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"content": "\u003cp dir=\"ltr\">Sister Roma will lead two queer history bus tours and singalongs on June 27 as part of a month-long series of drag events celebrating San Francisco Pride.\u003c/p>\n\u003cp dir=\"ltr\">The famed Sister of Perpetual Indulgence will guide attendees on a 90-minute journey around downtown landmarks that hold queer historical significance. Later that afternoon, \u003ca href=\"https://www.instagram.com/bobbyfriday/\">Bobby Friday\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13930404/drag-laureate-darcy-drollinger-pride-san-francisco-oasis-nightclub\">D’Arcy Drollinger\u003c/a> will present performances from \u003ca href=\"https://www.kqed.org/arts/13929138/in-oakland-a-drag-fest-for-the-community-by-the-community\">Mahlae Balenciaga\u003c/a> and \u003ca href=\"https://www.instagram.com/thecarnieasada/?hl=en\">Carnie Asada\u003c/a> at \u003ca href=\"https://onemarket.com/\">One Market\u003c/a>. (Attendees also have the option of sticking around for One Market’s own drag revue and \u003ca href=\"https://onemarket.com/wp-content/uploads/2024/05/Pride_menu_web.pdf\">Pride-themed dinner\u003c/a> that night.)\u003c/p>\n\u003cp dir=\"ltr\">The June 27 celebrations will mark the grand finale of \u003ca href=\"https://downtownsf.org/do/drag-me-downtown-2024\">Drag Me Downtown\u003c/a>, a series of pop-up drag performances every Thursday in June, presented by the \u003ca href=\"https://downtownsf.org/\">Downtown SF Partnership\u003c/a>. On June 6, Harrington’s Bar and Grill will host \u003ca href=\"https://www.instagram.com/afrikaamerica/?hl=en\">Afrika America\u003c/a> and \u003ca href=\"https://www.instagram.com/oliverbranchdrag/\">Oliver Branch\u003c/a>. On the 13th, \u003ca href=\"https://www.instagram.com/tito.so.to/\">Tito Soto\u003c/a> and \u003ca href=\"https://www.instagram.com/amourateese/?hl=en\">Amoura Teese\u003c/a> will perform at PABU Izakaya. And on the 20th, \u003ca href=\"https://www.sgtdiewies.com/tyson-check-in\">Tyson Check-in\u003c/a> and \u003ca href=\"https://www.eyezen.org/kipper-snacks\">Kipper Snacks\u003c/a> will put on a show for The Third Floor at The Jay Hotel. Each event is hosted by Bobby Friday.\u003c/p>\n\u003cp dir=\"ltr\">[aside postid='arts_13930404']Though Drag Me Downtown is free to attend, those wishing to get their hands on some Pride 2024 goodies can \u003ca href=\"https://www.eventbrite.com/e/drag-me-downtown-2024-tickets-902788975127?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">pre-register for $10\u003c/a>, the proceeds of which will be donated to San Francisco’s \u003ca href=\"https://www.transgenderdistrict.org/about\">Transgender District\u003c/a>. Since 2017, the cultural district has been taking steps to ensure tenant protections for Tenderloin residents, working with the city to preserve sites of LGBTQ historical significance and providing workforce development programs and other community-minded activities.\u003c/p>\n\u003cp dir=\"ltr\">“As a San Francisco native and the city’s first drag laureate,” Drollinger shared in a statement, “my goal is and will always be to celebrate and elevate the art of drag. I am thrilled that I was asked to participate in bringing some sparkle to this fabulous series.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp dir=\"ltr\">Bobby Friday added: “I can think of no better way to celebrate Pride month by showcasing the talents of Bay Area drag performers at different venues around downtown, with its rich cultural history and beautiful spaces. Here’s to another fierce and fabulous Pride month celebrating what San Francisco has always been to me — a place that accepts and loves all!”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp dir=\"ltr\">\u003cem>Sister Roma will host two bus tours on \u003ca href=\"https://www.eventbrite.com/e/drag-me-downtown-a-queer-history-bus-tour-and-sing-along-1-pm-tickets-912379831637?aff=erelexpmlt\">June 27, at 1 p.m\u003c/a>. and 3:30 p.m. Early bird tickets cost $17.85 while general admission is $23.18. The second tour of the day has sold out.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp dir=\"ltr\">Sister Roma will lead two queer history bus tours and singalongs on June 27 as part of a month-long series of drag events celebrating San Francisco Pride.