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"content": "\u003cp>We live in an age obsessed with self-creation. Our social media-fueled culture is less about changing the world than about shaping how the world sees us.\u003c/p>\n\u003cp>Nobody did it any better than \u003ca href=\"https://www.npr.org/tags/695894666/karl-lagerfeld\" target=\"695894666\" rel=\"noopener\">Karl Lagerfeld\u003c/a>, who died in 2019 after four decades as a lion king in the fashion world. Beginning as a somewhat ridiculous outsider from Germany, Lagerfeld used his genius for self-invention to wind up designing for \u003ca href=\"https://www.npr.org/tags/533752330/fendi\" target=\"533752330\" rel=\"noopener\">Fendi\u003c/a>, resurrecting the moribund house of Chanel and creating a personal look so distinctive — white hair, dark sunglasses, fingerless gloves and crisp detachable collars — that it could serve as the emoji for Fashion Designer.\u003c/p>\n\u003cp>[aside postid='arts_13928464']His hard-won rise in ‘70s Paris is the theme of \u003cem>Becoming Karl Lagerfeld\u003c/em>, a smart, dishy, hugely entertaining new French series on Hulu. The show doesn’t pretend to offer the definitive take on an enormously complicated man. Instead, its brisk six episodes offer emblematic incidents — or perhaps pressure points — that take us surprisingly deep inside a figure who moved constantly forward, spurred on by ambition, loneliness and a keen sense of self-protection.\u003c/p>\n\u003cp>We first meet Karl in Paris through the eyes of Jacques de Bascher, a self-destructive young aristocrat played with scene-stealing charisma by the French Canadian actor Théodore Pellerin. Always looking for distractions, Jacques fixates on the uncharismatic Karl — that’s the superb German actor Daniel Brühl — who at this point is something of a brainy schlub who lives with his acerbic mother and stuffs his face with sweets when he’s angry. You know you’re watching a French series, not an American one, when, in this show’s equivalent of a meet cute, Jacques and Karl discover their affinity by quoting the daunting Austrian novelist Robert Musil.\u003c/p>\n\u003cp>Jacques dreams of being a great writer, but he fritters away his gifts in drink and drugs and sex; he yearns for love. Although Karl cares for him, he’s too relentless a work-machine to provide such consolations. Karl never stops hustling and scheming. He’s chasing a stardom to equal his one-time-friend, now-nemesis Yves Saint Laurent — that’s a terrific Arnaud Valois — who’s celebrated as a haute-couture genius with his own label while Karl toils away on ready-to-wear for the house of Chloe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dWs94_ZaDLw\u003c/p>\n\u003cp>Jacques and Karl share a long, tortuous, asexual sort of love. Their relationship becomes the through-line of Karl’s story, which includes his battles with fashion power broker Pierre Bergé, Jacques’ disastrous affair with Saint Laurent, and Karl’s struggles designing a dress for \u003ca href=\"https://www.npr.org/2017/06/19/533090309/gallery-gives-movie-star-marlene-dietrich-the-big-picture-treatment\" target=\"533090309\" rel=\"noopener\">Marlene Dietrich\u003c/a> who pointedly asks, “Do you have a style?” This was always the big question about Lagerfeld, who, like that other self-inventor, \u003ca href=\"https://www.npr.org/artists/15289962/david-bowie\" target=\"15289962\" rel=\"noopener\">David Bowie\u003c/a>, tried on many styles and used whichever one would help him get ahead at that moment.\u003c/p>\n\u003cp>In this year’s other fashion series, The New Look, Christian Dior and \u003ca href=\"https://www.npr.org/2005/05/05/4630900/the-timeless-appeal-of-coco-chanel\" target=\"4630900\" rel=\"noopener\">Coco Chanel\u003c/a> felt like animatronic creatures in a diorama. By contrast, \u003cem>Becoming Karl Lagerfeld\u003c/em> feels urgent and alive — like a present day story that happens to be set in the past. Whether it’s Jacques’ desperation, Karl’s impacted passion or shocking betrayals, the show pulses with feeling, even wringing genuine poignancy from the pop song “Take on Me.”\u003c/p>\n\u003cp>[aside postid='arts_13958404']Without flaunting its seriousness, the show gets you thinking about the characters — for instance, how the controlled Karl and out-of-control Jacques are complementary halves of a complete human being. And it explores the isolation, even lunacy lurking inside the quest for fame.\u003c/p>\n\u003cp>Focusing on a brief period of time, \u003cem>Becoming Karl Lagerfeld\u003c/em> never overtly tries to explain its often-contradictory hero. Instead, it lets Brühl reveal the powerful emotions that flit across Karl’s face even as he attempts to bottle them up. By the end, I felt I understood him surprisingly well and grasped how he could become a fashion legend.\u003c/p>\n\u003cp>Now is the show completely true? Did Dietrich really castigate Karl for a dress he made her? Did Karl really flee when Jacques tried to sleep with him? Who cares! The opening crawl acknowledges that much of the action is fictionalized. Besides, \u003cem>Becoming Karl Lagerfeld\u003c/em> isn’t about the Kennedy assassination or World War II. It’s about a fashion designer, one who cultivated his personal mythology and became notorious for his delight in saying reprehensible things.\u003c/p>\n\u003cp>“I have no human feelings,” Lagerfeld famously told an interviewer. What he’d like least about this show, I suspect, is that it shows he did.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Becoming Karl Lagerfeld’ begins streaming on Hulu on June 7, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Without flaunting its seriousness, the show gets you thinking about the characters — for instance, how the controlled Karl and out-of-control Jacques are complementary halves of a complete human being. And it explores the isolation, even lunacy lurking inside the quest for fame.\u003c/p>\n\u003cp>Focusing on a brief period of time, \u003cem>Becoming Karl Lagerfeld\u003c/em> never overtly tries to explain its often-contradictory hero. Instead, it lets Brühl reveal the powerful emotions that flit across Karl’s face even as he attempts to bottle them up. By the end, I felt I understood him surprisingly well and grasped how he could become a fashion legend.\u003c/p>\n\u003cp>Now is the show completely true? Did Dietrich really castigate Karl for a dress he made her? Did Karl really flee when Jacques tried to sleep with him? Who cares! The opening crawl acknowledges that much of the action is fictionalized. Besides, \u003cem>Becoming Karl Lagerfeld\u003c/em> isn’t about the Kennedy assassination or World War II. It’s about a fashion designer, one who cultivated his personal mythology and became notorious for his delight in saying reprehensible things.\u003c/p>\n\u003cp>“I have no human feelings,” Lagerfeld famously told an interviewer. What he’d like least about this show, I suspect, is that it shows he did.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Becoming Karl Lagerfeld’ begins streaming on Hulu on June 7, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It seems the film industry’s reputation is in a perpetual state of lament. \u003cem>They don’t make them like they used to\u003c/em> can be and often is applied to movie stars, special effects, non-franchise screenplays, erotic thrillers, rom-coms.\u003c/p>\n\u003cp>There’s validity to these concerns, though every now and then, a new movie comes along with a strong whiff of throwback energy — deliberate yet breezy pacing, crackling banter that’s at once contemporary and timeless, and a performance that convinces you a star’s been born right here in this moment on screen. And with it comes the warm reminder that they still \u003cem>can \u003c/em>make them like they used to, and sometimes still do. Richard Linklater’s sexy, nihilistic comedy \u003cem>Hit Man\u003c/em> is one of those movies.\u003c/p>\n\u003cp>[aside postid='arts_13958891']Glen Powell is Gary Johnson, a conventionally attractive yet aggressively plain psych and philosophy professor at the University of New Orleans. He’s the type of unassuming jean shorts-wearing guy who blends easily into the background and is perfectly content being boring; he lives alone in the suburbs with two cats named Ego and Id, drives a Honda Civic, and appears to have no social life to speak of.\u003c/p>\n\u003cp>His sole quirk, if we’re going to call it that, is that he moonlights with the New Orleans Police Department, and as the movie begins, that part-time gig suddenly kicks into overdrive. When dirtbag undercover detective Jasper (Austin Amelio) is suspended for a police brutality case, Gary replaces him as the department’s go-to fake hit man, meeting with — and arresting — all varieties of disgruntled recruiters as “Ron.” It turns out Gary relishes convincing unsuspecting strangers he’s a cold-blooded assassin. He researches his would-be “clients” to tailor his persona to their hit man fantasies, using an array of elaborate costumes, wigs, and fake makeup. For one suspect, he eerily resembles Patrick Bateman.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXwa8DKIK7g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Hit Man \u003c/em>sounds wacky in premise, but it’s loosely based on a \u003ca href=\"https://www.texasmonthly.com/true-crime/hit-man-2/\">\u003cem>Texas Monthly\u003c/em> profile\u003c/a> of a real Gary Johnson, who worked on-call for the Houston Police Department and was dubbed the “Laurence Olivier” of undercover murder-for-hire investigations. Linklater and Powell, who co-wrote the screenplay, take the bones of Johnson’s story and embellish it for cinematic effect, slipping from a slick, lightly comical procedural in the first act to an erotic cat-and-mouse game by the film’s climax.\u003c/p>\n\u003cp>Like the private detective archetype in film noir, Gary is eventually hired by a gorgeous young woman, except in this case, she’s looking to off her controlling husband. Maddy (Adria Arjona) is, of course, pouty and flirty and femme fatale-y, and gets him entangled in quite a compromising pickle.\u003c/p>\n\u003cfigure id=\"attachment_13959389\" class=\"wp-caption aligncenter\" style=\"max-width: 1466px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959389\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png\" alt=\"A woman leans back, eyes closed against a man in a lover's embrace.\" width=\"1466\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png 1466w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-800x494.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-1020x630.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-768x475.png 768w\" sizes=\"(max-width: 1466px) 100vw, 1466px\">\u003cfigcaption class=\"wp-caption-text\">Adria Arjona as Madison and Glen Powell as Gary Johnson in ’Hit Man.‘ \u003ccite>(Brian Roedel/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story stays grounded by avoiding a few present-day pop culture clichés — thankfully there are no obvious needle-drops here — and the clear, electric chemistry between Powell and Arjona, whose dynamic evokes Jack and Karen’s frenetic dalliance in \u003cem>Out of Sight\u003c/em>.\u003c/p>\n\u003cp>But above all, this is Powell’s movie. It’s almost too easy to draw direct parallels between him and Gary, but sometimes the most obvious thing is also the most correct. The actor’s been kicking around Hollywood for some time now, more recently playing an antagonist in \u003cem>Top Gun: Maverick\u003c/em> and \u003ca href=\"https://www.nytimes.com/2024/04/23/movies/anyone-but-you-sydney-sweeney-glen-powell.html\">whipping gossip blogs into a frenzy\u003c/a> with his \u003cem>Anyone But You \u003c/em>co-star Sydney Sweeney. Yet like Gary the professor, he’s been more of a side salad than an entrée, inoffensive and fine, not exactly memorable.\u003c/p>\n\u003cp>[aside postid='arts_13959268']Ron the fake-contract-killer affords Gary the chance to tap into a part of himself that’s far more fascinating, and Powell plays this uber-confident side to the hilt. When Ron utters a corny catchphrase about pie with a straight face or goes off on a smooth tangent in great detail about how he’ll “dispose” of a body, Glen Powell, capital-M Movie Star suddenly makes sense as a concept.\u003c/p>\n\u003cp>\u003cem>Hit Man\u003c/em>’s final act is the kind you either go with or get frustrated by. It’s a big swing that tests the limits of suspending disbelief. But the movie’s driving theme reflects curiosity about the human capacity for change and self-creation, a struggle to decipher where the “real” essence of you begins and/or ends. In Gary, Linklater and Powell find a character who cleverly demonstrates how anyone, especially a movie actor, can mold the persona they wish to have — with the right tools.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hit Man’ begins streaming on Netflix on June 7, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It seems the film industry’s reputation is in a perpetual state of lament. \u003cem>They don’t make them like they used to\u003c/em> can be and often is applied to movie stars, special effects, non-franchise screenplays, erotic thrillers, rom-coms.\u003c/p>\n\u003cp>There’s validity to these concerns, though every now and then, a new movie comes along with a strong whiff of throwback energy — deliberate yet breezy pacing, crackling banter that’s at once contemporary and timeless, and a performance that convinces you a star’s been born right here in this moment on screen. And with it comes the warm reminder that they still \u003cem>can \u003c/em>make them like they used to, and sometimes still do. Richard Linklater’s sexy, nihilistic comedy \u003cem>Hit Man\u003c/em> is one of those movies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Glen Powell is Gary Johnson, a conventionally attractive yet aggressively plain psych and philosophy professor at the University of New Orleans. He’s the type of unassuming jean shorts-wearing guy who blends easily into the background and is perfectly content being boring; he lives alone in the suburbs with two cats named Ego and Id, drives a Honda Civic, and appears to have no social life to speak of.\u003c/p>\n\u003cp>His sole quirk, if we’re going to call it that, is that he moonlights with the New Orleans Police Department, and as the movie begins, that part-time gig suddenly kicks into overdrive. When dirtbag undercover detective Jasper (Austin Amelio) is suspended for a police brutality case, Gary replaces him as the department’s go-to fake hit man, meeting with — and arresting — all varieties of disgruntled recruiters as “Ron.” It turns out Gary relishes convincing unsuspecting strangers he’s a cold-blooded assassin. He researches his would-be “clients” to tailor his persona to their hit man fantasies, using an array of elaborate costumes, wigs, and fake makeup. For one suspect, he eerily resembles Patrick Bateman.\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/DXwa8DKIK7g'\n title='//www.youtube.com/embed/DXwa8DKIK7g'\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>\u003cem>Hit Man \u003c/em>sounds wacky in premise, but it’s loosely based on a \u003ca href=\"https://www.texasmonthly.com/true-crime/hit-man-2/\">\u003cem>Texas Monthly\u003c/em> profile\u003c/a> of a real Gary Johnson, who worked on-call for the Houston Police Department and was dubbed the “Laurence Olivier” of undercover murder-for-hire investigations. Linklater and Powell, who co-wrote the screenplay, take the bones of Johnson’s story and embellish it for cinematic effect, slipping from a slick, lightly comical procedural in the first act to an erotic cat-and-mouse game by the film’s climax.\u003c/p>\n\u003cp>Like the private detective archetype in film noir, Gary is eventually hired by a gorgeous young woman, except in this case, she’s looking to off her controlling husband. Maddy (Adria Arjona) is, of course, pouty and flirty and femme fatale-y, and gets him entangled in quite a compromising pickle.\u003c/p>\n\u003cfigure id=\"attachment_13959389\" class=\"wp-caption aligncenter\" style=\"max-width: 1466px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959389\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png\" alt=\"A woman leans back, eyes closed against a man in a lover's embrace.\" width=\"1466\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png 1466w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-800x494.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-1020x630.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-768x475.png 768w\" sizes=\"(max-width: 1466px) 100vw, 1466px\">\u003cfigcaption class=\"wp-caption-text\">Adria Arjona as Madison and Glen Powell as Gary Johnson in ’Hit Man.‘ \u003ccite>(Brian Roedel/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story stays grounded by avoiding a few present-day pop culture clichés — thankfully there are no obvious needle-drops here — and the clear, electric chemistry between Powell and Arjona, whose dynamic evokes Jack and Karen’s frenetic dalliance in \u003cem>Out of Sight\u003c/em>.