at when, why, how or anything else that would give us real insight, instead of an extended and glowing commercial, into who this man really was.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Reagan’ is released nationwide on Aug. 30, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Let’s not blame the star, though. Quaid, who has played more than one president, has certainly got the charismatic grin, the pomaded hair and especially that distinctive, folksy voice down — close your eyes, and it sounds VERY familiar. If he were to appear on \u003cem>Saturday Night Live\u003c/em> in the role, it would feel like a casting coup akin to Larry David as Bernie Sanders.\u003c/p>\n\u003cp>But this is not an \u003cem>SNL\u003c/em> skit, despite the fact that Jon Voight appears throughout with a heavy Russian accent as a KGB spy, but we’ll get to that. This is a 135-minute film that demands a lot more depth. And, so, to co-opt a political phrase from Bill Clinton, whom Quaid also has played: It’s the script, stupid.\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/J_vdTwQP1a8'\n title='//www.youtube.com/embed/J_vdTwQP1a8'\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>Lovingly directed by Sean McNamara with a screenplay by Howard Klausner, \u003cem>Reagan\u003c/em> begins with a chilling event (and a parallel to a recent one): the assassination attempt on Reagan in Washington in March 1981, only two months after he became president.\u003c/p>\n\u003cp>There are those who say Reagan cemented his relationship with the public by surviving that attempt; he famously told wife Nancy from his bed: “Honey, I forgot to duck.” In any case, the filmmakers use the event to set up their story, and will return to it later on, chronologically.\u003c/p>\n\u003cp>But their early point is that Reagan came away from the scare with a divine plan. “My mother used to say that everything in life happens for a reason, even the most disheartening setbacks,” he says. And as he will tell Tip O’Neill, the House speaker, everything from then on will be part of that divine plan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The yet broader point here is that Reagan, according to this film, was basically solely responsible for the eventual downfall of the Soviet Union, because he showed the people of the world what freedom meant. “I knew that he was the one,” says Viktor Petrovich, the retired spy played by Voight as a narrator figure throughout — meaning the one who would bring it all down. The script is based on Paul Kengor’s \u003cem>The Crusader: Ronald Reagan and the Fall of Communism\u003c/em>, and Kengor has said Viktor is based on a number of KGB agents and analysts who tracked Reagan for years.\u003c/p>\n\u003cp>That point is made early and often. The rest is a history reel, with lots of glorious, loving lighting around our star. We go back to his younger years, learning about his mother and what she taught him about faith, and then his Hollywood years as an actor, Screen Actors Guild president (and a Democrat) before fully committing to politics, and the GOP.\u003c/p>\n\u003cp>We also see a newly divorced Reagan meet a winsome Nancy Davis, who will become his second wife, loving partner and constant companion. Like Quaid, Penelope Ann Miller is a perfectly fine actor who has little nuance to work with here. Together, they embark on the path to political stardom, starting with the California governorship. When they arrive at a neighbor’s home to campaign, the housewife at the door hears Reagan’s “RR” initials and thinks he’s Roy Rogers.\u003c/p>\n\u003cp>But a decade and change later, Reagan is sworn in as president, beginning his eight years in office. “It became my obsession to understand what was beneath the facade,” says Voight’s Petrovich, explaining why Reagan was so consequential.\u003c/p>\n\u003cp>Maybe, then, he could let us know?\u003c/p>\n\u003cp>Because when this movie ends, with the president’s death in 2004 a decade after announcing he had Alzheimer’s disease, we don’t know a lot more than when we began about a figure so influential in American politics.\u003c/p>\n\u003cp>Sure, we get all the great hits. ”Mr. Gorbachev, tear down this wall!” we see him say in 1987 in Berlin, a scene with much buildup.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And it’s fun to see the famous debate lines, like “There you go again,” to Jimmy Carter in 1980, and of course his famously deft deflection of the age issue in 1984, with Walter Mondale. “I will not make age an issue of this campaign,” the 73-year-old president told his questioner. “I am not going to exploit for political purposes my opponent’s youth and inexperience.”\u003c/p>\n\u003cp>The line, which made Mondale himself laugh, got Reagan back on track in the race. The movie, not so much.\u003c/p>\n\u003cp>“History is never about when, why, how — it always comes down to ‘who,’” says Voight’s Petrovich. However historians feel about that, we would have gladly taken a more incisive look at when, why, how or anything else that would give us real insight, instead of an extended and glowing commercial, into who this man really was.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Reagan’ is released nationwide on Aug. 30, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Swifties for Kamala’ Think Harris Can Beat Trump — And They Want to Help",
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"content": "\u003cp>Decked out in their friendship bracelets and ready with a long list of song-related puns, Taylor Swift fans came together Tuesday night. But they weren’t there for a concert. They were there to organize.\u003c/p>\n\u003cp>“Welcome to the Swifties for Kamala kickoff call. It’s been waiting for you,” Irene Kim, the executive director and co-founder of the group, said with a smile.\u003c/p>\n\u003cp>The grassroots organization, which is affiliated neither with Swift nor the Harris campaign – launched hours after President Biden ended his presidential bid and Vice President Harris took over the ticket, is focused on mobilizing Swift fans to get out the vote for Democrats this fall. It’s the latest in a \u003ca href=\"https://www.latimes.com/politics/story/2024-07-30/2024-election-white-dudes-black-women-identity-groups-harris\">\u003cu>growing list of coalitions\u003c/u>\u003c/a> taking \u003ca href=\"https://www.npr.org/2024/08/08/g-s1-15974/tim-walz-kamala-harris-men-for-harris-dudes-for-harris\">\u003cu>action for Harris\u003c/u>\u003c/a>, including ‘White Dudes for Harris,’ which reported having nearly 200,000 attendees and raising more than $4 million.