\u003c/p>\n\u003cp dir=\"ltr\">The famed Sister of Perpetual Indulgence will guide attendees on a 90-minute journey around downtown landmarks that hold queer historical significance. Later that afternoon, \u003ca href=\"https://www.instagram.com/bobbyfriday/\">Bobby Friday\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13930404/drag-laureate-darcy-drollinger-pride-san-francisco-oasis-nightclub\">D’Arcy Drollinger\u003c/a> will present performances from \u003ca href=\"https://www.kqed.org/arts/13929138/in-oakland-a-drag-fest-for-the-community-by-the-community\">Mahlae Balenciaga\u003c/a> and \u003ca href=\"https://www.instagram.com/thecarnieasada/?hl=en\">Carnie Asada\u003c/a> at \u003ca href=\"https://onemarket.com/\">One Market\u003c/a>. (Attendees also have the option of sticking around for One Market’s own drag revue and \u003ca href=\"https://onemarket.com/wp-content/uploads/2024/05/Pride_menu_web.pdf\">Pride-themed dinner\u003c/a> that night.)\u003c/p>\n\u003cp dir=\"ltr\">The June 27 celebrations will mark the grand finale of \u003ca href=\"https://downtownsf.org/do/drag-me-downtown-2024\">Drag Me Downtown\u003c/a>, a series of pop-up drag performances every Thursday in June, presented by the \u003ca href=\"https://downtownsf.org/\">Downtown SF Partnership\u003c/a>. On June 6, Harrington’s Bar and Grill will host \u003ca href=\"https://www.instagram.com/afrikaamerica/?hl=en\">Afrika America\u003c/a> and \u003ca href=\"https://www.instagram.com/oliverbranchdrag/\">Oliver Branch\u003c/a>. On the 13th, \u003ca href=\"https://www.instagram.com/tito.so.to/\">Tito Soto\u003c/a> and \u003ca href=\"https://www.instagram.com/amourateese/?hl=en\">Amoura Teese\u003c/a> will perform at PABU Izakaya. And on the 20th, \u003ca href=\"https://www.sgtdiewies.com/tyson-check-in\">Tyson Check-in\u003c/a> and \u003ca href=\"https://www.eyezen.org/kipper-snacks\">Kipper Snacks\u003c/a> will put on a show for The Third Floor at The Jay Hotel. Each event is hosted by Bobby Friday.\u003c/p>\n\u003cp dir=\"ltr\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though Drag Me Downtown is free to attend, those wishing to get their hands on some Pride 2024 goodies can \u003ca href=\"https://www.eventbrite.com/e/drag-me-downtown-2024-tickets-902788975127?utm-campaign=social&utm-content=attendeeshare&utm-medium=discovery&utm-term=listing&utm-source=cp&aff=ebdsshcopyurl\">pre-register for $10\u003c/a>, the proceeds of which will be donated to San Francisco’s \u003ca href=\"https://www.transgenderdistrict.org/about\">Transgender District\u003c/a>. Since 2017, the cultural district has been taking steps to ensure tenant protections for Tenderloin residents, working with the city to preserve sites of LGBTQ historical significance and providing workforce development programs and other community-minded activities.\u003c/p>\n\u003cp dir=\"ltr\">“As a San Francisco native and the city’s first drag laureate,” Drollinger shared in a statement, “my goal is and will always be to celebrate and elevate the art of drag. I am thrilled that I was asked to participate in bringing some sparkle to this fabulous series.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp dir=\"ltr\">Bobby Friday added: “I can think of no better way to celebrate Pride month by showcasing the talents of Bay Area drag performers at different venues around downtown, with its rich cultural history and beautiful spaces. Here’s to another fierce and fabulous Pride month celebrating what San Francisco has always been to me — a place that accepts and loves all!”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp dir=\"ltr\">\u003cem>Sister Roma will host two bus tours on \u003ca href=\"https://www.eventbrite.com/e/drag-me-downtown-a-queer-history-bus-tour-and-sing-along-1-pm-tickets-912379831637?aff=erelexpmlt\">June 27, at 1 p.m\u003c/a>. and 3:30 p.m. Early bird tickets cost $17.85 while general admission is $23.18. The second tour of the day has sold out.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s one of those strange but immutable truths of the movies that a song like Earth, Wind & Fire’s “September” can play in roughly a thousand films before a movie about a dog and a robot comes along and blows them all out of the water.