\u003c/p>\n\u003cp>But above all, this is Powell’s movie. It’s almost too easy to draw direct parallels between him and Gary, but sometimes the most obvious thing is also the most correct. The actor’s been kicking around Hollywood for some time now, more recently playing an antagonist in \u003cem>Top Gun: Maverick\u003c/em> and \u003ca href=\"https://www.nytimes.com/2024/04/23/movies/anyone-but-you-sydney-sweeney-glen-powell.html\">whipping gossip blogs into a frenzy\u003c/a> with his \u003cem>Anyone But You \u003c/em>co-star Sydney Sweeney. Yet like Gary the professor, he’s been more of a side salad than an entrée, inoffensive and fine, not exactly memorable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ron the fake-contract-killer affords Gary the chance to tap into a part of himself that’s far more fascinating, and Powell plays this uber-confident side to the hilt. When Ron utters a corny catchphrase about pie with a straight face or goes off on a smooth tangent in great detail about how he’ll “dispose” of a body, Glen Powell, capital-M Movie Star suddenly makes sense as a concept.\u003c/p>\n\u003cp>\u003cem>Hit Man\u003c/em>’s final act is the kind you either go with or get frustrated by. It’s a big swing that tests the limits of suspending disbelief. But the movie’s driving theme reflects curiosity about the human capacity for change and self-creation, a struggle to decipher where the “real” essence of you begins and/or ends. In Gary, Linklater and Powell find a character who cleverly demonstrates how anyone, especially a movie actor, can mold the persona they wish to have — with the right tools.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hit Man’ begins streaming on Netflix on June 7, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We start — why not? — with a veggie burger.\u003c/p>\n\u003cp>Lucy (Dakota Johnson) and Jane (Sonoya Mizuno), besties in their 30s, have been so close for so long that when they meet at the diner, Jane can just recite Lucy’s regular order: Veggie burger and sweet potato fries.\u003c/p>\n\u003cp>[aside postid='arts_13958959']And so when, late into \u003cem>Am I Ok?\u003c/em>, Lucy goes rogue and orders a tomato and spinach omelet, there’s a look of subtle hurt that flits across Jane’s face. It seems silly — it was just a veggie burger — but to Jane it signifies something familiar and comforting that’s now gone.\u003c/p>\n\u003cp>There are similarly sweet, subtle touches peppered through this debut directorial effort by Tig Notaro and Stephanie Allynne — touches that land much better than the occasional attempts at broad humor that feel forced, or at least like a different movie (for example, the dialogue given to Jane’s boss, played by Sean Hayes).\u003c/p>\n\u003cp>And of course, there’s Johnson herself, the obvious focus of the lingering camera throughout, and for good reason: her always-winning authenticity, shining through in film after film even at times when the material around her feels thin.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story here is simple and heartfelt. It’s a coming-out tale, but with the twist that the person coming out is 32, a decade (or even two) later than in most stories we see.\u003c/p>\n\u003cp>This particular story belongs to the film’s writer, Lauren Pomerantz, who came out when she was 34. Her closeness to the proceedings is evident in a few startlingly poignant moments — for example, the pain that Lucy feels when a straight woman toys with her emotions (and more). It’s one of the most moving passages in the film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b80FbdimIHs\u003c/p>\n\u003cp>After an opening montage that establishes the female friendship at the core of the movie, we begin at the aforementioned diner, with Jane telling Lucy (over the aforementioned veggie burger) that she really needs to get together with a certain cute male friend who obviously likes her: “Just do it,” she says. Lucy can’t explain why she doesn’t want to.\u003c/p>\n\u003cp>[aside postid='arts_13958855']Meanwhile, Jane, the more professionally advanced of the two, has a major life change coming. Her boss offers her the chance to leave Los Angeles and set up a London office. Plus, her very nice boyfriend (Jermaine Fowler, not given enough to work with for too much of the film) is coming along. But for Lucy, this news is devastating — and you can tell by the unconvincing way she keeps saying “Awesome!” when Jane tells her one evening over drinks.\u003c/p>\n\u003cp>After lots of tequila, the two friends end up crying together, as close friends do (at least in the movies) in the bathroom while peeing, and then later, on a sleepover. There, Lucy finally tells Jane that she likes girls.\u003c/p>\n\u003cp>Jane is nothing if not supportive. In fact, ever ambitious, she tells Lucy she’ll be “the star of the lesbian community.” And she resolves to help her find a woman, starting with an excursion to a gay bar. However, it’s Jane who winds up kissing a woman on the dance floor. Lucy flees, embarrassed.\u003c/p>\n\u003cp>But there’s this sensuous masseuse (Kiersey Clemons) at the spa where Lucy’s a receptionist. Brittany is flirting like crazy with Lucy, who finally gets up the courage to respond. She brings Lucy out of her shell, but with ultimately disheartening results. And Lucy’s on the outs now with Jane, normally the first person she’d call with any heartache.\u003c/p>\n\u003cp>This movie may be about a pair of friends, but witnessing the supremely watchable Johnson navigate uncertainty and sadness, it’s Lucy’s life you’ll find yourself caring about most. A last-minute obstacle to Jane’s well-laid plans for her trip to London rings a bit false — or maybe it just seems wedged in as if to say, well, both women have issues.\u003c/p>\n\u003cp>[aside postid='arts_13958728']In any case, It’s been a good month for female buddy comedies. While Pamela Adlon’s comedy \u003cem>Babes\u003c/em>, went all in for the raunch inherent in childbirth, \u003cem>Am I OK?\u003c/em> goes for a sweeter, soulful vibe. It feels good that we end up where we began — back at that table in the diner, hashing stuff out. The ultimate message here may be simple, but it’s comforting: friendships may change but can still adapt, withstand and survive.\u003c/p>\n\u003cp>Even when a veggie burger yields to an omelet.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Am I OK?’ begins streaming on Max on June 6, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And so when, late into \u003cem>Am I Ok?\u003c/em>, Lucy goes rogue and orders a tomato and spinach omelet, there’s a look of subtle hurt that flits across Jane’s face. It seems silly — it was just a veggie burger — but to Jane it signifies something familiar and comforting that’s now gone.\u003c/p>\n\u003cp>There are similarly sweet, subtle touches peppered through this debut directorial effort by Tig Notaro and Stephanie Allynne — touches that land much better than the occasional attempts at broad humor that feel forced, or at least like a different movie (for example, the dialogue given to Jane’s boss, played by Sean Hayes).\u003c/p>\n\u003cp>And of course, there’s Johnson herself, the obvious focus of the lingering camera throughout, and for good reason: her always-winning authenticity, shining through in film after film even at times when the material around her feels thin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In any case, It’s been a good month for female buddy comedies. While Pamela Adlon’s comedy \u003cem>Babes\u003c/em>, went all in for the raunch inherent in childbirth, \u003cem>Am I OK?\u003c/em> goes for a sweeter, soulful vibe. It feels good that we end up where we began — back at that table in the diner, hashing stuff out. The ultimate message here may be simple, but it’s comforting: friendships may change but can still adapt, withstand and survive.\u003c/p>\n\u003cp>Even when a veggie burger yields to an omelet.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Am I OK?’ begins streaming on Max on June 6, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This is the story of a young woman who routinely bared her body, but never revealed much about her true identity.\u003c/p>\n\u003cp>Her name was Yvonne D’Angers — sometimes. Her birth name was rumored to be Mahviz Daneshforouz. Sometimes she went by Yvonne Donjay. Others knew her as Carmella Ettlinger when she worked as a cocktail waitress at bars around North Beach. Later, she adopted her second husband’s last name and became Yvonne Boreta. But at the peak of her fame in San Francisco, she was most affectionately referred to as “The Persian Lamb.”\u003c/p>\n\u003cp>D’Angers graduated from waitress to stage talent shortly after Carol Doda first went topless at the Condor. As North Beach venues scrambled to compete with Doda, the Off Broadway (located at 1024 Kearny) employed D’Angers — a large-breasted beauty who was rumored to be one of the reasons Doda first enhanced her chest with silicone. In 1966, at the peak of her fame, D’Angers posed for \u003cem>Playboy\u003c/em> and played Cleopatra at the month-long opening party for Caesar’s Palace in Las Vegas.\u003c/p>\n\u003cp>[aside postid='arts_13953248']D’Angers’ performances were not as strenuous as Doda’s. At the Off Broadway, she posed nude on stage while an artist named Nick Galin sketched her. She participated in topless “fashion shows.” She undressed behind a screen and then emerged for cheering audiences. Some of her performances lasted only five minutes. It mattered not. Newspaper ads for the Off Broadway promoted D’Angers as being in possession of “two of San Francisco’s three most famous landmarks.” During this same period, she was \u003ca href=\"https://www.christies.com/en/lot/lot-1591387\">photographed topless in her dressing room by Diane Arbus\u003c/a>. The image later appeared in Arbus’ posthumous monograph, published by Aperture.\u003c/p>\n\u003cp>During one 1966 interview, D’Angers spoke proudly of her job and the atmosphere at the Off Broadway. “I don’t see anything wrong with it,” she said. “I have never heard a nasty remark. I hear nothing but compliments. Lots of nice people come to this club. Businessmen, family men, married couples, office workers. They don’t bother me. I have dedicated myself to being a show business person.”\u003c/p>\n\u003cfigure id=\"attachment_13958875\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958875\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-1.36.12-PM.png\" alt=\"A blond woman in a white bikini poses, sideways on next to a headline that read 'virginity should be against the law.’\" width=\"840\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-1.36.12-PM.png 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-1.36.12-PM-800x1114.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-1.36.12-PM-160x223.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-1.36.12-PM-768x1070.png 768w\" sizes=\"(max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">D’Angers gracing the cover of ‘Midnight’ magazine in 1967. \u003ccite>(Midnight: A Parliament Publication)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>D’Angers was born in either Tehran or Paris, the second of nine children. She became a model at the age of 14, and later studied — some say architecture, others say art — at UC Berkeley. She admitted to doctoring her birth certificate “any time it was necessary,” including when she got married at the age of 16 to a man named Howard S. Ettlinger who later claimed D’Angers paid him $200 to do so.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout the 1960s and ’70s, in multiple courts across the land, D’Angers waged war with the United States Immigration and Naturalization Service as it tried desperately to deport her. D’Angers responded to this with a series of stunts. On Aug. 30, 1966, she chained herself, while clad in a hot pink catsuit, to the Golden Gate Bridge in protest, noting that she “felt like Joan of Arc.” Her antics attracted fascinated reporters who made a point to provide D’Angers’ measurements (“44-21-36!”) in almost every story.\u003c/p>\n\u003cfigure id=\"attachment_13958872\" class=\"wp-caption aligncenter\" style=\"max-width: 2499px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-scaled.jpg\" alt=\"A black and white image of a slender blonde woman in full make-up chained to a bridge railing.\" width=\"2499\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-scaled.jpg 2499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-800x819.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-1020x1045.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-768x787.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-1499x1536.jpg 1499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-1999x2048.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-1920x1967.jpg 1920w\" sizes=\"(max-width: 2499px) 100vw, 2499px\">\u003cfigcaption class=\"wp-caption-text\">On August 6, 1966, D’Angers chained herself to Golden Gate Bridge and tossed the keys into the water. The bolt cutters of a bridge worker were quickly employed to free her. \u003ccite>(Bill Young/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than two years later, D’Angers arrived at the Immigration Service building at 630 Sansome with her attorney Melvin Belli and her husband \u003ca href=\"https://www.legacy.com/us/obituaries/lvrj/name/voss-boreta-obituary?id=19784478\">Voss Boreta\u003c/a>. Trailing behind them were 21 dancers, waitresses and supporters from Off Broadway and other North Beach clubs carrying protest signs that demanded: “Save Our National Monument,” “Don’t Bust the Bust” and “Keep America Beautiful — Save Yvonne.”\u003c/p>\n\u003cp>[aside postid='arts_13902628']In 1965, D’Angers was also obliged to go to court to defend her right to be topless in public. This followed an arrest at the Off Broadway as she, in \u003cem>Life\u003c/em> magazine’s words, “strut[ted] down the aisle modeling a topless parody of an evening gown.” \u003cem>Life\u003c/em> quoted D’Angers as saying: “Being arrested does not bother me. San Francisco is so much like Paris. And I know that in Paris nothing will happen to a girl for doing this or more or less.”\u003c/p>\n\u003cp>She was right. D’Angers — alongside Doda and fellow topless performers, Kay Star and Euraine Heimberg — was acquitted of obscenity charges on May 8, 1965. D’Angers showed up to court wearing an electric-blue sequined dress.\u003c/p>\n\u003cp>D’Angers truly had a canny knack for getting herself out of trouble. Nowhere was this more evident than in June 1967 when she was stalked by a violent criminal from Oakland named James Reece. Reece, who had recently escaped from the Alameda County Jail and was wanted in five cities for a long list of felonies (including rape, kidnapping, burglary, assault with a deadly weapon and possession of a firearm), followed D’Angers in a stolen car one night after she left her shift at the Off Broadway.\u003c/p>\n\u003cp>“Following a high speed chase,” the \u003cem>Oakland Tribune\u003c/em> later reported, “Miss D’Angers cut into a dead end street and skidded to a stop, her four-day-old Cadillac half over a creek embankment. Reece careened into a tree and his car flipped 100 feet to the opposite bank.”\u003c/p>\n\u003cp>Reece survived the accident on the quiet Marin County road, was quickly apprehended and transferred to the San Quentin prison hospital. D’Angers was unscathed, her love of the spotlight undiluted by the terrifying incident. A year later, the aspiring actress made her big screen debut in \u003cem>Sappho Darling\u003c/em>, a lesbian exploitation flick that has since found a cult following. At the time of its release, however, the \u003cem>San Francisco Examiner\u003c/em> issued a scathing review:\u003c/p>\n\u003cp>[aside postid='arts_13958101']“[D’Angers] has been totally victimized by the glaring vulgarity of director Gunnar Steel’s sleazy little effort,” the review said. “Even her spectacular figure has been photographed disadvantageously and her voice (either her own or an inept dubbing job) sounds like a strident Betty Boop … When [a co-star] tremulously asks Miss D’Angers after a night of love: ‘Do you think I’m a lesbian?’ Yvonne smilingly recites quotations from Krafft-Ebing, Dr. Kinsey and Sigmund Freud … The scene is unintentionally hilarious.”\u003c/p>\n\u003cp>Following \u003cem>Sappho Darling\u003c/em>, D’Angers worked with Russ Meyer on \u003cem>The Seven Minutes\u003c/em> and \u003cem>Move\u003c/em>, alongside Elliot Gould and Paula Prentiss. A few years later came \u003cem>Ground Zero\u003c/em>, a thriller about a terrorist organization that plants a nuclear device on the Golden Gate Bridge.\u003c/p>\n\u003cfigure id=\"attachment_13958874\" class=\"wp-caption aligncenter\" style=\"max-width: 712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-12.55.53-PM.png\" alt=\"A VHS cover featuring a fiery Golden Gate Bridge, close up of a man's face holding a gun and a woman in a bikini.