\u003c/p>\n\u003cp>[aside postID='news_11999092']\u003c/p>\n\u003cp>Swifties for Harris held its first organizing call on Zoom Tuesday night and featured appearances from a handful of progressive political leaders – including Massachusetts Sens. Ed Markey and Elizabeth Warren, along with an appearance from musician and long-time Swift friend Carole King.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the call ended, the group reported raising more than $122,000 for Harris’ campaign, growing to nearly $150,000 by Wednesday.\u003c/p>\n\u003cp><a href=\"https://twitter.com/Swifties4Kamala/status/1828607576382296208\"\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM.png\" alt=\"\" width=\"1172\" height=\"502\" class=\"aligncenter size-full wp-image-13963329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM.png 1172w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-800x343.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-1020x437.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-160x69.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-768x329.png 768w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003c/p>\n\u003cp>The gathering of more than 34,000 was another glimpse into the \u003ca href=\"https://www.npr.org/2024/08/26/nx-s1-5080604/democrats-young-voters\">\u003cu>organic enthusiasm\u003c/u>\u003c/a> that Harris has benefited from in the past month since announcing, and while the Swift fan base spans generations, it’s another potentially promising sign for her standing with the youth vote – a critical voting bloc for Democrats this fall.\u003c/p>\n\u003cp>While Swift backed Biden four years ago, she has yet to publicly endorse in the presidential race. Still, her ability to rally her fans to political causes is unquestioned: In 2018, when she endorsed two Democratic congressional candidates in her home state of Tennessee, the voter group Vote.org reported \u003ca href=\"https://www.billboard.com/music/pop/taylor-swift-bump-midterm-elections-analysis-8484000/\">\u003cu>65,000 new voter registrations\u003c/u>\u003c/a> in 24 hours.\u003c/p>\n\u003cp>[aside postID='arts_13955679']\u003c/p>\n\u003cp>Among voters under 30 – who played a critical role in Biden’s win four years ago, Swift is a powerful symbol. She’s massively celebrated among many of this target generation, who have known the country-turned-pop star for most of their lives. Swift’s debut album – which was released in the fall of 2006 – is nearly the same age as an 18-year-old eligible voter today.\u003c/p>\n\u003cp>The group’s co-founders, Kim, 29, and Emerald Medrano, 22, addressed the thousands of attendees while sporting the number 47 written on their hands – a nod to Harris and Swift, who does the same with her lucky number 13.\u003c/p>\n\u003cp>“It was my wish that me and this beautiful movement could help Kamala [Harris] win this election and become our first woman president and the 47th President of the United States,” said Medrano.\u003c/p>\n\u003cp>“Because things will change, and we have the power to do it through the way we bead our friendship bracelets red, white and blue and decorate our debate parties as if they were album [release] parties,” he added. “The way we show others how voting should be celebrated and not tolerated.”\u003c/p>\n\u003cp>Each speaker shared a collective pitch: attendees need to turn their love story for Swift into momentum for Harris and Democrats down the ballot.\u003c/p>\n\u003cp>King, who has long supported Democratic candidates, shared her personal experience canvassing for candidates.\u003c/p>\n\u003cp>“Don’t be afraid because there is nothing to lose and everything to gain … The key is listening,” she said. “Don’t be afraid. There is too much at stake.”\u003c/p>\n\u003cp>Many politicians on the call took their Swift-related mentions seriously.\u003c/p>\n\u003cp>[aside postID='arts_13960424']\u003c/p>\n\u003cp>In his speech, Markey delivered more of a call to action and took jabs at former President and Republican nominee Donald Trump – someone Swift has criticized in \u003ca href=\"https://x.com/taylorswift13/status/1294685437362155522\">\u003cu>the past\u003c/u>\u003c/a>.\u003c/p>\n\u003cp>“There are just five fortnights until Election Day, but we are not out of the woods yet,” he said, “We have our work ahead of us to make sure we defeat this antihero wannabe, or as I like to call him, ‘Mr. Casually Cruel, Mr. Everything Revolves Around You.’”\u003c/p>\n\u003cp>“In the words of Taylor Swift, ‘I never trust a narcissist,’” Markey added. “And this narcissist in chief clearly doesn’t know enough about karma or what I like to call the infinite organizing power of the Swifties on this Zoom call.”\u003c/p>\n\u003cp>The senior Senator from Massachusetts is no stranger to Swift-lyric-easter eggs. After he staved off a primary challenge from former Massachusetts Rep. Joe Kennedy III, supporters of the senator repeatedly referenced the Swift song, “the last great american dynasty,” poking fun at Kennedy, the grandson of Robert F. Kennedy Jr.\u003c/p>\n\u003cp>\u003ca href=\"https://x.com/Students4Markey/status/1286706208003555329\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM.png\" alt=\"\" width=\"1180\" height=\"902\" class=\"aligncenter size-full wp-image-13963328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-800x612.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-1020x780.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-768x587.png 768w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003c/a>\u003c/p>\n\u003cp>Though the speakers on the call tried to weave light-hearted pop culture references into their remarks, the group’s organizers made a point to stress the legitimacy and seriousness of their work.\u003c/p>\n\u003cp>“I think one thing that maybe the media doesn’t always get right is that Swifties are just about making little posts and little bracelets. And we do do those things for sure, but I think you can see with the intentionality of this call that we really have had a lot of thought in making sure everyone is included,” said Annie Wu, the group’s political director. “We are providing opportunities, and we are really giving the resources for people to be involved and civically engage this cycle. ”\u003c/p>\n\u003cp>The call also had an immediate ask of its participants: Register to vote. By the end of the call, 14,000 reported registering.\u003c/p>\n\u003cp>The group also put out an ask with a \u003ca href=\"https://twitter.com/Swifties4Kamala/status/1828614864513966201\">\u003cu>coveted reward\u003c/u>\u003c/a>: Attendees who get people in their community to check their voter registration get entered into a contest to win tickets to a Swift concert.\u003c/p>\n\u003cp>Entries increase in value if the person they reach is a low-frequency voter, unregistered or lives in a swing state.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The group plans to have additional organizing events as the election continues since there are indeed only five fortnights left.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Decked out in their friendship bracelets and ready with a long list of song-related puns, Taylor Swift fans came together Tuesday night. But they weren’t there for a concert. They were there to organize.\u003c/p>\n\u003cp>“Welcome to the Swifties for Kamala kickoff call. It’s been waiting for you,” Irene Kim, the executive director and co-founder of the group, said with a smile.\u003c/p>\n\u003cp>The grassroots organization, which is affiliated neither with Swift nor the Harris campaign – launched hours after President Biden ended his presidential bid and Vice President Harris took over the ticket, is focused on mobilizing Swift fans to get out the vote for Democrats this fall. It’s the latest in a \u003ca href=\"https://www.latimes.com/politics/story/2024-07-30/2024-election-white-dudes-black-women-identity-groups-harris\">\u003cu>growing list of coalitions\u003c/u>\u003c/a> taking \u003ca href=\"https://www.npr.org/2024/08/08/g-s1-15974/tim-walz-kamala-harris-men-for-harris-dudes-for-harris\">\u003cu>action for Harris\u003c/u>\u003c/a>, including ‘White Dudes for Harris,’ which reported having nearly 200,000 attendees and raising more than $4 million.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Swifties for Harris held its first organizing call on Zoom Tuesday night and featured appearances from a handful of progressive political leaders – including Massachusetts Sens. Ed Markey and Elizabeth Warren, along with an appearance from musician and long-time Swift friend Carole King.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the call ended, the group reported raising more than $122,000 for Harris’ campaign, growing to nearly $150,000 by Wednesday.\u003c/p>\n\u003cp><a href=\"https://twitter.com/Swifties4Kamala/status/1828607576382296208\"\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM.png\" alt=\"\" width=\"1172\" height=\"502\" class=\"aligncenter size-full wp-image-13963329\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM.png 1172w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-800x343.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-1020x437.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-160x69.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.19-AM-768x329.png 768w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003c/p>\n\u003cp>The gathering of more than 34,000 was another glimpse into the \u003ca href=\"https://www.npr.org/2024/08/26/nx-s1-5080604/democrats-young-voters\">\u003cu>organic enthusiasm\u003c/u>\u003c/a> that Harris has benefited from in the past month since announcing, and while the Swift fan base spans generations, it’s another potentially promising sign for her standing with the youth vote – a critical voting bloc for Democrats this fall.\u003c/p>\n\u003cp>While Swift backed Biden four years ago, she has yet to publicly endorse in the presidential race. Still, her ability to rally her fans to political causes is unquestioned: In 2018, when she endorsed two Democratic congressional candidates in her home state of Tennessee, the voter group Vote.org reported \u003ca href=\"https://www.billboard.com/music/pop/taylor-swift-bump-midterm-elections-analysis-8484000/\">\u003cu>65,000 new voter registrations\u003c/u>\u003c/a> in 24 hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among voters under 30 – who played a critical role in Biden’s win four years ago, Swift is a powerful symbol. She’s massively celebrated among many of this target generation, who have known the country-turned-pop star for most of their lives. Swift’s debut album – which was released in the fall of 2006 – is nearly the same age as an 18-year-old eligible voter today.\u003c/p>\n\u003cp>The group’s co-founders, Kim, 29, and Emerald Medrano, 22, addressed the thousands of attendees while sporting the number 47 written on their hands – a nod to Harris and Swift, who does the same with her lucky number 13.\u003c/p>\n\u003cp>“It was my wish that me and this beautiful movement could help Kamala [Harris] win this election and become our first woman president and the 47th President of the United States,” said Medrano.\u003c/p>\n\u003cp>“Because things will change, and we have the power to do it through the way we bead our friendship bracelets red, white and blue and decorate our debate parties as if they were album [release] parties,” he added. “The way we show others how voting should be celebrated and not tolerated.”\u003c/p>\n\u003cp>Each speaker shared a collective pitch: attendees need to turn their love story for Swift into momentum for Harris and Democrats down the ballot.\u003c/p>\n\u003cp>King, who has long supported Democratic candidates, shared her personal experience canvassing for candidates.\u003c/p>\n\u003cp>“Don’t be afraid because there is nothing to lose and everything to gain … The key is listening,” she said. “Don’t be afraid. There is too much at stake.”\u003c/p>\n\u003cp>Many politicians on the call took their Swift-related mentions seriously.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In his speech, Markey delivered more of a call to action and took jabs at former President and Republican nominee Donald Trump – someone Swift has criticized in \u003ca href=\"https://x.com/taylorswift13/status/1294685437362155522\">\u003cu>the past\u003c/u>\u003c/a>.\u003c/p>\n\u003cp>“There are just five fortnights until Election Day, but we are not out of the woods yet,” he said, “We have our work ahead of us to make sure we defeat this antihero wannabe, or as I like to call him, ‘Mr. Casually Cruel, Mr. Everything Revolves Around You.’”\u003c/p>\n\u003cp>“In the words of Taylor Swift, ‘I never trust a narcissist,’” Markey added. “And this narcissist in chief clearly doesn’t know enough about karma or what I like to call the infinite organizing power of the Swifties on this Zoom call.”