\" width=\"712\" height=\"1270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-12.55.53-PM.png 712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-12.55.53-PM-160x285.png 160w\" sizes=\"(max-width: 712px) 100vw, 712px\">\u003cfigcaption class=\"wp-caption-text\">The home video cover of 1973’s ‘Ground Zero,’ which credits D’Angers as: ‘Ivonne D’Angiers.’ \u003ccite>(Genesis Home Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time \u003cem>Ground Zero\u003c/em> came out, D’Angers was living a much quieter life. In August 1973, the \u003cem>Oakland Tribune\u003c/em> reported that she could be regularly found hanging out at her husband’s Plaka Taverna club in North Beach. “The D’Angers charm is contagious as ever,” the newspaper said, “though … she prefers to stay in the background and let husband Voss run things.” She was quoted as saying “I’m enjoying being a wife very much.”\u003c/p>\n\u003cp>D’Angers died on June 10, 2009 in Las Vegas; she moved there with Boreta in 1974, and the couple subsequently raised three children. How she managed to stay in the United States after multiple deportation orders — including two, in 1967 and 1970, from Washington, D.C.’s Immigration Appeals Board — remains a mystery.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>By the time of her death, D’Angers’ notoriety had been largely forgotten. In its obituary, the \u003cem>San Francisco Chronicle\u003c/em> referred to D’Angers only as “an accomplished painter, model and college graduate.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This is the story of a young woman who routinely bared her body, but never revealed much about her true identity.\u003c/p>\n\u003cp>Her name was Yvonne D’Angers — sometimes. Her birth name was rumored to be Mahviz Daneshforouz. Sometimes she went by Yvonne Donjay. Others knew her as Carmella Ettlinger when she worked as a cocktail waitress at bars around North Beach. Later, she adopted her second husband’s last name and became Yvonne Boreta. But at the peak of her fame in San Francisco, she was most affectionately referred to as “The Persian Lamb.”\u003c/p>\n\u003cp>D’Angers graduated from waitress to stage talent shortly after Carol Doda first went topless at the Condor. As North Beach venues scrambled to compete with Doda, the Off Broadway (located at 1024 Kearny) employed D’Angers — a large-breasted beauty who was rumored to be one of the reasons Doda first enhanced her chest with silicone. In 1966, at the peak of her fame, D’Angers posed for \u003cem>Playboy\u003c/em> and played Cleopatra at the month-long opening party for Caesar’s Palace in Las Vegas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>D’Angers’ performances were not as strenuous as Doda’s. At the Off Broadway, she posed nude on stage while an artist named Nick Galin sketched her. She participated in topless “fashion shows.” She undressed behind a screen and then emerged for cheering audiences. Some of her performances lasted only five minutes. It mattered not. Newspaper ads for the Off Broadway promoted D’Angers as being in possession of “two of San Francisco’s three most famous landmarks.” During this same period, she was \u003ca href=\"https://www.christies.com/en/lot/lot-1591387\">photographed topless in her dressing room by Diane Arbus\u003c/a>. The image later appeared in Arbus’ posthumous monograph, published by Aperture.\u003c/p>\n\u003cp>During one 1966 interview, D’Angers spoke proudly of her job and the atmosphere at the Off Broadway. “I don’t see anything wrong with it,” she said. “I have never heard a nasty remark. I hear nothing but compliments. Lots of nice people come to this club. Businessmen, family men, married couples, office workers. They don’t bother me. I have dedicated myself to being a show business person.”\u003c/p>\n\u003cfigure id=\"attachment_13958875\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958875\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-1.36.12-PM.png\" alt=\"A blond woman in a white bikini poses, sideways on next to a headline that read 'virginity should be against the law.’\" width=\"840\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-1.36.12-PM.png 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-1.36.12-PM-800x1114.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-1.36.12-PM-160x223.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-1.36.12-PM-768x1070.png 768w\" sizes=\"(max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">D’Angers gracing the cover of ‘Midnight’ magazine in 1967. \u003ccite>(Midnight: A Parliament Publication)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>D’Angers was born in either Tehran or Paris, the second of nine children. She became a model at the age of 14, and later studied — some say architecture, others say art — at UC Berkeley. She admitted to doctoring her birth certificate “any time it was necessary,” including when she got married at the age of 16 to a man named Howard S. Ettlinger who later claimed D’Angers paid him $200 to do so.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout the 1960s and ’70s, in multiple courts across the land, D’Angers waged war with the United States Immigration and Naturalization Service as it tried desperately to deport her. D’Angers responded to this with a series of stunts. On Aug. 30, 1966, she chained herself, while clad in a hot pink catsuit, to the Golden Gate Bridge in protest, noting that she “felt like Joan of Arc.” Her antics attracted fascinated reporters who made a point to provide D’Angers’ measurements (“44-21-36!”) in almost every story.\u003c/p>\n\u003cfigure id=\"attachment_13958872\" class=\"wp-caption aligncenter\" style=\"max-width: 2499px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-scaled.jpg\" alt=\"A black and white image of a slender blonde woman in full make-up chained to a bridge railing.\" width=\"2499\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-scaled.jpg 2499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-800x819.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-1020x1045.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-768x787.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-1499x1536.jpg 1499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-1999x2048.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-1920x1967.jpg 1920w\" sizes=\"(max-width: 2499px) 100vw, 2499px\">\u003cfigcaption class=\"wp-caption-text\">On August 6, 1966, D’Angers chained herself to Golden Gate Bridge and tossed the keys into the water. The bolt cutters of a bridge worker were quickly employed to free her. \u003ccite>(Bill Young/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than two years later, D’Angers arrived at the Immigration Service building at 630 Sansome with her attorney Melvin Belli and her husband \u003ca href=\"https://www.legacy.com/us/obituaries/lvrj/name/voss-boreta-obituary?id=19784478\">Voss Boreta\u003c/a>. Trailing behind them were 21 dancers, waitresses and supporters from Off Broadway and other North Beach clubs carrying protest signs that demanded: “Save Our National Monument,” “Don’t Bust the Bust” and “Keep America Beautiful — Save Yvonne.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 1965, D’Angers was also obliged to go to court to defend her right to be topless in public. This followed an arrest at the Off Broadway as she, in \u003cem>Life\u003c/em> magazine’s words, “strut[ted] down the aisle modeling a topless parody of an evening gown.” \u003cem>Life\u003c/em> quoted D’Angers as saying: “Being arrested does not bother me. San Francisco is so much like Paris. And I know that in Paris nothing will happen to a girl for doing this or more or less.”\u003c/p>\n\u003cp>She was right. D’Angers — alongside Doda and fellow topless performers, Kay Star and Euraine Heimberg — was acquitted of obscenity charges on May 8, 1965. D’Angers showed up to court wearing an electric-blue sequined dress.\u003c/p>\n\u003cp>D’Angers truly had a canny knack for getting herself out of trouble. Nowhere was this more evident than in June 1967 when she was stalked by a violent criminal from Oakland named James Reece. Reece, who had recently escaped from the Alameda County Jail and was wanted in five cities for a long list of felonies (including rape, kidnapping, burglary, assault with a deadly weapon and possession of a firearm), followed D’Angers in a stolen car one night after she left her shift at the Off Broadway.\u003c/p>\n\u003cp>“Following a high speed chase,” the \u003cem>Oakland Tribune\u003c/em> later reported, “Miss D’Angers cut into a dead end street and skidded to a stop, her four-day-old Cadillac half over a creek embankment. Reece careened into a tree and his car flipped 100 feet to the opposite bank.”\u003c/p>\n\u003cp>Reece survived the accident on the quiet Marin County road, was quickly apprehended and transferred to the San Quentin prison hospital. D’Angers was unscathed, her love of the spotlight undiluted by the terrifying incident. A year later, the aspiring actress made her big screen debut in \u003cem>Sappho Darling\u003c/em>, a lesbian exploitation flick that has since found a cult following. At the time of its release, however, the \u003cem>San Francisco Examiner\u003c/em> issued a scathing review:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“[D’Angers] has been totally victimized by the glaring vulgarity of director Gunnar Steel’s sleazy little effort,” the review said. “Even her spectacular figure has been photographed disadvantageously and her voice (either her own or an inept dubbing job) sounds like a strident Betty Boop … When [a co-star] tremulously asks Miss D’Angers after a night of love: ‘Do you think I’m a lesbian?’ Yvonne smilingly recites quotations from Krafft-Ebing, Dr. Kinsey and Sigmund Freud … The scene is unintentionally hilarious.”\u003c/p>\n\u003cp>Following \u003cem>Sappho Darling\u003c/em>, D’Angers worked with Russ Meyer on \u003cem>The Seven Minutes\u003c/em> and \u003cem>Move\u003c/em>, alongside Elliot Gould and Paula Prentiss. A few years later came \u003cem>Ground Zero\u003c/em>, a thriller about a terrorist organization that plants a nuclear device on the Golden Gate Bridge.\u003c/p>\n\u003cfigure id=\"attachment_13958874\" class=\"wp-caption aligncenter\" style=\"max-width: 712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-12.55.53-PM.png\" alt=\"A VHS cover featuring a fiery Golden Gate Bridge, close up of a man's face holding a gun and a woman in a bikini.\" width=\"712\" height=\"1270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-12.55.53-PM.png 712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-12.55.53-PM-160x285.png 160w\" sizes=\"(max-width: 712px) 100vw, 712px\">\u003cfigcaption class=\"wp-caption-text\">The home video cover of 1973’s ‘Ground Zero,’ which credits D’Angers as: ‘Ivonne D’Angiers.’ \u003ccite>(Genesis Home Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time \u003cem>Ground Zero\u003c/em> came out, D’Angers was living a much quieter life. In August 1973, the \u003cem>Oakland Tribune\u003c/em> reported that she could be regularly found hanging out at her husband’s Plaka Taverna club in North Beach. “The D’Angers charm is contagious as ever,” the newspaper said, “though … she prefers to stay in the background and let husband Voss run things.” She was quoted as saying “I’m enjoying being a wife very much.”\u003c/p>\n\u003cp>D’Angers died on June 10, 2009 in Las Vegas; she moved there with Boreta in 1974, and the couple subsequently raised three children. How she managed to stay in the United States after multiple deportation orders — including two, in 1967 and 1970, from Washington, D.C.’s Immigration Appeals Board — remains a mystery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the time of her death, D’Angers’ notoriety had been largely forgotten. In its obituary, the \u003cem>San Francisco Chronicle\u003c/em> referred to D’Angers only as “an accomplished painter, model and college graduate.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What to Watch This Summer: 18 TV Shows to Look Forward To",
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"headTitle": "What to Watch This Summer: 18 TV Shows to Look Forward To | KQED",
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"content": "\u003cp>It looks like we are in for a \u003ca href=\"https://www.npr.org/2024/05/27/1198912427/summer-2024-forecast-extreme-heat-hurricanes-wildfire\">very hot summer\u003c/a>. If you find yourself stuck inside looking for your next show, our critics can help — they’ve scanned the broadcast and streaming horizons to find the shows you should check out in June, July and August. Take a look:\u003c/p>\n\u003ch2>June\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=WPIcQNMQchQ\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Clipped\u003c/em>, June 4, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>It sounds like a dated \u003cem>Saturday Night Live\u003c/em> parody: a drama on the explosive impact of racist statements by then–Los Angeles Clippers owner Donald Sterling, leaked to the public in 2014. But the elevated cast — Laurence Fishburne as Clippers coach Doc Rivers, Ed O’Neill as Sterling and LeVar Burton as himself — hints at more. Ultimately, \u003ca href=\"https://www.npr.org/2024/05/24/nx-s1-4979750/clipped-review-donald-sterling-scandal-la-clippers-fx-hulu\">the show explores class, race, sports and modern striving\u003c/a> with surprising quality, including a meditation on how Black stars handle rage, which should get its own Emmy Award. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0Hy1q_YIAL4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Fantasmas\u003c/em>, June 7, Max\u003c/strong>\u003c/p>\n\u003cp>Created, written, starring and directed by Julio Torres (\u003ca href=\"https://www.kqed.org/arts/13952668/problemista-review-julio-torres-tilda-swinton-hasbro\">\u003cem>Problemista\u003c/em>\u003c/a>, \u003cem>Los Espookys\u003c/em>), this six-episode comedy series offers a queer (in every sense of the word) perspective on life in NYC. The plot: Torres loses an earring and goes looking for it. The execution: high weirdness, exquisitely wrought, as the loose narrative wanders through the lives of random New Yorkers whom Torres stumbles across on his quest. Smart, funny and scathing when it wants to be, \u003cem>Fantasmas \u003c/em>is bracingly and idiosyncratically itself. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_yUW-bQ3buY\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Queenie\u003c/em>, June 7, Hulu\u003c/strong>\u003c/p>\n\u003cp>There is something magnetic in watching a powerfully awkward protagonist stumble through life — especially Queenie, a 20-something Jamaican British woman caught between life as the daughter of immigrants and a painful breakup with a white boyfriend coddling vaguely racist relatives. Based on a bestselling novel, Hulu’s series offers a deeply revealing urban comedy centered on a strong Black woman in London struggling to process her past so she can build a better future. Like most of us. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZNSY3lMioHs\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Presumed Innocent\u003c/em>, June 12, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Presumed Innocent\u003c/em>, a bestselling legal thriller by Scott Turow, became a Harrison Ford movie in 1990. Now, more than 30 years later, \u003ca href=\"https://www.kqed.org/arts/13954333/jake-gyllenhaals-road-house-remake-is-surprisingly-good\">Jake Gyllenhaal\u003c/a> steps in to lead a new TV adaptation for Apple. Gyllenhaal plays Rusty Sabich, a lawyer whose obsessive affair with a woman in his office becomes an existential threat to him after she turns up murdered. His mortified wife, played here by Ruth Negga, is forced to face the possibility that he murdered his lover and the fact that he had one. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EzFXDvC-EwM\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Boys\u003c/em>, Season 4,\u003c/strong> \u003cstrong>June 13, Prime Video\u003c/strong>\u003c/p>\n\u003cp>This cartoonishly violent and sexualized series — starring corporate-designed superheroes who are secretly psychopaths — evolved over three seasons from jabbing at the Marvel/DC comic industrial complex to satirizing media and MAGA-style conservatism. The new episodes amp up the dynamic, with a new hero who comes off like Lauren Boebert in a cape, supported by a propaganda-filled TV channel and a twisted Superman-like team leader whose detachment from humanity may be the world’s biggest threat. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YN2H_sKcmGw\u003c/p>\n\u003cp>\u003cstrong>\u003cem>House of the Dragon\u003c/em>, Season 2, June 16, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>Yeah, that first season was very uneven. But it did what it had to do, introducing us to the individual chess pieces and carefully arranging them on the sides they’re playing for: Team Black (Rhaenyra and her sweet-natured, albeit illegitimate sons) vs. Team Green (Alicent and her brood of monstrous sociopaths). But with the arrival of Season 2, the war known as the Dance of the Dragons is finally underway, and the whole dang chessboard is about to get engulfed in gouts of fiery breath. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P-1V_dRubUg\u003c/p>\n\u003cp>\u003cstrong>The 77th Tony Awards, June 16, CBS, Paramount+\u003c/strong>\u003c/p>\n\u003cp>Always. Watch. The Tonys. Haven’t taken in any Broadway this year? Doesn’t matter. Where other award shows devolve into pompous self-congratulation, the Tonys broadcast is aimed squarely at us, as we sit on our couches at home. It’s a collective siren song sent out by thousands of professional, desperate, try-hard theater people with one objective: to get us to haul our butts to see a show. As such, it’s painstakingly engineered to entertain and enrapture. Always. Watch. The Tonys. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-QqOkpu9_tg\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Orphan Black: Echoes\u003c/em>, June 23, AMC, AMC+, BBC America\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Jessica Jones\u003c/em> star Krysten Ritter leads another Comic-Con-friendly franchise, a spinoff of Canadian science fiction series \u003cem>Orphan Black\u003c/em>. Ritter is one of several women with missing memories who fear they are the product of a mysterious process wielded by a secretive organization. But don’t worry — it’s set nearly 40 years after the first show’s conclusion, and most viewers won’t need to know much about the mothership series to keep up with this tale of sisterhood, science and runaway progress. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PwFty8yi1cU\u003c/p>\n\u003cp>\u003cstrong>\u003cem>My Lady Jane\u003c/em>, June 27, Prime Video\u003c/strong>\u003c/p>\n\u003cp>A breezy, girlboss alt-history take on Lady Jane Grey, who, in our world, ruled England for nine days before being imprisoned and beheaded as a traitor. In the world of the series — as in the novels it is based on — Jane lives to fight, and frolic, another day. Are there schemes and plots and twists? You betcha. It’s the sort of quippy, performatively quirky show (this version of England is teeming with magical shape-changers) that goes down like an ice-cold Pimm’s cup on a hot summer afternoon. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rUlP-BkJUFs\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Bear\u003c/em>, Season 3, June 27, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Bear \u003c/em>has already put out two exceptional seasons and is so strong now that even when Jeremy Allen White is on the sidelines, the rest of the cast hits home run after home run. As the show returns, Carmy (White) and Sydney (Ayo Edebiri) are opening their new restaurant, and Richie (Ebon Moss-Bachrach) is fresh off some tremendous training in service. It’s not easy to keep churning out season after season that’s absolutely top quality, but if anybody can, it’s this team. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003ch2>July\u003c/h2>\n\u003cfigure id=\"attachment_13959209\" class=\"wp-caption aligncenter\" style=\"max-width: 1266px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png\" alt=\"An unhappy-looking woman sits in a large room. People around her sit at scattered tables.\" width=\"1266\" height=\"858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png 1266w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-1020x691.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-768x520.png 768w\" sizes=\"(max-width: 1266px) 100vw, 1266px\">\u003cfigcaption class=\"wp-caption-text\">Rashida Jones in ’Sunny.‘ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Sunny\u003c/em>, July 10, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Rashida Jones stars as Suzie, an American expat living in Kyoto, Japan, when her husband and son go missing following a plane crash. She’s gifted a domestic robot named Sunny (Joanna Sotomura), and the two form a bond as Suzie processes her loss. The series is based on Colin O’Sullivan’s novel \u003cem>The Dark Manual\u003c/em> and looks like it has the potential to grapple with complicated questions around tech and human connection in our current era of AI paranoia. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OgEkSnH0g2g\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Tulsa King\u003c/em>, Season 2, July 14, Paramount+\u003c/strong>\u003c/p>\n\u003cp>This show’s first-season success always seemed like a happy accident — an implausible dramedy about an exiled New York mobster rebuilding his life in Oklahoma, buoyed by star Sylvester Stallone’s watchable charm and unlikely comedic skill. The new season adds another watchable actor — \u003cem>Justified \u003c/em>alum Neal McDonough — but also sees former showrunner Terence Winter (\u003cem>Boardwalk Empire\u003c/em>, \u003cem>The Sopranos\u003c/em>) step down. Let’s hope all that change adds up to more coherent stories the second time around. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959210\" class=\"wp-caption aligncenter\" style=\"max-width: 1134px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959210\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png\" alt=\"A grey-haired man sits behind a news desk gesturing with one hand.\" width=\"1134\" height=\"718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-800x507.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-1020x646.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-768x486.png 768w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003cfigcaption class=\"wp-caption-text\">Jon Stewart is back as one of the hosts of ‘The Daily Show,’ which will be on the road at the Republican National Convention in Milwaukee in July and the Democratic National Convention in Chicago in August. \u003ccite>(Comedy Central)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>The Daily Show \u003c/em>and \u003cem>The Late Show \u003c/em>at the RNC and DNC, week of July 15 (RNC) and week of Aug. 19 (DNC), CBS, Paramount+, Comedy Central\u003c/strong>\u003c/p>\n\u003cp>Two of TV’s biggest political comedy shows gate-crash the electoral process. Comedy Central’s \u003cem>The Daily Show\u003c/em>, reportedly with part-time host Jon Stewart, heads to Milwaukee for the Republican National Convention and to Chicago for the Democratic National Convention. Stephen Colbert’s \u003cem>The Late Show\u003c/em> goes live from New York for the RNC but broadcasts on the road for Democrats in Chi-Town. Pray to the comedy gods for a Colbert-Stewart tag-team ambush interview of Donald Trump and/or Joe Biden. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6xouFXMOvaU\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Those About to Die\u003c/em>, July 18, Peacock\u003c/strong>\u003c/p>\n\u003cp>It’s tough to know why the streaming service known for \u003cem>Poker Face\u003c/em> and \u003cem>Bel-Air\u003c/em> greenlit an epic, $140 million limited series about corruption and violence in ancient Rome’s gladiator contests. But it has Anthony Hopkins as a Roman emperor, \u003cem>Independence Day\u003c/em> director Roland Emmerich as a co-director and lots of allusions to entertaining the public with bloody combat. So let the games begin. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959211\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png\" alt=\"A worried looking white woman stands before a department store window, glancing to the side. A Black woman is standing the window.\" width=\"936\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-800x458.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-768x440.png 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Portman and Moses Ingram in ‘Lady in the Lake.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Lady in the Lake\u003c/em>, July 19, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Not to be confused with the Raymond Chandler story of a similar name, this miniseries is based on a novel by Laura Lippman about a homemaker turned investigative reporter who becomes preoccupied with the separate murders of a white girl and a Black woman in 1960s Baltimore. The subject matter alone is intriguing, but a cast led by Natalie Portman and Moses Ingram (\u003cem>The Queen’s Gambit\u003c/em>) seals the deal. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IKxQEIOu_Yg\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Olympic Highlights with Kevin Hart and Kenan Thompson\u003c/em>, July 26, NBC, Peacock\u003c/strong>\u003c/p>\n\u003cp>For those only marginally interested in the Olympics, Kevin Hart and Snoop Dogg made must-see TV out of side-splitting Games commentary in 2021. NBCUniversal is amping up that strategy this year, pairing Hart with \u003cem>SNL\u003c/em>‘s Kenan Thompson over an eight-episode Peacock series, while featuring \u003cem>SNL\u003c/em> alum and superfan Leslie Jones in their coverage of the Paris events. I can’t wait to see some of comedy’s sharpest talents take on the biggest — and most rigid — sports establishment of them all. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003ch2>August\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=s0LVj0yo308\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Umbrella Academy\u003c/em>, Season 4, Aug. 8, Netflix\u003c/strong>\u003c/p>\n\u003cp>All six episodes of this deeply, profoundly, ecstatically weird series’ fourth and final season drop on the same day. I’ll be there with a bowl of popcorn — and a phone open to the show’s wiki to help me reorient myself. Look, any series that features fractious superpowered siblings, branching timelines, a masked assassin played by Mary J. Blige and a kugelblitz (look it up) would be a lot to deal with, but \u003cem>The Umbrella Academy\u003c/em>’s consistently wry, absurdist tone keeps it all grounded(ish). I’ll miss it. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959213\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png\" alt=\"A Black woman with very short hair stands on a bridge, holding a cell phone to her ear.\" width=\"1118\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-800x522.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-1020x666.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-768x501.png 768w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Myha’la Herrold as Harper Stern in ‘Industry.’ \u003ccite>(Nick Strasburg/ HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Industry\u003c/em>, Season 3, Aug. 11, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>A show with this much dry and confusing finance jargon shouldn’t be this gripping; it stands as a testament to the great cast (especially Myha’la Herrold and Ken Leung) and well-paced drama that it is. When the series last left off, some primary players were in shambles because of exposed secrets, and power structures were realigned yet again. \u003cem>Succession \u003c/em>may be long over, but at least we’ve still got the chaotic ecosystem of London’s cutthroat Pierpoint investment bank. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Amazon supports NPR and pays to distribute some of our content.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Shows you should check out in June, July and August — including the return of ‘The Bear’ and ‘House of the Dragon.’",
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"title": "Best TV Shows to Stream, Summer 2024 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It looks like we are in for a \u003ca href=\"https://www.npr.org/2024/05/27/1198912427/summer-2024-forecast-extreme-heat-hurricanes-wildfire\">very hot summer\u003c/a>. If you find yourself stuck inside looking for your next show, our critics can help — they’ve scanned the broadcast and streaming horizons to find the shows you should check out in June, July and August. Take a look:\u003c/p>\n\u003ch2>June\u003c/h2>\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/WPIcQNMQchQ'\n title='//www.youtube.com/embed/WPIcQNMQchQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Clipped\u003c/em>, June 4, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>It sounds like a dated \u003cem>Saturday Night Live\u003c/em> parody: a drama on the explosive impact of racist statements by then–Los Angeles Clippers owner Donald Sterling, leaked to the public in 2014. But the elevated cast — Laurence Fishburne as Clippers coach Doc Rivers, Ed O’Neill as Sterling and LeVar Burton as himself — hints at more. Ultimately, \u003ca href=\"https://www.npr.org/2024/05/24/nx-s1-4979750/clipped-review-donald-sterling-scandal-la-clippers-fx-hulu\">the show explores class, race, sports and modern striving\u003c/a> with surprising quality, including a meditation on how Black stars handle rage, which should get its own Emmy Award. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0Hy1q_YIAL4'\n title='//www.youtube.com/embed/0Hy1q_YIAL4'\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>\u003cstrong>\u003cem>Fantasmas\u003c/em>, June 7, Max\u003c/strong>\u003c/p>\n\u003cp>Created, written, starring and directed by Julio Torres (\u003ca href=\"https://www.kqed.org/arts/13952668/problemista-review-julio-torres-tilda-swinton-hasbro\">\u003cem>Problemista\u003c/em>\u003c/a>, \u003cem>Los Espookys\u003c/em>), this six-episode comedy series offers a queer (in every sense of the word) perspective on life in NYC. The plot: Torres loses an earring and goes looking for it. The execution: high weirdness, exquisitely wrought, as the loose narrative wanders through the lives of random New Yorkers whom Torres stumbles across on his quest. Smart, funny and scathing when it wants to be, \u003cem>Fantasmas \u003c/em>is bracingly and idiosyncratically itself. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_yUW-bQ3buY'\n title='//www.youtube.com/embed/_yUW-bQ3buY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Queenie\u003c/em>, June 7, Hulu\u003c/strong>\u003c/p>\n\u003cp>There is something magnetic in watching a powerfully awkward protagonist stumble through life — especially Queenie, a 20-something Jamaican British woman caught between life as the daughter of immigrants and a painful breakup with a white boyfriend coddling vaguely racist relatives. Based on a bestselling novel, Hulu’s series offers a deeply revealing urban comedy centered on a strong Black woman in London struggling to process her past so she can build a better future. Like most of us. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZNSY3lMioHs'\n title='//www.youtube.com/embed/ZNSY3lMioHs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Presumed Innocent\u003c/em>, June 12, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Presumed Innocent\u003c/em>, a bestselling legal thriller by Scott Turow, became a Harrison Ford movie in 1990. Now, more than 30 years later, \u003ca href=\"https://www.kqed.org/arts/13954333/jake-gyllenhaals-road-house-remake-is-surprisingly-good\">Jake Gyllenhaal\u003c/a> steps in to lead a new TV adaptation for Apple. Gyllenhaal plays Rusty Sabich, a lawyer whose obsessive affair with a woman in his office becomes an existential threat to him after she turns up murdered. His mortified wife, played here by Ruth Negga, is forced to face the possibility that he murdered his lover and the fact that he had one. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EzFXDvC-EwM'\n title='//www.youtube.com/embed/EzFXDvC-EwM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>The Boys\u003c/em>, Season 4,\u003c/strong> \u003cstrong>June 13, Prime Video\u003c/strong>\u003c/p>\n\u003cp>This cartoonishly violent and sexualized series — starring corporate-designed superheroes who are secretly psychopaths — evolved over three seasons from jabbing at the Marvel/DC comic industrial complex to satirizing media and MAGA-style conservatism. The new episodes amp up the dynamic, with a new hero who comes off like Lauren Boebert in a cape, supported by a propaganda-filled TV channel and a twisted Superman-like team leader whose detachment from humanity may be the world’s biggest threat. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YN2H_sKcmGw'\n title='//www.youtube.com/embed/YN2H_sKcmGw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>House of the Dragon\u003c/em>, Season 2, June 16, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>Yeah, that first season was very uneven. But it did what it had to do, introducing us to the individual chess pieces and carefully arranging them on the sides they’re playing for: Team Black (Rhaenyra and her sweet-natured, albeit illegitimate sons) vs. Team Green (Alicent and her brood of monstrous sociopaths). But with the arrival of Season 2, the war known as the Dance of the Dragons is finally underway, and the whole dang chessboard is about to get engulfed in gouts of fiery breath. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/P-1V_dRubUg'\n title='//www.youtube.com/embed/P-1V_dRubUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>The 77th Tony Awards, June 16, CBS, Paramount+\u003c/strong>\u003c/p>\n\u003cp>Always. Watch. The Tonys. Haven’t taken in any Broadway this year? Doesn’t matter. Where other award shows devolve into pompous self-congratulation, the Tonys broadcast is aimed squarely at us, as we sit on our couches at home. It’s a collective siren song sent out by thousands of professional, desperate, try-hard theater people with one objective: to get us to haul our butts to see a show. As such, it’s painstakingly engineered to entertain and enrapture. Always. Watch. The Tonys. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-QqOkpu9_tg'\n title='//www.youtube.com/embed/-QqOkpu9_tg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Orphan Black: Echoes\u003c/em>, June 23, AMC, AMC+, BBC America\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Jessica Jones\u003c/em> star Krysten Ritter leads another Comic-Con-friendly franchise, a spinoff of Canadian science fiction series \u003cem>Orphan Black\u003c/em>. Ritter is one of several women with missing memories who fear they are the product of a mysterious process wielded by a secretive organization. But don’t worry — it’s set nearly 40 years after the first show’s conclusion, and most viewers won’t need to know much about the mothership series to keep up with this tale of sisterhood, science and runaway progress. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PwFty8yi1cU'\n title='//www.youtube.com/embed/PwFty8yi1cU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>My Lady Jane\u003c/em>, June 27, Prime Video\u003c/strong>\u003c/p>\n\u003cp>A breezy, girlboss alt-history take on Lady Jane Grey, who, in our world, ruled England for nine days before being imprisoned and beheaded as a traitor. In the world of the series — as in the novels it is based on — Jane lives to fight, and frolic, another day. Are there schemes and plots and twists? You betcha. It’s the sort of quippy, performatively quirky show (this version of England is teeming with magical shape-changers) that goes down like an ice-cold Pimm’s cup on a hot summer afternoon. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rUlP-BkJUFs'\n title='//www.youtube.com/embed/rUlP-BkJUFs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>The Bear\u003c/em>, Season 3, June 27, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Bear \u003c/em>has already put out two exceptional seasons and is so strong now that even when Jeremy Allen White is on the sidelines, the rest of the cast hits home run after home run. As the show returns, Carmy (White) and Sydney (Ayo Edebiri) are opening their new restaurant, and Richie (Ebon Moss-Bachrach) is fresh off some tremendous training in service. It’s not easy to keep churning out season after season that’s absolutely top quality, but if anybody can, it’s this team. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003ch2>July\u003c/h2>\n\u003cfigure id=\"attachment_13959209\" class=\"wp-caption aligncenter\" style=\"max-width: 1266px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png\" alt=\"An unhappy-looking woman sits in a large room. People around her sit at scattered tables.\" width=\"1266\" height=\"858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png 1266w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-1020x691.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-768x520.png 768w\" sizes=\"(max-width: 1266px) 100vw, 1266px\">\u003cfigcaption class=\"wp-caption-text\">Rashida Jones in ’Sunny.‘ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Sunny\u003c/em>, July 10, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Rashida Jones stars as Suzie, an American expat living in Kyoto, Japan, when her husband and son go missing following a plane crash. She’s gifted a domestic robot named Sunny (Joanna Sotomura), and the two form a bond as Suzie processes her loss. The series is based on Colin O’Sullivan’s novel \u003cem>The Dark Manual\u003c/em> and looks like it has the potential to grapple with complicated questions around tech and human connection in our current era of AI paranoia. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OgEkSnH0g2g'\n title='//www.youtube.com/embed/OgEkSnH0g2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Tulsa King\u003c/em>, Season 2, July 14, Paramount+\u003c/strong>\u003c/p>\n\u003cp>This show’s first-season success always seemed like a happy accident — an implausible dramedy about an exiled New York mobster rebuilding his life in Oklahoma, buoyed by star Sylvester Stallone’s watchable charm and unlikely comedic skill. The new season adds another watchable actor — \u003cem>Justified \u003c/em>alum Neal McDonough — but also sees former showrunner Terence Winter (\u003cem>Boardwalk Empire\u003c/em>, \u003cem>The Sopranos\u003c/em>) step down. Let’s hope all that change adds up to more coherent stories the second time around. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959210\" class=\"wp-caption aligncenter\" style=\"max-width: 1134px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959210\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png\" alt=\"A grey-haired man sits behind a news desk gesturing with one hand.\" width=\"1134\" height=\"718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-800x507.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-1020x646.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-768x486.png 768w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003cfigcaption class=\"wp-caption-text\">Jon Stewart is back as one of the hosts of ‘The Daily Show,’ which will be on the road at the Republican National Convention in Milwaukee in July and the Democratic National Convention in Chicago in August. \u003ccite>(Comedy Central)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>The Daily Show \u003c/em>and \u003cem>The Late Show \u003c/em>at the RNC and DNC, week of July 15 (RNC) and week of Aug. 19 (DNC), CBS, Paramount+, Comedy Central\u003c/strong>\u003c/p>\n\u003cp>Two of TV’s biggest political comedy shows gate-crash the electoral process. Comedy Central’s \u003cem>The Daily Show\u003c/em>, reportedly with part-time host Jon Stewart, heads to Milwaukee for the Republican National Convention and to Chicago for the Democratic National Convention. Stephen Colbert’s \u003cem>The Late Show\u003c/em> goes live from New York for the RNC but broadcasts on the road for Democrats in Chi-Town. Pray to the comedy gods for a Colbert-Stewart tag-team ambush interview of Donald Trump and/or Joe Biden. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6xouFXMOvaU'\n title='//www.youtube.com/embed/6xouFXMOvaU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Those About to Die\u003c/em>, July 18, Peacock\u003c/strong>\u003c/p>\n\u003cp>It’s tough to know why the streaming service known for \u003cem>Poker Face\u003c/em> and \u003cem>Bel-Air\u003c/em> greenlit an epic, $140 million limited series about corruption and violence in ancient Rome’s gladiator contests. But it has Anthony Hopkins as a Roman emperor, \u003cem>Independence Day\u003c/em> director Roland Emmerich as a co-director and lots of allusions to entertaining the public with bloody combat. So let the games begin. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959211\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png\" alt=\"A worried looking white woman stands before a department store window, glancing to the side. A Black woman is standing the window.\" width=\"936\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-800x458.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-768x440.png 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Portman and Moses Ingram in ‘Lady in the Lake.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Lady in the Lake\u003c/em>, July 19, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Not to be confused with the Raymond Chandler story of a similar name, this miniseries is based on a novel by Laura Lippman about a homemaker turned investigative reporter who becomes preoccupied with the separate murders of a white girl and a Black woman in 1960s Baltimore. The subject matter alone is intriguing, but a cast led by Natalie Portman and Moses Ingram (\u003cem>The Queen’s Gambit\u003c/em>) seals the deal. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IKxQEIOu_Yg'\n title='//www.youtube.com/embed/IKxQEIOu_Yg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Olympic Highlights with Kevin Hart and Kenan Thompson\u003c/em>, July 26, NBC, Peacock\u003c/strong>\u003c/p>\n\u003cp>For those only marginally interested in the Olympics, Kevin Hart and Snoop Dogg made must-see TV out of side-splitting Games commentary in 2021. NBCUniversal is amping up that strategy this year, pairing Hart with \u003cem>SNL\u003c/em>‘s Kenan Thompson over an eight-episode Peacock series, while featuring \u003cem>SNL\u003c/em> alum and superfan Leslie Jones in their coverage of the Paris events. I can’t wait to see some of comedy’s sharpest talents take on the biggest — and most rigid — sports establishment of them all. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003ch2>August\u003c/h2>\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/s0LVj0yo308'\n title='//www.youtube.com/embed/s0LVj0yo308'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>The Umbrella Academy\u003c/em>, Season 4, Aug. 8, Netflix\u003c/strong>\u003c/p>\n\u003cp>All six episodes of this deeply, profoundly, ecstatically weird series’ fourth and final season drop on the same day. I’ll be there with a bowl of popcorn — and a phone open to the show’s wiki to help me reorient myself. Look, any series that features fractious superpowered siblings, branching timelines, a masked assassin played by Mary J. Blige and a kugelblitz (look it up) would be a lot to deal with, but \u003cem>The Umbrella Academy\u003c/em>’s consistently wry, absurdist tone keeps it all grounded(ish). I’ll miss it. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959213\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png\" alt=\"A Black woman with very short hair stands on a bridge, holding a cell phone to her ear.\" width=\"1118\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-800x522.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-1020x666.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-768x501.png 768w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Myha’la Herrold as Harper Stern in ‘Industry.’ \u003ccite>(Nick Strasburg/ HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Industry\u003c/em>, Season 3, Aug. 11, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>A show with this much dry and confusing finance jargon shouldn’t be this gripping; it stands as a testament to the great cast (especially Myha’la Herrold and Ken Leung) and well-paced drama that it is. When the series last left off, some primary players were in shambles because of exposed secrets, and power structures were realigned yet again. \u003cem>Succession \u003c/em>may be long over, but at least we’ve still got the chaotic ecosystem of London’s cutthroat Pierpoint investment bank. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I had a nightmare last night.\u003c/p>\n\u003cp>It began like many of my dreams do — I was on vacation with my extended family. This time, we were in Australia, visiting family friends in a big house. Things took a turn when — in some way that I can’t quite explain — I got mixed up in this Australian family’s jewelry theft and smuggling operation. And I lied about it in front of my relatives, to protect myself and my co-conspirators. Before I woke up, I was terrified I’d be sent to prison.\u003c/p>\n\u003cp>[aside postid='arts_13958707']The dream seems bizarre, but when I pick the narrative apart, there are clear connections to my waking life. For instance, I recently listened to a podcast where a pair of fancy \u003ca href=\"https://pod.link/1597761181/episode/437f349b7890953941305bfb92d58e04\">hairpins suspiciously go missing\u003c/a> during a family gathering. Moreover, I’m moving tomorrow and still have packing to do. When the movers arrive in the morning, if I haven’t finished packing, I’ll face the consequences of my lack of preparedness — a crime, at least to my subconscious.\u003c/p>\n\u003cp>Dr. Rahul Jandial, neurosurgeon, neuroscientist and author of \u003cem>\u003ca href=\"https://www.penguinrandomhouse.com/books/735627/this-is-why-you-dream-by-rahul-jandial-md-phd/\">This is Why You Dream: What Your Sleeping Brain Reveals About Your Waking Life\u003c/a>\u003c/em>, says the major themes and images of vivid dreams like these are worth paying attention to, and trying to derive meaning from. (For me, I decided that the next time I have to move, I’m taking the day before off!)\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2556x2557+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F97%2Fab%2Ffd03e4f34c7ebcb8fb72af1a8859%2Frahul-jandial-author-photo-003.jpg\" alt=\"Close up of an attractive middle aged man.\" width=\"1200\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Dr. Rahul Jandial (Sam Lim/Penguin Random House)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>I spoke with Dr. Jandial about what else we can learn from our dreams, including some of modern science’s most remarkable findings, and theories, about the dreaming brain.\u003c/p>\n\u003ch3>1. Dreams are not random\u003c/h3>\n\u003cp>From dream diaries recorded in ancient Egypt and China to reports from anthropologists in the Amazon, to surveys of modern Americans, evidence shows our dreams have a lot in common. For example, being chased and falling are pretty consistent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Reports of nightmares and erotic dreams are nearly universal,” Jandial says, while people rarely report dreaming about math. Jandial says the lack of math makes sense because the part of your brain primarily responsible for logic — the prefrontal cortex — is typically not involved in dreaming.\u003c/p>\n\u003ch3>2. Our brains are super active when we dream\u003c/h3>\n\u003cp>Jandial learned something fundamental about dreams in the midst of performing brain surgery.\u003c/p>\n\u003cp>It was awake surgery — he’d numbed the scalp and partially opened the skull. (The brain does not feel pain). Jandial was operating on the left temporal lobe, where language is typically located. Working carefully to avoid damage, he went millimeter by millimeter, stimulating the neurons, and asking the patient to count to ten at each spot.\u003c/p>\n\u003cp>[aside postid='arts_13958728']But after one such zap of electricity, Jandial’s patient experienced a nightmare that had recurred for him since childhood.\u003c/p>\n\u003cp>Research has since confirmed that nightmares, and all dreams, arise from brain activity. “Now we know from different measurements of electricity and metabolic usage, the sleeping-dreaming brain is burning hot. It’s sparking with electricity. We might be asleep, but the brain is on fire,” Jandial says.\u003c/p>\n\u003ch3>3. When you first wake up, or while you’re drifting off, is fertile time for creativity\u003c/h3>\n\u003cp>Salvador Dali had a method for capturing his thoughts just as he was falling asleep, which Jandial recounts in \u003cem>This is Why You Dream\u003c/em>. The artist would sit in a chair holding a large key above a plate on the floor. When he nodded off, the key would drop on the plate and wake him up. Then he’d sketch what he remembered from the last few moments of sleep — an inspiration for his surrealist paintings. Brain imaging studies support the potential of sleep-entry as a moment of insight, says Jandial.\u003c/p>\n\u003cp>Fortunately for those of us who prefer to fall asleep and stay there, thank you very much, you can also get inspiration from your dreams when you first wake up. “I get all my ideas when I wake slowly,” Jandial says. He writes down what he remembers in the first few minutes after waking, before checking the news or Instagram. It’s not all great stuff, “But when there are good ideas, it’s from that time. It’s not from two o’clock with my espresso,” he says.\u003c/p>\n\u003ch3>4. Nightmares? Write a new script\u003c/h3>\n\u003cp>Jandial says nightmares around occasional stressful events, like my dream about the jewelry heist — are usually not cause for concern. But if you’re stuck in a loop of recurring fearful dreams, there is something you can try: Imagery Rehearsal Therapy.\u003c/p>\n\u003cp>This is something you can do with a therapist. “If [a patient has] a recurrent nightmare of an explosion or an airplane crashing, they’ll go to the therapist to draw out the map of the dream, the dreamscape, if you will, and then they’ll rehearse that the airplane landed safely,” or that they arrived home from a drive instead of crashing, Jandial explains. After time, he says many patients see their nightmares change.