\u003c/p>\n\u003cp>The senior Senator from Massachusetts is no stranger to Swift-lyric-easter eggs. After he staved off a primary challenge from former Massachusetts Rep. Joe Kennedy III, supporters of the senator repeatedly referenced the Swift song, “the last great american dynasty,” poking fun at Kennedy, the grandson of Robert F. Kennedy Jr.\u003c/p>\n\u003cp>\u003ca href=\"https://x.com/Students4Markey/status/1286706208003555329\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM.png\" alt=\"\" width=\"1180\" height=\"902\" class=\"aligncenter size-full wp-image-13963328\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-800x612.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-1020x780.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-28-at-10.55.32-AM-768x587.png 768w\" sizes=\"(max-width: 1180px) 100vw, 1180px\">\u003c/a>\u003c/p>\n\u003cp>Though the speakers on the call tried to weave light-hearted pop culture references into their remarks, the group’s organizers made a point to stress the legitimacy and seriousness of their work.\u003c/p>\n\u003cp>“I think one thing that maybe the media doesn’t always get right is that Swifties are just about making little posts and little bracelets. And we do do those things for sure, but I think you can see with the intentionality of this call that we really have had a lot of thought in making sure everyone is included,” said Annie Wu, the group’s political director. “We are providing opportunities, and we are really giving the resources for people to be involved and civically engage this cycle. ”\u003c/p>\n\u003cp>The call also had an immediate ask of its participants: Register to vote. By the end of the call, 14,000 reported registering.\u003c/p>\n\u003cp>The group also put out an ask with a \u003ca href=\"https://twitter.com/Swifties4Kamala/status/1828614864513966201\">\u003cu>coveted reward\u003c/u>\u003c/a>: Attendees who get people in their community to check their voter registration get entered into a contest to win tickets to a Swift concert.\u003c/p>\n\u003cp>Entries increase in value if the person they reach is a low-frequency voter, unregistered or lives in a swing state.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The group plans to have additional organizing events as the election continues since there are indeed only five fortnights left.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "dungeons-and-dragons-lgbtq-1980s-satanic-panic-dd",
"title": "Dungeons, Dragons and Shoulder Pads: Why I loved D&D as a Closeted Teen",
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"headTitle": "Dungeons, Dragons and Shoulder Pads: Why I loved D&D as a Closeted Teen | KQED",
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"content": "\u003cp>\u003cem>Dungeons & Dragons\u003c/em> turns 50 this year. The tabletop role playing game (TTRPG) has gone through a slew of revised editions, expansions and hack ‘n’ slay imitators, weathered a Satanic panic or two, seen itself replaced in the hearts and minds of the nation’s nerds by games like \u003cem>Magic: The Gathering\u003c/em> and \u003cem>Pokemon\u003c/em>, only to experience a bold popular resurgence in recent years, thanks in no small part to so-called Actual Play TTRPG podcasts and web series like \u003ca href=\"https://www.youtube.com/c/criticalrole\">\u003cem>\u003cu>Critical Role\u003c/u>\u003c/em>\u003c/a>, \u003ca href=\"https://www.youtube.com/dimension20show\">\u003cem>\u003cu>Dimension 20\u003c/u>\u003c/em>\u003c/a> and \u003ca href=\"https://maximumfun.org/podcasts/adventure-zone/\">\u003cem>\u003cu>The Adventure Zone\u003c/u>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13960471']In other words: As a pop culture phenomenon, it’s been hacked, but it still slays.\u003c/p>\n\u003cp>I played my first game of D&D in 1978, just four years after its launch. I was 10 years old; it was summer. My friend down the street invited me over to his house, which usually meant forcing me to play catch with him in his backyard (read: He’d whip a baseball at my face, I’d flinch and let it bounce off me, I’d pick it up and toss it back so it landed in the grass 3 feet in front of him with a woeful thud; repeat until dinner time). On this occasion, to my surprise and delight, we sat on his screened-in porch as he took out what I have since learned was the box of rulebooks and polyhedral dice known as the \u003ca href=\"https://en.wikipedia.org/wiki/Dungeons_%26_Dragons_Basic_Set\">\u003cem>\u003cu>Dungeons & Dragons Basic Set\u003c/u>\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13963312\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963312\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/old-game.png\" alt=\"A grainy photo of a miniature figures and two books with covers featuring demonic looking figures. \" width=\"2000\" height=\"1529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/old-game.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/old-game-800x612.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/old-game-1020x780.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/old-game-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/old-game-768x587.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/old-game-1536x1174.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/old-game-1920x1468.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dungeons and Dragons game pieces, photographed in 1986. \u003ccite>(Joel Congdon/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I loved it from the jump, largely because everything about the game was so deeply indebted to my beloved Tolkien (Wizards! Halflings! Orcs! That titular dragon on the box cover, atop its pile of gold!). But it didn’t last; my neighbor started at a new school in the fall, and we lost touch.\u003c/p>\n\u003cp>[aside postid='pop_10178']I didn’t start playing my first real, sustained D&D campaign until three years later. My friend David wanted to try his hand at being a dungeon master and invited me and three other kids I didn’t know to form an adventuring party. When I arrived at that very first session in David’s bedroom, they’d already created their characters — a fighter, a thief and a ranger. They urged me to play as a cleric, who could hang back and heal them whenever they got beaten up. I liked the idea of staying out of the heat of battle and just being the guy who patched my friends up, earning their deep and abiding gratitude. Feeling needed, appreciated. It was tempting, I admit. But then destiny, in the form of my nascent queerness, intervened.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>David invited me to look through a thin paperback D&D supplemental rulebook called \u003cem>The Rogues Gallery\u003c/em> — page after page of ready-made characters I could choose from. I flipped through the clerics, but nothing grabbed me. But then, on page 12, just above the chart of a class of characters called Illusionists, I saw it. Him.\u003c/p>\n\u003cfigure id=\"attachment_13963310\" class=\"wp-caption aligncenter\" style=\"max-width: 1298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963310\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-27-at-10.56.52%E2%80%AFPM.png\" alt=\"A line drawing of a flamboyant and slender man appearing from mist surrounded by mythical creatures.\" width=\"1298\" height=\"976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-27-at-10.56.52 PM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-27-at-10.56.52 PM-800x602.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-27-at-10.56.52 PM-1020x767.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-27-at-10.56.52 PM-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-27-at-10.56.52 PM-768x577.png 768w\" sizes=\"(max-width: 1298px) 100vw, 1298px\">\u003cfigcaption class=\"wp-caption-text\">The Illusionist in question from ‘Advanced Dungeons & Dragons: The Rogues Gallery,’ by Brian Blume with Dave Cook and Jean Wells. \u003ccite>(1980, TSR Games.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was a pencil sketch by illustrator Jeff Dee. A tall, thin male figure stands facing the viewer. In his right hand he holds a staff, while his left is open, palm up. He holds his arms slightly away from his body, and sets his shoulders at a rakish tilt — the resulting stance is somewhere between that of an insouciant shrug and a hearty “ta-DAHHH!” He is surrounded by a thick fog — the spell he is presumably casting — out of which leer several monstrous faces.\u003c/p>\n\u003cp>I liked that. But what I \u003cem>loved\u003c/em>, what moved me, what sealed the deal for my young, closeted, queer self, was his outfit.\u003c/p>\n\u003cp>Thigh boots, for one thing. I mean, what was I, made of \u003cem>stone\u003c/em>?\u003c/p>\n\u003cp>Plus, scandalously tight pants set off by a belt and dagger. And clinging to every ridge of his slim, muscular torso, a sleeveless tunic — a tank-top, basically — that still somehow managed to boast kicky shoulder pads.\u003c/p>\n\u003cp>[aside postid='arts_13960838']This is the important bit, the part you must understand: I’m not just talking thin, epaulet-like shoulder bumps. No, these were dramatic, flared, Ming the Merciless meets Julia Sugarbaker \u003cem>shoulder pads\u003c/em>.\u003c/p>\n\u003cp>The other stuff — the parted-down-the-middle blowout, the cheekbones, the diadem, the big chunky necklace? Icing on the cake. Superfluous. I’m self-aware enough to know that it was that tank top with shoulder pads that did it.\u003c/p>\n\u003cp>“I want to be an Illusionist,” I said, firmly, which caused my fellow players to roll their eyes and mutter the first of what would turn out to be a sustained pattern of homophobic slurs in my general direction. I didn’t, and still don’t, care. I was fierce, and I was \u003cem>fabulous\u003c/em>.\u003c/p>\n\u003cp>I fell hard for the game, then. I subscribed to \u003cem>Dragon \u003c/em>magazine, and regularly pestered my mom to schlep me to \u003ca href=\"https://www.google.com/search?q=%22Dragon%27s+lair%22+%22independence+mall%22&rlz=1C1GCEJ_enUS1083US1083&oq=%22Dragon%27s+lair%22+%22independence+mall%22&gs_lcrp=EgZjaHJvbWUyBggAEEUYOTIHCAEQIRigATIHCAIQIRigATIHCAMQIRigATIHCAQQIRigATIHCAUQIRigATIHCAYQIRirAtIBCTEyOTI5ajBqNKgCALACAA&sourceid=chrome&ie=UTF-8#fpstate=ive&vld=cid:7e8f5c94,vid:KnSlDFn3Zxg,st:0\">\u003cu>Dragon’s Lair, in a sad strip mall just north of Wilmington, Del.\u003c/u>\u003c/a>, where I dutifully bought more rulebooks, more dice, more dungeon modules and a steady stream of lead miniatures that I painted very, very, \u003cem>very \u003c/em>badly.\u003c/p>\n\u003cp>It wasn’t easy. Just as I was entering my heedless, full-bore devotion to the game, the Philly paper ran an article in its Sunday magazine which cited “experts” about the game’s purported Satanic roots. An article that, the following Sunday, caused the sweet, kindly pastor at our sleepy suburban Grove United Methodist Church to launch into what was (for him, anyway) a fire-and-brimstone sermon decrying the game. About the same time, novelist Rona Jaffe published \u003cem>Mazes & Monsters\u003c/em>, an extended bout of literary hand-wringing over the game’s supposed deleterious effect on the youth of America, which was promptly made into a \u003ca href=\"https://www.youtube.com/watch?v=yX5ClJ1Y1ik\">\u003cu>profoundly cheesy, absolute hoot-and-a-half of a TV movie\u003c/u>\u003c/a> starring a young Tom Hanks as a dude who suffers a psychotic break attributed to the game.\u003c/p>\n\u003cfigure id=\"attachment_13963311\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963311\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dandd.png\" alt=\"A newspaper cover featuring a fire-breathing dragon with wings.\" width=\"1600\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dandd.png 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dandd-800x1000.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dandd-1020x1275.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dandd-160x200.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dandd-768x960.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dandd-1229x1536.png 1229w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">This ‘Philadelphia Inquirer’ article from July 1981 included psychologists fretting that players used it to escape reality, and religious figures who warned that the game was a work of Satan. \u003ccite>(Today, the Philadelphia Inquirer Magazine/ via Newspapers.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the handful of years I played D&D in earnest, back then, I had to talk my parents off the ledge every time some new magazine article or \u003ca href=\"https://www.youtube.com/watch?v=yShqF1YSfDs\">\u003cem>\u003cu>60 Minutes\u003c/u>\u003c/em>\u003cu> segment\u003c/u>\u003c/a> came out spotlighting the entirely manufactured “controversy” around the game. It was exhausting. But I kept at it; I had to. I \u003cem>needed \u003c/em>to.\u003c/p>\n\u003cp>[aside postid='arts_13962783']Because there was this one time? When my friends and I were being rushed by a phalanx of orcs, and I cast an illusion of a deep pit on the ground in front of us, filled with bubbling acid and metal spikes, and the orcs failed their saving throws and believed they fell into said illusory pit, and impaled themselves on the illusory spikes, and dissolved in the illusory acid and thus died actual deaths?