\u003c/p>\n\u003ch3>5. Dreams about cheating are normal. They don’t mean there’s something wrong with your relationship\u003c/h3>\n\u003cp>In surveys, a majority of people report erotic dreams. And for people in relationships, these dreams contain “high rates of infidelity, whether people report being in healthy relationships or unhealthy relationships,” Jandial says.\u003c/p>\n\u003cp>[aside postid='arts_13957998']But sexy dreams have rules too. “When you look at the pattern of erotic dreams, the acts seem to be wild, but the characters are surprisingly narrow. Celebrities, even family members, repellent bosses; it’s a small collection of people as a pattern.” Jandial and others theorize that having sexual dreams about people familiar to us may be a feature our brains evolved to keep us open to procreation and increase the likelihood of the species’ survival.\u003c/p>\n\u003ch3>6. Near the end of life, dreams can provide comfort\u003c/h3>\n\u003cp>Treating patients at City of Hope cancer center in Los Angeles, Jandial observes a phenomenon he calls “dreams to the rescue.” For some patients near the end of their lives, “even though the day is filled with struggle, the dreams are of reconciliation, of hope, of positive emotions. I was surprised to find that end-of-life dreams are a common thing, and they lean positive.”\u003c/p>\n\u003cp>Jandial says there’s evidence that death may come with one final dream. “Once the heart stops, with the last gush of blood up the carotid [artery] to the brain, the brain’s electricity explodes in the minute or two after cardiac death…Those patterns look like expansive electrical brainwave patterns of dreaming and memory recall,” Jandial says.\u003c/p>\n\u003ch3>7. Dreams can be ‘a portal to your inner self’ — and mental health\u003c/h3>\n\u003cp>Everyone has anxiety dreams from time to time. Some are literal, like dreaming you’re on a podium naked when you actually have to give a speech the next day, says Jandial. But others can be more symbolic, and these are worth tuning in to.\u003c/p>\n\u003cp>Jandial remembers one he had during the pandemic. In waking life, he’d just learned to sail. In the dream he was sailing a boat and, “there was a massive waterfall,” he recounts. “And I was sailing horizontally and I had to constantly keep the helm, or the wheel, up-river just to go straight and not fall off.”\u003c/p>\n\u003cp>He interprets it as his brain’s way of helping him process a difficult time. He was raising teenagers and working as a cancer surgeon amid COVID fears. “There were wars on many fronts for me at that time. And what I walked away with is just by avoiding going all over the waterfall, you’re doing it.”\u003c/p>\n\u003cp>[aside postid='arts_13958699']He says if you have a powerful dream, it’s worth thinking about why. “Dreams with a strong emotion and a powerful central image, those are ones\u003cem> not \u003c/em>to ignore,” he says. “The dreaming brain is serving a function, and if it gives you a nugget of an emotional and visual dream, reflect on that. That’s a portal to yourself that no therapist can even get to.”\u003c/p>\n\u003cp>And repeated anxiety dreams, he says “I think that’s something to pay attention to. That might be a vital sign for your mental health.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story also appears in the June 2 issue of the NPR Health newsletter. \u003ca href=\"https://www.npr.org/newsletter/health\">Click here to subscribe.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I had a nightmare last night.\u003c/p>\n\u003cp>It began like many of my dreams do — I was on vacation with my extended family. This time, we were in Australia, visiting family friends in a big house. Things took a turn when — in some way that I can’t quite explain — I got mixed up in this Australian family’s jewelry theft and smuggling operation. And I lied about it in front of my relatives, to protect myself and my co-conspirators. Before I woke up, I was terrified I’d be sent to prison.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The dream seems bizarre, but when I pick the narrative apart, there are clear connections to my waking life. For instance, I recently listened to a podcast where a pair of fancy \u003ca href=\"https://pod.link/1597761181/episode/437f349b7890953941305bfb92d58e04\">hairpins suspiciously go missing\u003c/a> during a family gathering. Moreover, I’m moving tomorrow and still have packing to do. When the movers arrive in the morning, if I haven’t finished packing, I’ll face the consequences of my lack of preparedness — a crime, at least to my subconscious.\u003c/p>\n\u003cp>Dr. Rahul Jandial, neurosurgeon, neuroscientist and author of \u003cem>\u003ca href=\"https://www.penguinrandomhouse.com/books/735627/this-is-why-you-dream-by-rahul-jandial-md-phd/\">This is Why You Dream: What Your Sleeping Brain Reveals About Your Waking Life\u003c/a>\u003c/em>, says the major themes and images of vivid dreams like these are worth paying attention to, and trying to derive meaning from. (For me, I decided that the next time I have to move, I’m taking the day before off!)\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/2556x2557+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F97%2Fab%2Ffd03e4f34c7ebcb8fb72af1a8859%2Frahul-jandial-author-photo-003.jpg\" alt=\"Close up of an attractive middle aged man.\" width=\"1200\" height=\"1200\">\u003cfigcaption class=\"wp-caption-text\">Dr. Rahul Jandial (Sam Lim/Penguin Random House)\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>I spoke with Dr. Jandial about what else we can learn from our dreams, including some of modern science’s most remarkable findings, and theories, about the dreaming brain.\u003c/p>\n\u003ch3>1. Dreams are not random\u003c/h3>\n\u003cp>From dream diaries recorded in ancient Egypt and China to reports from anthropologists in the Amazon, to surveys of modern Americans, evidence shows our dreams have a lot in common. For example, being chased and falling are pretty consistent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Reports of nightmares and erotic dreams are nearly universal,” Jandial says, while people rarely report dreaming about math. Jandial says the lack of math makes sense because the part of your brain primarily responsible for logic — the prefrontal cortex — is typically not involved in dreaming.\u003c/p>\n\u003ch3>2. Our brains are super active when we dream\u003c/h3>\n\u003cp>Jandial learned something fundamental about dreams in the midst of performing brain surgery.\u003c/p>\n\u003cp>It was awake surgery — he’d numbed the scalp and partially opened the skull. (The brain does not feel pain). Jandial was operating on the left temporal lobe, where language is typically located. Working carefully to avoid damage, he went millimeter by millimeter, stimulating the neurons, and asking the patient to count to ten at each spot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But after one such zap of electricity, Jandial’s patient experienced a nightmare that had recurred for him since childhood.\u003c/p>\n\u003cp>Research has since confirmed that nightmares, and all dreams, arise from brain activity. “Now we know from different measurements of electricity and metabolic usage, the sleeping-dreaming brain is burning hot. It’s sparking with electricity. We might be asleep, but the brain is on fire,” Jandial says.\u003c/p>\n\u003ch3>3. When you first wake up, or while you’re drifting off, is fertile time for creativity\u003c/h3>\n\u003cp>Salvador Dali had a method for capturing his thoughts just as he was falling asleep, which Jandial recounts in \u003cem>This is Why You Dream\u003c/em>. The artist would sit in a chair holding a large key above a plate on the floor. When he nodded off, the key would drop on the plate and wake him up. Then he’d sketch what he remembered from the last few moments of sleep — an inspiration for his surrealist paintings. Brain imaging studies support the potential of sleep-entry as a moment of insight, says Jandial.\u003c/p>\n\u003cp>Fortunately for those of us who prefer to fall asleep and stay there, thank you very much, you can also get inspiration from your dreams when you first wake up. “I get all my ideas when I wake slowly,” Jandial says. He writes down what he remembers in the first few minutes after waking, before checking the news or Instagram. It’s not all great stuff, “But when there are good ideas, it’s from that time. It’s not from two o’clock with my espresso,” he says.\u003c/p>\n\u003ch3>4. Nightmares? Write a new script\u003c/h3>\n\u003cp>Jandial says nightmares around occasional stressful events, like my dream about the jewelry heist — are usually not cause for concern. But if you’re stuck in a loop of recurring fearful dreams, there is something you can try: Imagery Rehearsal Therapy.\u003c/p>\n\u003cp>This is something you can do with a therapist. “If [a patient has] a recurrent nightmare of an explosion or an airplane crashing, they’ll go to the therapist to draw out the map of the dream, the dreamscape, if you will, and then they’ll rehearse that the airplane landed safely,” or that they arrived home from a drive instead of crashing, Jandial explains. After time, he says many patients see their nightmares change.\u003c/p>\n\u003ch3>5. Dreams about cheating are normal. They don’t mean there’s something wrong with your relationship\u003c/h3>\n\u003cp>In surveys, a majority of people report erotic dreams. And for people in relationships, these dreams contain “high rates of infidelity, whether people report being in healthy relationships or unhealthy relationships,” Jandial says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But sexy dreams have rules too. “When you look at the pattern of erotic dreams, the acts seem to be wild, but the characters are surprisingly narrow. Celebrities, even family members, repellent bosses; it’s a small collection of people as a pattern.” Jandial and others theorize that having sexual dreams about people familiar to us may be a feature our brains evolved to keep us open to procreation and increase the likelihood of the species’ survival.\u003c/p>\n\u003ch3>6. Near the end of life, dreams can provide comfort\u003c/h3>\n\u003cp>Treating patients at City of Hope cancer center in Los Angeles, Jandial observes a phenomenon he calls “dreams to the rescue.” For some patients near the end of their lives, “even though the day is filled with struggle, the dreams are of reconciliation, of hope, of positive emotions. I was surprised to find that end-of-life dreams are a common thing, and they lean positive.”\u003c/p>\n\u003cp>Jandial says there’s evidence that death may come with one final dream. “Once the heart stops, with the last gush of blood up the carotid [artery] to the brain, the brain’s electricity explodes in the minute or two after cardiac death…Those patterns look like expansive electrical brainwave patterns of dreaming and memory recall,” Jandial says.\u003c/p>\n\u003ch3>7. Dreams can be ‘a portal to your inner self’ — and mental health\u003c/h3>\n\u003cp>Everyone has anxiety dreams from time to time. Some are literal, like dreaming you’re on a podium naked when you actually have to give a speech the next day, says Jandial. But others can be more symbolic, and these are worth tuning in to.\u003c/p>\n\u003cp>Jandial remembers one he had during the pandemic. In waking life, he’d just learned to sail. In the dream he was sailing a boat and, “there was a massive waterfall,” he recounts. “And I was sailing horizontally and I had to constantly keep the helm, or the wheel, up-river just to go straight and not fall off.”\u003c/p>\n\u003cp>He interprets it as his brain’s way of helping him process a difficult time. He was raising teenagers and working as a cancer surgeon amid COVID fears. “There were wars on many fronts for me at that time. And what I walked away with is just by avoiding going all over the waterfall, you’re doing it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He says if you have a powerful dream, it’s worth thinking about why. “Dreams with a strong emotion and a powerful central image, those are ones\u003cem> not \u003c/em>to ignore,” he says. “The dreaming brain is serving a function, and if it gives you a nugget of an emotional and visual dream, reflect on that. That’s a portal to yourself that no therapist can even get to.”\u003c/p>\n\u003cp>And repeated anxiety dreams, he says “I think that’s something to pay attention to. That might be a vital sign for your mental health.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story also appears in the June 2 issue of the NPR Health newsletter. \u003ca href=\"https://www.npr.org/newsletter/health\">Click here to subscribe.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last week Season 3 of \u003cem>Abbott Elementary \u003c/em>came to an end, and the one thing every single viewer had predicted would happen since the premiere of the pilot episode finally did happen: Nerdy, awkward school teachers Janine (Quinta Brunson) and Gregory (Tyler James Williams) got together. For real, for real. To get there, it only took an untold number of gawky flirtations resulting in direct-to-camera looks of embarrassment, a drunken one-off kiss (in Season 2, during a work conference), and several spectacularly failed attempts at dating other people while denying or downplaying their romantic interests in one another.\u003c/p>\n\u003cp>Surely plenty of fans have found joy in the resolution of this long-delayed one true pairing; if so, I’m genuinely happy for you. But call me the “will they-won’t they?” grinch — I’m mostly just relieved the convoluted storyline can finally (hopefully!) be put to rest. The writers’ insistence on making them the \u003ca href=\"https://theoffice.fandom.com/wiki/Jim-Pam_Relationship\">Jim-and-Pam\u003c/a> of \u003cem>Abbott \u003c/em>has long been the least interesting element of this smart and consistently funny series, and as utterly charming as Brunson and Williams are, even they couldn’t keep the perpetually unresolved sexual tension between their characters from grating by Season 3. (The episode where Jacob and Gregory attempt to go on a double date and Gregory gets distracted by seeing Janine out with school district rep Manny might’ve been less tedious had it not been such a similar iteration of several earlier plotlines.)\u003c/p>\n\u003cp>[aside postid='arts_13958131']Of course, this is TV Writing 101, one of the oldest tropes in the playbook. Some shows have found clever ways to mess around with it, as with the deeply intimate but platonic work relationship between \u003cem>30 Rock\u003c/em>’s Liz Lemon and Jack Donaghy — anyone actively rooting for them to be A Thing plucked that desire from thin air, because there was \u003cem>zero\u003c/em> amorous chemistry popping off between those two. (The writers poked fun at this expectation all the time, as when the pair mistakenly married in Season 5.) Before being unceremoniously canceled, \u003cem>Happy Endings \u003c/em>began with Alex and Dave’s broken engagement, which provided plenty of “will-they-won’t-they-get-back-together” fodder a la those classic Hollywood remarriage comedies like \u003cem>The Awful Truth.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Living Single \u003c/em>actually managed to juggle two different versions of this trope in satisfying ways: the flirtatiously antagonistic Beatrice-and-Benedick vibes shared between corporate climbers Maxine and Kyle, and the goofy puppy love of TV’s original Awkward Black Couple, handyman Overton and office manager Synclaire. In both cases, the show confronted the simmering tensions early; Max and Kyle sleep together in Season 2, making their ongoing love-hate dynamic that much funnier throughout the rest of the series, and Overton and Synclaire make it official in Season 1, allowing them to explore other silly hurdles and milestones throughout their courtship.\u003c/p>\n\u003cp>It’s easy enough to imagine a version of \u003cem>Abbott \u003c/em>that took a page out of \u003cem>30 Rock\u003c/em>, and gave us a fruitful platonic friendship with Janine and Gregory. But watching a lot of TV primes us “will-they” grinches for disappointment, because it seems we’re vastly outnumbered, or at least not as vocal in our annoyance as the champions are about their excitement. \u003cem>Law & Order: SVU \u003c/em>fans have been rooting for Benson and Stabler to get together for 25 years, and recently \u003ca href=\"https://ew.com/mariska-hargitay-reveals-benson-stabler-svu-kiss-changed-last-minute-8641981\">almost got their wish\u003c/a>. And I’m already exhausted by the corner of social media that insists on ’shipping not only Carmy and Sydney on \u003cem>The Bear\u003c/em>, but also \u003ca href=\"https://www.nytimes.com/2024/05/22/style/ayo-edebiri-jeremy-allen-white-dating.html\">Jeremy Allen White and Ayo Edebiri\u003c/a>, the real-life actors who portray them.