\u003c/p>\n\u003cp>That? That was cool. And, for just those few fleeting seconds, down there in the deepest, most tortured throes of my closeted, excruciatingly awkward puberty, so was I.\u003c/p>\n\u003cp>Ta-dah.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem>, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Dungeons & Dragons\u003c/em> turns 50 this year. The tabletop role playing game (TTRPG) has gone through a slew of revised editions, expansions and hack ‘n’ slay imitators, weathered a Satanic panic or two, seen itself replaced in the hearts and minds of the nation’s nerds by games like \u003cem>Magic: The Gathering\u003c/em> and \u003cem>Pokemon\u003c/em>, only to experience a bold popular resurgence in recent years, thanks in no small part to so-called Actual Play TTRPG podcasts and web series like \u003ca href=\"https://www.youtube.com/c/criticalrole\">\u003cem>\u003cu>Critical Role\u003c/u>\u003c/em>\u003c/a>, \u003ca href=\"https://www.youtube.com/dimension20show\">\u003cem>\u003cu>Dimension 20\u003c/u>\u003c/em>\u003c/a> and \u003ca href=\"https://maximumfun.org/podcasts/adventure-zone/\">\u003cem>\u003cu>The Adventure Zone\u003c/u>\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In other words: As a pop culture phenomenon, it’s been hacked, but it still slays.\u003c/p>\n\u003cp>I played my first game of D&D in 1978, just four years after its launch. I was 10 years old; it was summer. My friend down the street invited me over to his house, which usually meant forcing me to play catch with him in his backyard (read: He’d whip a baseball at my face, I’d flinch and let it bounce off me, I’d pick it up and toss it back so it landed in the grass 3 feet in front of him with a woeful thud; repeat until dinner time). On this occasion, to my surprise and delight, we sat on his screened-in porch as he took out what I have since learned was the box of rulebooks and polyhedral dice known as the \u003ca href=\"https://en.wikipedia.org/wiki/Dungeons_%26_Dragons_Basic_Set\">\u003cem>\u003cu>Dungeons & Dragons Basic Set\u003c/u>\u003c/em>\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13963312\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963312\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/old-game.png\" alt=\"A grainy photo of a miniature figures and two books with covers featuring demonic looking figures. \" width=\"2000\" height=\"1529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/old-game.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/old-game-800x612.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/old-game-1020x780.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/old-game-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/old-game-768x587.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/old-game-1536x1174.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/old-game-1920x1468.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dungeons and Dragons game pieces, photographed in 1986. \u003ccite>(Joel Congdon/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I loved it from the jump, largely because everything about the game was so deeply indebted to my beloved Tolkien (Wizards! Halflings! Orcs! That titular dragon on the box cover, atop its pile of gold!). But it didn’t last; my neighbor started at a new school in the fall, and we lost touch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I didn’t start playing my first real, sustained D&D campaign until three years later. My friend David wanted to try his hand at being a dungeon master and invited me and three other kids I didn’t know to form an adventuring party. When I arrived at that very first session in David’s bedroom, they’d already created their characters — a fighter, a thief and a ranger. They urged me to play as a cleric, who could hang back and heal them whenever they got beaten up. I liked the idea of staying out of the heat of battle and just being the guy who patched my friends up, earning their deep and abiding gratitude. Feeling needed, appreciated. It was tempting, I admit. But then destiny, in the form of my nascent queerness, intervened.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>David invited me to look through a thin paperback D&D supplemental rulebook called \u003cem>The Rogues Gallery\u003c/em> — page after page of ready-made characters I could choose from. I flipped through the clerics, but nothing grabbed me. But then, on page 12, just above the chart of a class of characters called Illusionists, I saw it. Him.\u003c/p>\n\u003cfigure id=\"attachment_13963310\" class=\"wp-caption aligncenter\" style=\"max-width: 1298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963310\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-27-at-10.56.52%E2%80%AFPM.png\" alt=\"A line drawing of a flamboyant and slender man appearing from mist surrounded by mythical creatures.\" width=\"1298\" height=\"976\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-27-at-10.56.52 PM.png 1298w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-27-at-10.56.52 PM-800x602.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-27-at-10.56.52 PM-1020x767.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-27-at-10.56.52 PM-160x120.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-27-at-10.56.52 PM-768x577.png 768w\" sizes=\"(max-width: 1298px) 100vw, 1298px\">\u003cfigcaption class=\"wp-caption-text\">The Illusionist in question from ‘Advanced Dungeons & Dragons: The Rogues Gallery,’ by Brian Blume with Dave Cook and Jean Wells. \u003ccite>(1980, TSR Games.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was a pencil sketch by illustrator Jeff Dee. A tall, thin male figure stands facing the viewer. In his right hand he holds a staff, while his left is open, palm up. He holds his arms slightly away from his body, and sets his shoulders at a rakish tilt — the resulting stance is somewhere between that of an insouciant shrug and a hearty “ta-DAHHH!” He is surrounded by a thick fog — the spell he is presumably casting — out of which leer several monstrous faces.\u003c/p>\n\u003cp>I liked that. But what I \u003cem>loved\u003c/em>, what moved me, what sealed the deal for my young, closeted, queer self, was his outfit.\u003c/p>\n\u003cp>Thigh boots, for one thing. I mean, what was I, made of \u003cem>stone\u003c/em>?\u003c/p>\n\u003cp>Plus, scandalously tight pants set off by a belt and dagger. And clinging to every ridge of his slim, muscular torso, a sleeveless tunic — a tank-top, basically — that still somehow managed to boast kicky shoulder pads.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is the important bit, the part you must understand: I’m not just talking thin, epaulet-like shoulder bumps. No, these were dramatic, flared, Ming the Merciless meets Julia Sugarbaker \u003cem>shoulder pads\u003c/em>.\u003c/p>\n\u003cp>The other stuff — the parted-down-the-middle blowout, the cheekbones, the diadem, the big chunky necklace? Icing on the cake. Superfluous. I’m self-aware enough to know that it was that tank top with shoulder pads that did it.\u003c/p>\n\u003cp>“I want to be an Illusionist,” I said, firmly, which caused my fellow players to roll their eyes and mutter the first of what would turn out to be a sustained pattern of homophobic slurs in my general direction. I didn’t, and still don’t, care. I was fierce, and I was \u003cem>fabulous\u003c/em>.\u003c/p>\n\u003cp>I fell hard for the game, then. I subscribed to \u003cem>Dragon \u003c/em>magazine, and regularly pestered my mom to schlep me to \u003ca href=\"https://www.google.com/search?q=%22Dragon%27s+lair%22+%22independence+mall%22&rlz=1C1GCEJ_enUS1083US1083&oq=%22Dragon%27s+lair%22+%22independence+mall%22&gs_lcrp=EgZjaHJvbWUyBggAEEUYOTIHCAEQIRigATIHCAIQIRigATIHCAMQIRigATIHCAQQIRigATIHCAUQIRigATIHCAYQIRirAtIBCTEyOTI5ajBqNKgCALACAA&sourceid=chrome&ie=UTF-8#fpstate=ive&vld=cid:7e8f5c94,vid:KnSlDFn3Zxg,st:0\">\u003cu>Dragon’s Lair, in a sad strip mall just north of Wilmington, Del.\u003c/u>\u003c/a>, where I dutifully bought more rulebooks, more dice, more dungeon modules and a steady stream of lead miniatures that I painted very, very, \u003cem>very \u003c/em>badly.\u003c/p>\n\u003cp>It wasn’t easy. Just as I was entering my heedless, full-bore devotion to the game, the Philly paper ran an article in its Sunday magazine which cited “experts” about the game’s purported Satanic roots. An article that, the following Sunday, caused the sweet, kindly pastor at our sleepy suburban Grove United Methodist Church to launch into what was (for him, anyway) a fire-and-brimstone sermon decrying the game. About the same time, novelist Rona Jaffe published \u003cem>Mazes & Monsters\u003c/em>, an extended bout of literary hand-wringing over the game’s supposed deleterious effect on the youth of America, which was promptly made into a \u003ca href=\"https://www.youtube.com/watch?v=yX5ClJ1Y1ik\">\u003cu>profoundly cheesy, absolute hoot-and-a-half of a TV movie\u003c/u>\u003c/a> starring a young Tom Hanks as a dude who suffers a psychotic break attributed to the game.\u003c/p>\n\u003cfigure id=\"attachment_13963311\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963311\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dandd.png\" alt=\"A newspaper cover featuring a fire-breathing dragon with wings.\" width=\"1600\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dandd.png 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dandd-800x1000.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dandd-1020x1275.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dandd-160x200.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dandd-768x960.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/dandd-1229x1536.png 1229w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">This ‘Philadelphia Inquirer’ article from July 1981 included psychologists fretting that players used it to escape reality, and religious figures who warned that the game was a work of Satan. \u003ccite>(Today, the Philadelphia Inquirer Magazine/ via Newspapers.com)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the handful of years I played D&D in earnest, back then, I had to talk my parents off the ledge every time some new magazine article or \u003ca href=\"https://www.youtube.com/watch?v=yShqF1YSfDs\">\u003cem>\u003cu>60 Minutes\u003c/u>\u003c/em>\u003cu> segment\u003c/u>\u003c/a> came out spotlighting the entirely manufactured “controversy” around the game. It was exhausting. But I kept at it; I had to. I \u003cem>needed \u003c/em>to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because there was this one time? When my friends and I were being rushed by a phalanx of orcs, and I cast an illusion of a deep pit on the ground in front of us, filled with bubbling acid and metal spikes, and the orcs failed their saving throws and believed they fell into said illusory pit, and impaled themselves on the illusory spikes, and dissolved in the illusory acid and thus died actual deaths?\u003c/p>\n\u003cp>That? That was cool. And, for just those few fleeting seconds, down there in the deepest, most tortured throes of my closeted, excruciatingly awkward puberty, so was I.\u003c/p>\n\u003cp>Ta-dah.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem>, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Spanish director Víctor Erice is one of our most revered, yet least prolific, European filmmakers. Over the past 50 years or so, he’s directed just four features, starting with his masterful debut, \u003cem>The Spirit of the Beehive\u003c/em>.\u003c/p>\n\u003cp>That movie was a haunting family drama set in 1940, during the early days of the Franco dictatorship. It was also a passionate ode to cinema from a filmmaker who’s always loved the movies, even when the movies haven’t loved him back.\u003c/p>\n\u003cp>[aside postid='arts_13962666']Erice had a rough time with his 1983 film \u003cem>El Sur\u003c/em>, a beautiful yet truncated work that was released in its unfinished form. In the years since, Erice has directed a number of projects, including the 1992 documentary \u003cem>The Quince Tree Sun\u003c/em> and several shorts.\u003c/p>\n\u003cp>But he has struggled to get another fiction feature off the ground — until now. The arrival of Erice’s new movie, \u003cem>Close Your Eyes\u003c/em>, would be welcome news even if it weren’t one of the best things I’ve seen this year. Manolo Solo plays a long-retired director named Miguel, who quit the biz in 1990, after one of his films shut down production. The circumstances were mysterious: His star, a handsome actor named Julio Arenas, vanished without explanation and was presumed dead. Now, it’s 2012, and a Madrid-based TV journalist is investigating Julio’s disappearance.