\u003c/p>\n\u003cfigure id=\"attachment_13959028\" class=\"wp-caption aligncenter\" style=\"max-width: 1858px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959028\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM.png\" alt=\"A white man and Black woman work side-by-side in a home kitchen.\" width=\"1858\" height=\"1162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM.png 1858w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-1536x961.png 1536w\" sizes=\"(max-width: 1858px) 100vw, 1858px\">\u003cfigcaption class=\"wp-caption-text\">What’s cooking between Sydney (Ayo Ebebiri) and Carmy (Jeremy Allen White) in ‘The Bear?’ Dinner. \u003ccite>(Chuck Hodes/ FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if Janine and Gregory \u003cem>must \u003c/em>be more than just friends, \u003cem>Abbott \u003c/em>has the opportunity to inject the next season with some inspiring coupledom obstacles. They’re both richly drawn characters with distinct personalities and flaws, finding their way within the challenging and chaotic public-school ecosystem. It’s been delightful watching her learn how to more efficiently channel her do-gooder energy and him loosen up and accept that a job as principal is not in the cards just yet. Now that they’re both a little more confident in themselves, here’s hoping they follow in the footsteps of their Awkward Black Couple predecessors Overton and Synclaire, and the show opens them up to less hackneyed storylines together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\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\">Sign up for the newsletter\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">Apple Podcasts\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">Spotify\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week Season 3 of \u003cem>Abbott Elementary \u003c/em>came to an end, and the one thing every single viewer had predicted would happen since the premiere of the pilot episode finally did happen: Nerdy, awkward school teachers Janine (Quinta Brunson) and Gregory (Tyler James Williams) got together. For real, for real. To get there, it only took an untold number of gawky flirtations resulting in direct-to-camera looks of embarrassment, a drunken one-off kiss (in Season 2, during a work conference), and several spectacularly failed attempts at dating other people while denying or downplaying their romantic interests in one another.\u003c/p>\n\u003cp>Surely plenty of fans have found joy in the resolution of this long-delayed one true pairing; if so, I’m genuinely happy for you. But call me the “will they-won’t they?” grinch — I’m mostly just relieved the convoluted storyline can finally (hopefully!) be put to rest. The writers’ insistence on making them the \u003ca href=\"https://theoffice.fandom.com/wiki/Jim-Pam_Relationship\">Jim-and-Pam\u003c/a> of \u003cem>Abbott \u003c/em>has long been the least interesting element of this smart and consistently funny series, and as utterly charming as Brunson and Williams are, even they couldn’t keep the perpetually unresolved sexual tension between their characters from grating by Season 3. (The episode where Jacob and Gregory attempt to go on a double date and Gregory gets distracted by seeing Janine out with school district rep Manny might’ve been less tedious had it not been such a similar iteration of several earlier plotlines.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Of course, this is TV Writing 101, one of the oldest tropes in the playbook. Some shows have found clever ways to mess around with it, as with the deeply intimate but platonic work relationship between \u003cem>30 Rock\u003c/em>’s Liz Lemon and Jack Donaghy — anyone actively rooting for them to be A Thing plucked that desire from thin air, because there was \u003cem>zero\u003c/em> amorous chemistry popping off between those two. (The writers poked fun at this expectation all the time, as when the pair mistakenly married in Season 5.) Before being unceremoniously canceled, \u003cem>Happy Endings \u003c/em>began with Alex and Dave’s broken engagement, which provided plenty of “will-they-won’t-they-get-back-together” fodder a la those classic Hollywood remarriage comedies like \u003cem>The Awful Truth.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Living Single \u003c/em>actually managed to juggle two different versions of this trope in satisfying ways: the flirtatiously antagonistic Beatrice-and-Benedick vibes shared between corporate climbers Maxine and Kyle, and the goofy puppy love of TV’s original Awkward Black Couple, handyman Overton and office manager Synclaire. In both cases, the show confronted the simmering tensions early; Max and Kyle sleep together in Season 2, making their ongoing love-hate dynamic that much funnier throughout the rest of the series, and Overton and Synclaire make it official in Season 1, allowing them to explore other silly hurdles and milestones throughout their courtship.\u003c/p>\n\u003cp>It’s easy enough to imagine a version of \u003cem>Abbott \u003c/em>that took a page out of \u003cem>30 Rock\u003c/em>, and gave us a fruitful platonic friendship with Janine and Gregory. But watching a lot of TV primes us “will-they” grinches for disappointment, because it seems we’re vastly outnumbered, or at least not as vocal in our annoyance as the champions are about their excitement. \u003cem>Law & Order: SVU \u003c/em>fans have been rooting for Benson and Stabler to get together for 25 years, and recently \u003ca href=\"https://ew.com/mariska-hargitay-reveals-benson-stabler-svu-kiss-changed-last-minute-8641981\">almost got their wish\u003c/a>. And I’m already exhausted by the corner of social media that insists on ’shipping not only Carmy and Sydney on \u003cem>The Bear\u003c/em>, but also \u003ca href=\"https://www.nytimes.com/2024/05/22/style/ayo-edebiri-jeremy-allen-white-dating.html\">Jeremy Allen White and Ayo Edebiri\u003c/a>, the real-life actors who portray them.\u003c/p>\n\u003cfigure id=\"attachment_13959028\" class=\"wp-caption aligncenter\" style=\"max-width: 1858px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959028\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM.png\" alt=\"A white man and Black woman work side-by-side in a home kitchen.\" width=\"1858\" height=\"1162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM.png 1858w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-03-at-8.05.26-AM-1536x961.png 1536w\" sizes=\"(max-width: 1858px) 100vw, 1858px\">\u003cfigcaption class=\"wp-caption-text\">What’s cooking between Sydney (Ayo Ebebiri) and Carmy (Jeremy Allen White) in ‘The Bear?’ Dinner. \u003ccite>(Chuck Hodes/ FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if Janine and Gregory \u003cem>must \u003c/em>be more than just friends, \u003cem>Abbott \u003c/em>has the opportunity to inject the next season with some inspiring coupledom obstacles. They’re both richly drawn characters with distinct personalities and flaws, finding their way within the challenging and chaotic public-school ecosystem. It’s been delightful watching her learn how to more efficiently channel her do-gooder energy and him loosen up and accept that a job as principal is not in the cards just yet. Now that they’re both a little more confident in themselves, here’s hoping they follow in the footsteps of their Awkward Black Couple predecessors Overton and Synclaire, and the show opens them up to less hackneyed storylines together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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\">Sign up for the newsletter\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">Apple Podcasts\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">Spotify\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Starting June 3, Treasure Island distillery \u003ca href=\"https://goldbarwhiskey.com/\">Gold Bar Whiskey\u003c/a> is hosting a series of outdoor movie nights at sunset, spotlighting films shot in and around the Bay Area.\u003c/p>\n\u003cp>The full line-up so far includes \u003cem>Indiana Jones and the Last Crusade\u003c/em> on June 3, \u003cem>Milk\u003c/em> on June 11, \u003cem>The Pursuit of Happyness\u003c/em> on July 9, \u003cem>The Parent Trap\u003c/em> on Aug. 13, \u003cem>Bicentennial Man\u003c/em> on Sept. 10 and \u003cem>What Dreams May Come\u003c/em> on Oct. 8. The screenings cost $10, are dog- and child-friendly, and babies under two can attend for free.\u003c/p>\n\u003cp>[aside postid='arts_13957727']Gold Bar Whiskey has been open since October 2023 and is housed inside the former Pan Am Airport on Treasure Island, along with the \u003ca href=\"https://www.treasureislandmuseum.org/\">Treasure Island Museum\u003c/a>. The grand, semi-circular building makes an appearance in \u003cem>Indiana Jones and the Last Crusade\u003c/em> as the Berlin airport — no doubt the reason it’s the first on this summer’s movie roster.\u003c/p>\n\u003cp>The Art Deco-inspired building was first constructed as part of 1939’s \u003ca href=\"https://www.kqed.org/news/11790693/magic-city-and-the-making-of-treasure-island\">Golden Gate International Exposition\u003c/a> and was the brainchild of architects William Peyton Day, who designed Oakland’s Fox Theater, and George William Kelham, who helped reconstruct the Palace Hotel after the 1906 earthquake. It is perfectly situated to enjoy stunning views of the San Francisco skyline.\u003c/p>\n\u003cp>Though limited seating will be available during the movie screenings, attendees are encouraged to bring their own chairs and blankets. Drinks and snacks will be available for purchase from the distillery. Start times for each screening will vary in order to coincide with that day’s sunset. \u003ca href=\"https://www.eventbrite.com/e/sunset-movie-nights-on-treasure-island-tickets-906437347507?aff=oddtdtcreator\">Check individual events for specifics\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Starting June 3, Treasure Island distillery \u003ca href=\"https://goldbarwhiskey.com/\">Gold Bar Whiskey\u003c/a> is hosting a series of outdoor movie nights at sunset, spotlighting films shot in and around the Bay Area.\u003c/p>\n\u003cp>The full line-up so far includes \u003cem>Indiana Jones and the Last Crusade\u003c/em> on June 3, \u003cem>Milk\u003c/em> on June 11, \u003cem>The Pursuit of Happyness\u003c/em> on July 9, \u003cem>The Parent Trap\u003c/em> on Aug. 13, \u003cem>Bicentennial Man\u003c/em> on Sept. 10 and \u003cem>What Dreams May Come\u003c/em> on Oct. 8. The screenings cost $10, are dog- and child-friendly, and babies under two can attend for free.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Gold Bar Whiskey has been open since October 2023 and is housed inside the former Pan Am Airport on Treasure Island, along with the \u003ca href=\"https://www.treasureislandmuseum.org/\">Treasure Island Museum\u003c/a>. The grand, semi-circular building makes an appearance in \u003cem>Indiana Jones and the Last Crusade\u003c/em> as the Berlin airport — no doubt the reason it’s the first on this summer’s movie roster.\u003c/p>\n\u003cp>The Art Deco-inspired building was first constructed as part of 1939’s \u003ca href=\"https://www.kqed.org/news/11790693/magic-city-and-the-making-of-treasure-island\">Golden Gate International Exposition\u003c/a> and was the brainchild of architects William Peyton Day, who designed Oakland’s Fox Theater, and George William Kelham, who helped reconstruct the Palace Hotel after the 1906 earthquake. It is perfectly situated to enjoy stunning views of the San Francisco skyline.\u003c/p>\n\u003cp>Though limited seating will be available during the movie screenings, attendees are encouraged to bring their own chairs and blankets. Drinks and snacks will be available for purchase from the distillery. Start times for each screening will vary in order to coincide with that day’s sunset. \u003ca href=\"https://www.eventbrite.com/e/sunset-movie-nights-on-treasure-island-tickets-906437347507?aff=oddtdtcreator\">Check individual events for specifics\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Muppets Creator Jim Henson Gets a Documentary as Exciting as He Was",
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"content": "\u003cp>There are moments when the spark of creation suddenly ignites and history stops. Like when the Wright brothers got a plane to fly. Or when Oreo added double filling. Maybe just as resonant was when Jim Henson cut up his mother’s green coat into odd shapes and added ping-pong balls for eyes.\u003c/p>\n\u003cp>At that moment, he birthed Kermit the Frog, who would go on to enchant generations. Kermit’s humble beginnings are part of the engrossing and enlightening documentary \u003cem>Jim Henson Idea Man\u003c/em> and it’s apt to start with the sweetly outgoing Kermit, who is in many ways Henson’s alter ego.\u003c/p>\n\u003cp>[aside postid='arts_13958728']The Ron Howard-directed Disney+ movie is a kinetic mix of show clips, interviews, bloopers, behind-the-scenes workplace videos, home movies and artist sketches — as animated as Henson’s Muppets, who educated millions on \u003cem>Sesame Street\u003c/em> and entertained even more on \u003cem>The Muppet Show\u003c/em>.\u003c/p>\n\u003cp>Viewers are walked chronologically through Henson’s early life in rural Mississippi, his teaming up with his wife, Jane, on early late-night TV appearances, his often oddball sensibility, his self-doubt, embrace of educational TV, his marriage crumbling, the red-hot height of fame and then the fall with \u003cem>Labyrinth\u003c/em>. It’s a definitive as you can get. We even learn why he chose to grow a beard: acne scars.\u003c/p>\n\u003cp>It’s also a portrait of a driven, brilliant creative man who wanted to be taken seriously as an artist and had lifelong ambivalent feelings about becoming America’s favorite preschool entertainer. Writer Mark Monroe makes it seem as if he often felt straightjacketed, like an arm stuck in a puppet’s felt body.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Watchers will walk away with a deeper understanding of a man who had such an outsized presence in their childhoods. Once you realize that Henson was, in his heart of hearts, really a experimental filmmaker, you better understand the whacky, psychedelic videos on \u003cem>Sesame Street\u003c/em> or why The Great Gonzo eats a rubber car tire to “Flight of the Bumblebee.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iyGFV6VIxkI\u003c/p>\n\u003cp>The voices Howard has wrangled are fantastic, from Frank Oz (the Burt to Henson’s Ernie), puppeteer Fran Brill, puppet builder/costume designer Bonnie Erickson and actors Jennifer Connelly and Rita Moreno. Henson’s own short diary entries — “attend seminar in Cambridge re: Children’s TV workshop” — are also put to good use, as is footage from his funeral, a joyous affair.\u003c/p>\n\u003cp>One weird quibble is the decision by Howard — who apparently met Henson once, briefly — to put his interview subjects in a sterile, grey room with brick walls. Why keep going back there to celebrate a figure who opposed formality?\u003c/p>\n\u003cp>Frank Oz, the voice of Miss Piggy and Ernie who was Henson’s puppeteering partner in crime for decades, is wonderfully honest about his yin-and-yang relationship with Henson — “it was both a joy and a grind” — as are Henson’s children about their father, who died in 1990.\u003c/p>\n\u003cp>[aside postid='arts_13958776']“There’s an honesty and an integrity to what he was creating. He was creating it because he needed to create it,” one says. Another concludes: “He showed that creativity, artistry, metaphor can be used as a great power of good.”\u003c/p>\n\u003cp>There are fascinating moments — like when we learn that Kermit wasn’t originally a frog at all — to ones more sublime, like how Miss Piggy made her dramatic entrance as a star in her own right. (A clip of her flirting with Morley Safer is priceless.) Viewers may shake their head when learning that all the networks initially passed on \u003cem>The Muppet Show\u003c/em> and it had to be made in England.\u003c/p>\n\u003cp>It’s a documentary, ultimately, about creativity and a singular mind, one who dreamed up a gaggle of friends for life: Big Bird, Cookie Monster, the Count and, of course, Kermit, stitched from an old coat.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Jim Henson Idea Man’ premieres on Disney+ on May 31, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Ron Howard-directed Disney+ movie is a kinetic mix of show clips, interviews, bloopers, behind-the-scenes workplace videos, home movies and artist sketches — as animated as Henson’s Muppets, who educated millions on \u003cem>Sesame Street\u003c/em> and entertained even more on \u003cem>The Muppet Show\u003c/em>.\u003c/p>\n\u003cp>Viewers are walked chronologically through Henson’s early life in rural Mississippi, his teaming up with his wife, Jane, on early late-night TV appearances, his often oddball sensibility, his self-doubt, embrace of educational TV, his marriage crumbling, the red-hot height of fame and then the fall with \u003cem>Labyrinth\u003c/em>. It’s a definitive as you can get. We even learn why he chose to grow a beard: acne scars.