\u003c/p>\n\u003cp>After he’s interviewed, Miguel stays in Madrid and makes inquiries of his own. While \u003cem>Close Your Eyes \u003c/em>unfolds at a leisurely pace over nearly three hours, it has the pull of a well-crafted detective story. Miguel reaches out to old friends and colleagues, like his longtime editor, Max, a hardcore cinephile who still has the never-screened footage from that halted production.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Miguel also gets back in touch with Julio’s daughter, who knew little about her father even before he went missing. She’s played, exquisitely, by Ana Torrent, who was just a young girl when she starred in \u003cem>The Spirit of the Beehive\u003c/em> decades ago. It’s a glorious full-circle moment.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HRsn2-bNiGQ\u003c/p>\n\u003cp>Miguel’s investigation doesn’t yield any immediate answers, and he returns, wistfully, to his home on the Spanish coast. It’s here that the action briefly pauses and settles into a simply magical interlude. One night, while hanging out under the stars, Miguel picks up a guitar and performs a duet with his friend Toni. You’ll recognize the song if you’ve seen Howard Hawks’ 1959 western, \u003cem>Rio Bravo\u003c/em>, which is one of my own favorite movies.\u003c/p>\n\u003cp>Maybe it’s one of Erice’s, too. Like \u003cem>Rio Bravo\u003c/em>, \u003cem>Close Your Eyes\u003c/em> turns out to be a story about community, about friendships forged under unlikely circumstances. Miguel’s mission to solve the mystery of Julio’s disappearance becomes a group effort, as old and new friends come together to help him.\u003c/p>\n\u003cp>[aside postid='arts_13962724']You don’t have to know Erice’s work to get swept up in \u003cem>Close Your Eyes\u003c/em>. But those who \u003cem>do\u003c/em> know his work will find the new film an almost unbearably moving experience. Erice is, in many ways, telling his own story: Miguel could be his stand-in, just as Miguel’s unfinished film feels like a meta-commentary on some of Erice’s own abandoned projects. Miguel and his old editor, Max, reminisce about earlier, better times for the film industry and grouse about the changes wrought by digital technology.\u003c/p>\n\u003cp>But despite his characters’ pessimism, Erice continues to show a hard-won faith in the movies. He knows that they can move us in ways that no other art form can. At one point, Erice ushers all his characters into a dilapidated old movie theatre, which is where \u003cem>Close Your Eyes\u003c/em> becomes not just an engaging film, but a quietly transcendent one. I don’t want to say too much about what happens, but it’s worth discovering for yourself, in a movie theatre of your own.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Close Your Eyes’ is released nationwide on Aug. 23, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Miguel also gets back in touch with Julio’s daughter, who knew little about her father even before he went missing. She’s played, exquisitely, by Ana Torrent, who was just a young girl when she starred in \u003cem>The Spirit of the Beehive\u003c/em> decades ago. It’s a glorious full-circle moment.\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/HRsn2-bNiGQ'\n title='//www.youtube.com/embed/HRsn2-bNiGQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Miguel’s investigation doesn’t yield any immediate answers, and he returns, wistfully, to his home on the Spanish coast. It’s here that the action briefly pauses and settles into a simply magical interlude. One night, while hanging out under the stars, Miguel picks up a guitar and performs a duet with his friend Toni. You’ll recognize the song if you’ve seen Howard Hawks’ 1959 western, \u003cem>Rio Bravo\u003c/em>, which is one of my own favorite movies.\u003c/p>\n\u003cp>Maybe it’s one of Erice’s, too. Like \u003cem>Rio Bravo\u003c/em>, \u003cem>Close Your Eyes\u003c/em> turns out to be a story about community, about friendships forged under unlikely circumstances. Miguel’s mission to solve the mystery of Julio’s disappearance becomes a group effort, as old and new friends come together to help him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>You don’t have to know Erice’s work to get swept up in \u003cem>Close Your Eyes\u003c/em>. But those who \u003cem>do\u003c/em> know his work will find the new film an almost unbearably moving experience. Erice is, in many ways, telling his own story: Miguel could be his stand-in, just as Miguel’s unfinished film feels like a meta-commentary on some of Erice’s own abandoned projects. Miguel and his old editor, Max, reminisce about earlier, better times for the film industry and grouse about the changes wrought by digital technology.\u003c/p>\n\u003cp>But despite his characters’ pessimism, Erice continues to show a hard-won faith in the movies. He knows that they can move us in ways that no other art form can. At one point, Erice ushers all his characters into a dilapidated old movie theatre, which is where \u003cem>Close Your Eyes\u003c/em> becomes not just an engaging film, but a quietly transcendent one. I don’t want to say too much about what happens, but it’s worth discovering for yourself, in a movie theatre of your own.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Close Your Eyes’ is released nationwide on Aug. 23, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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>\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>\u003c/p>\u003c/div>",
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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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"excerpt": "8G appears in their last ‘Late Night’ episode on Thursday. It joins the ranks of groundbreaking late night bands.",
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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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"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>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>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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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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"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 MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"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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"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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"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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