\u003c/p>\n\u003cp>It’s also a portrait of a driven, brilliant creative man who wanted to be taken seriously as an artist and had lifelong ambivalent feelings about becoming America’s favorite preschool entertainer. Writer Mark Monroe makes it seem as if he often felt straightjacketed, like an arm stuck in a puppet’s felt body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watchers will walk away with a deeper understanding of a man who had such an outsized presence in their childhoods. Once you realize that Henson was, in his heart of hearts, really a experimental filmmaker, you better understand the whacky, psychedelic videos on \u003cem>Sesame Street\u003c/em> or why The Great Gonzo eats a rubber car tire to “Flight of the Bumblebee.”\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/iyGFV6VIxkI'\n title='//www.youtube.com/embed/iyGFV6VIxkI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The voices Howard has wrangled are fantastic, from Frank Oz (the Burt to Henson’s Ernie), puppeteer Fran Brill, puppet builder/costume designer Bonnie Erickson and actors Jennifer Connelly and Rita Moreno. Henson’s own short diary entries — “attend seminar in Cambridge re: Children’s TV workshop” — are also put to good use, as is footage from his funeral, a joyous affair.\u003c/p>\n\u003cp>One weird quibble is the decision by Howard — who apparently met Henson once, briefly — to put his interview subjects in a sterile, grey room with brick walls. Why keep going back there to celebrate a figure who opposed formality?\u003c/p>\n\u003cp>Frank Oz, the voice of Miss Piggy and Ernie who was Henson’s puppeteering partner in crime for decades, is wonderfully honest about his yin-and-yang relationship with Henson — “it was both a joy and a grind” — as are Henson’s children about their father, who died in 1990.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“There’s an honesty and an integrity to what he was creating. He was creating it because he needed to create it,” one says. Another concludes: “He showed that creativity, artistry, metaphor can be used as a great power of good.”\u003c/p>\n\u003cp>There are fascinating moments — like when we learn that Kermit wasn’t originally a frog at all — to ones more sublime, like how Miss Piggy made her dramatic entrance as a star in her own right. (A clip of her flirting with Morley Safer is priceless.) Viewers may shake their head when learning that all the networks initially passed on \u003cem>The Muppet Show\u003c/em> and it had to be made in England.\u003c/p>\n\u003cp>It’s a documentary, ultimately, about creativity and a singular mind, one who dreamed up a gaggle of friends for life: Big Bird, Cookie Monster, the Count and, of course, Kermit, stitched from an old coat.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Jim Henson Idea Man’ premieres on Disney+ on May 31, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In August 1926, a 19-year-old New Yorker named Trudy Ederle became the first woman to swim the English Channel. Only five men had finished the 21-mile trek from Cape Gris-Nez in France to Kingsdown Beach in England before — a harrowing journey through frigid waters, unpredictable tides, currents and swarms of jellyfish. Ederle swam 35 miles that day and still beat their times by about two hours.\u003c/p>\n\u003cp>[aside postid='arts_13958735']Don’t worry if this doesn’t sound familiar. Ederle is not what you might call a household name, but she soon could be thanks to Daisy Ridley, who portrays the competitive swimmer in the inspirational new film\u003cem> Young Woman and the Sea\u003c/em>. It is a classically made and effectively stirring sports drama for everyone that feels right on the big screen. Families with young daughters should make this a special priority — this is one of those empowering stories that (mostly) avoids cloying cliches.\u003c/p>\n\u003cp>Just don’t try to write a school paper off of the movie or regale pals with your newfound knowledge of Ederle at a summer Olympics party. Written by Jeff Nathanson and directed by Joachim Rønning, the movie takes extensive liberties with some significant details surrounding her history-making swim. It even glosses over the fact that she won a gold medal at the 1924 Olympics in Paris in the 400-meter freestyle relay. \u003cem>Young Woman and the Sea\u003c/em> dwells on the high hopes for Ederle, who had set over a dozen records in women’s swimming, but only won bronze medals by herself.\u003c/p>\n\u003cp>They weren’t going to let facts get in the way of the truth — or, more accurately, a tidy story with symmetry and emotional payoff. If the whole story is what you’re looking for, the film was adapted from Glenn Stout’s exhaustively researched and widely available book \u003cem>Young Woman and the Sea: How Trudy Ederle Conquered the English Channel and Inspired the World\u003c/em>. But we don’t go the movies for a history lesson: We go to be entertained.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7tNvrYzPUrk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This story paints Ederle as a survivor, a child of German immigrants who defeated measles and then rose to defy expectations as an exceptional athlete. By 1920, white women were beginning to make headway in sports like tennis and swimming but still beholden to strict standards of “femininity.” Remember those etiquette classes in \u003cem>A League of Their Own\u003c/em>? In this film, Trudy is assigned a misogynist coach who is more concerned with keeping her separated from the men and on a dainty diet of fruit than actually helping her to succeed with proper nourishment and advice.\u003c/p>\n\u003cp>Nathanson’s script puts a special emphasis on Trudy’s relationship with her sister Meg (Tilda Cobham-Hervey), also a swimmer, and her mother (Jeanette Hain) who pushes for the girls to learn and helps keep them in lessons with a determined instructor, Lottie Epstein (Sian Clifford).\u003c/p>\n\u003cp>[aside postid='arts_13958728']Epstein’s positive influence on Trudy is spotlighted, but the fact of her management of the women’s swimming teams during three Olympic Games in the 1920s is brushed aside in service of creating a male antagonist. Charitably, it is a shorthand way to illuminate the very real sexism they all faced. It also erases Epstein’s real accomplishments in order to do so. This is a film that’s also very, very white, though they do include one Black swimmer who bonds with Ederle as they both train for the Channel.\u003c/p>\n\u003cp>But again, the broader history is there for those who are curious and on its own terms this is a story that will keep you engaged. Much of that has to do with Ridley, who aside from \u003cem>Star Wars\u003c/em> has not been blessed with the most memorable roles. As an executive producer on \u003cem>Young Woman and the Sea\u003c/em>, she is perhaps signaling a new phase in her career in which she has more control over things. Trudy Ederle was a great choice, a perfect melding of actor and character that also shows dimensions we didn’t get to see from Rey.\u003c/p>\n\u003cp>A successful film like this is also a stark reminder that movies have only scratched the surface of the fascinating history of women in competitive sports. It doesn’t seem like a coincidence that more than a few of them have gone on to be classics. But maybe after this and \u003cem>Nyad\u003c/em>, open water swimming can take a bit of a breather.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Young Woman and the Sea’ is released nationwide on May 31, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Epstein’s positive influence on Trudy is spotlighted, but the fact of her management of the women’s swimming teams during three Olympic Games in the 1920s is brushed aside in service of creating a male antagonist. Charitably, it is a shorthand way to illuminate the very real sexism they all faced. It also erases Epstein’s real accomplishments in order to do so. This is a film that’s also very, very white, though they do include one Black swimmer who bonds with Ederle as they both train for the Channel.\u003c/p>\n\u003cp>But again, the broader history is there for those who are curious and on its own terms this is a story that will keep you engaged. Much of that has to do with Ridley, who aside from \u003cem>Star Wars\u003c/em> has not been blessed with the most memorable roles. As an executive producer on \u003cem>Young Woman and the Sea\u003c/em>, she is perhaps signaling a new phase in her career in which she has more control over things. Trudy Ederle was a great choice, a perfect melding of actor and character that also shows dimensions we didn’t get to see from Rey.\u003c/p>\n\u003cp>A successful film like this is also a stark reminder that movies have only scratched the surface of the fascinating history of women in competitive sports. It doesn’t seem like a coincidence that more than a few of them have gone on to be classics. But maybe after this and \u003cem>Nyad\u003c/em>, open water swimming can take a bit of a breather.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Young Woman and the Sea’ is released nationwide on May 31, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Walt Longmire and his deputy are poking around in his basement when she spots a relic of his youth, a hundred-pound Bob Simmons-model surfboard.\u003c/p>\n\u003cp>“You’re too big to surf,” she says.\u003c/p>\n\u003cp>“I didn’t used to be,” he says.\u003c/p>\n\u003cp>She notices that the front of the board is heavily dented.\u003c/p>\n\u003cp>“Tell me about that,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a long story, he replies. In fact, it’s long enough to form the heart of \u003cem>First Frost\u003c/em>, Craig Johnson’s 20th crime novel featuring Longmire, the sheriff of fictional Absaroka County, Wyoming.\u003c/p>\n\u003cp>[aside postid='arts_13958759']Flash back to the summer of 1964. Walt and his pal Henry Standing Bear, whose football careers at the University of Southern California recently came to an end, have enlisted in the military with the expectation that they will be sent to Vietnam. Their plan is to drive cross country to their assigned training facilities, but they have barely made it to Arizona when Walt’s truck runs off the road, stranding them in the small desert town of Bone Valley.\u003c/p>\n\u003cp>The town, they soon find, is as unwelcoming as its name. Get out as soon as you can, they are repeatedly told. Sometimes it’s a warning, sometimes a threat. Clearly something is wrong here, and Walt, already demonstrating the courage and persistence of a future sheriff, can’t let go of the mystery.\u003c/p>\n\u003cp>Meanwhile, back in the present, Longmire is under investigation for a fatal shooting recounted in \u003cem>The Longmire Defense\u003c/em>, last year’s installment of the series. The victim was a member of a wealthy and politically powerful family, which is now out for vengeance.\u003c/p>\n\u003cp>The author moves smoothly between the two time periods, keeping both stories moving at a crisp pace. The old story is the more suspenseful one involving, among other things, murderous drug smugglers, a former judge who runs Bone Valley like a dictator, and a dark secret about the incarceration camps of Japanese Americans during World War II that had once operated nearby.\u003c/p>\n\u003cp>[aside postid='arts_13958760']Johnson’s vivid, tightly written novel may remind readers of \u003cem>Bad Day at Black Rock\u003c/em>, a 1955 film in which an Army veteran played by Spencer Tracy arrives in a western town to deliver a medal and discovers the populace is harboring a dark secret.\u003c/p>\n\u003cp>Readers new to the series won’t have difficulty following the action, and longtime Longmire fans are likely to appreciate how the author fleshes out the main character’s backstory.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘First Frost’ is out now, via Viking.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Flash back to the summer of 1964. Walt and his pal Henry Standing Bear, whose football careers at the University of Southern California recently came to an end, have enlisted in the military with the expectation that they will be sent to Vietnam. Their plan is to drive cross country to their assigned training facilities, but they have barely made it to Arizona when Walt’s truck runs off the road, stranding them in the small desert town of Bone Valley.\u003c/p>\n\u003cp>The town, they soon find, is as unwelcoming as its name. Get out as soon as you can, they are repeatedly told. Sometimes it’s a warning, sometimes a threat. Clearly something is wrong here, and Walt, already demonstrating the courage and persistence of a future sheriff, can’t let go of the mystery.\u003c/p>\n\u003cp>Meanwhile, back in the present, Longmire is under investigation for a fatal shooting recounted in \u003cem>The Longmire Defense\u003c/em>, last year’s installment of the series. The victim was a member of a wealthy and politically powerful family, which is now out for vengeance.\u003c/p>\n\u003cp>The author moves smoothly between the two time periods, keeping both stories moving at a crisp pace. The old story is the more suspenseful one involving, among other things, murderous drug smugglers, a former judge who runs Bone Valley like a dictator, and a dark secret about the incarceration camps of Japanese Americans during World War II that had once operated nearby.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Johnson’s vivid, tightly written novel may remind readers of \u003cem>Bad Day at Black Rock\u003c/em>, a 1955 film in which an Army veteran played by Spencer Tracy arrives in a western town to deliver a medal and discovers the populace is harboring a dark secret.\u003c/p>\n\u003cp>Readers new to the series won’t have difficulty following the action, and longtime Longmire fans are likely to appreciate how the author fleshes out the main character’s backstory.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘First Frost’ is out now, via Viking.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just when you thought it was safe to to go back in the the water, she’s returned!\u003c/p>\n\u003cp>Otter 841, the subversive sea mama with a surfboard vendetta has been spotted again in the waters of Santa Cruz after a five-month hiatus. In a move that was entirely on brand, she reemerged on Saturday afternoon during a surf competition. One minute, Karl Anderle was sitting on his board, quietly keeping recreational surfers out of the competition zone. The next, 841 was behind him, lurking on the back of his board and visibly plotting her next move.\u003c/p>\n\u003cp>[aside postid='arts_13955125']“I’m going over in my mind what I should do,” \u003ca href=\"https://www.mercurynews.com/2024/05/28/elusive-surfboard-stealing-otter-841-back-in-santa-cruz-up-to-her-old-tricks/\">Anderle, 69, told \u003cem>The Mercury News\u003c/em>\u003c/a>. “I didn’t really want her to bite me. I didn’t want to be that guy fighting an otter in the middle of a surf contest.”\u003c/p>\n\u003cp>As 841 began indulging in her favorite pastime — using the nearest surfboard as a chew toy — Anderle opted to slide into the water and wait it out. Despite attempts to tip 841 back off his board and into the water, the six-year-old sea menace stayed put for a full 15 minutes.\u003c/p>\n\u003cfigure id=\"attachment_13958780\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1546732755-scaled-e1717006000497.jpg\" alt=\"A man in a wetsuit sits on a white surfboard facing a large sea otter floating on its back.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Otter 841 facing off with a surfer at Steamer Lane along the Santa Cruz coastline in July 2023, when she first rose to fame. \u003ccite>(Gary Coronado/Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Otter 841 achieved worldwide notoriety last summer after attacking surfers, stealing surfboards and generally seeking revenge against all aquaphiles. The still-extremely-cute marine mammal evaded repeated attempts to capture her, having learned how to outwit humanity while being reared, first, at the UC Santa Cruz Research Center and then at the Monterey Bay Aquarium, from whence she was released.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After 841 \u003ca href=\"https://www.youtube.com/watch?v=QIKzAHYwfp8\">showed up in October with a tiny pup in tow\u003c/a>, it was hypothesized that maybe her prior bad acts were simply the result of raging pregnancy hormones. (Relatable!) Her reappearance, however, suggests she’s still keen to snack on surfboards, or at the very least steal a seat on them. Otter 841 can be identified by her blue tracking tag. She should be considered armed (with tiny teeth) and likely to embarrass any humans in her vicinity.\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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