\u003c/p>\n\u003cp>The animated \u003cem>Robot Dreams\u003c/em> is wordless, so the songs play an outsized influence in conjuring its whimsical and gently existential tone. But Pablo Berger’s \u003cem>Robot Dreams\u003c/em>, a 1980s New York-set fable about loved ones who come and go, doesn’t just use “September” for a scene or even two. It’s the soundtrack to the friendship between Dog and Robot (yes, those are the protagonists’ names in this disarmingly simple film), and its melody returns in various forms whenever they’re reminded of each other.\u003c/p>\n\u003cp>[aside postid='arts_13957803']To a remarkable degree, \u003cem>Robot Dreams\u003c/em> has fully imbibed all the melancholy and joy of Earth, Wind & Fire’s disco classic. Just as the song asks “Do you remember?” so too does \u003cem>Robot Dreams\u003c/em>, a sweetly wistful little movie that, like a good pop song, expresses something profound without wasting a word.\u003c/p>\n\u003cp>Remembering is also helpful when it comes to the film, itself. I first saw \u003cem>Robot Dreams\u003c/em> over a year ago at the Cannes Film Festival. Its release comes months after \u003cem>Robot Dreams\u003c/em> was Oscar nominated for best animated film. But for whatever reason, the film is only arriving in North American theaters this Friday.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0CHV_ZDlhrA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s an unconventional release pattern for an unconventional film. \u003cem>Robot Dreams\u003c/em>, adapted from Sara Varon’s 2007 graphic novel, is likewise an all-ages movie in a curious way. It’s very much for kids, but it’s also so mature in its depictions of relationships that older generations may swoon hardest for it.\u003c/p>\n\u003cp>\u003cem>Robot Dreams\u003c/em> begins in the East Village where Dog lives a rather lonely life. Before he sits down to eat a microwave dinner, he notices his solitary reflection in the TV screen. An ad, though, sparks Dog to order the Amica 2000. A few days later, a box arrives, Dog assembles its contents and soon a friendly robot is smiling back at him.\u003c/p>\n\u003cp>[aside postid='arts_13958101']Together, they have a grand old time around a New York colorfully rendered with pointillist detail. They jump the subway turnstiles, visit Woolworths and rollerblade in Central Park (with “September” playing on the boombox). But after an outing to Playland (which looks much more like Coney Island), Robot’s enthusiasm gets him into some trouble. After frolicking in the water, he lies down on the beach and later finds he can’t move. This may be a movie about a Dog who rollerblades and a Robot who eats hot dogs, but the scientific reality of rust is one suspense of disbelief too far for \u003cem>Robot Dreams\u003c/em>.\u003c/p>\n\u003cp>Despite all of Dog’s efforts, Robot is stuck, and, this being September, the beach is soon closed for the off-season. Much of \u003cem>Robot Dreams\u003c/em> passes through the seasons while Robot dreamily sleeps through the winter and Dog is forced to go on with his life, and maybe try to meet someone new.\u003c/p>\n\u003cp>The dreams of each can be surreal; Dog has a bowling alley visit with a snowman who bowls his own head, while Robot imagines a \u003cem>Wizard of Oz\u003c/em>-like fantasy. But both are consumed by fears of their friend’s abandonment while progressively finding new experiences and friends. New characters enter, with their own New Yorks (kite-flying in the park, rooftop barbeques) and their own soundtracks. \u003cem>Robot Dreams\u003c/em> movingly turns into a story about moving on while still cherishing the good times you once shared with someone — a valuable lesson to young and old, in friendship and romance.\u003c/p>\n\u003cp>[aside postid='arts_13957959']And even this sense of memory runs deeper in \u003cem>Robot Dreams\u003c/em> than you might be prepared for. Berger, the Spanish filmmaker whose movies include the 2012 black-and-white silent \u003cem>Blancanieves\u003c/em>, has filled his movie with countless bits of a bygone past, from Atari to Tab soda. The name Amica 2000 could be a pun for the Amiga 500, the early computer and harbinger of our digital present. Even more dramatic, though, is the way the Twin Towers often loom in the background in a film so connected to the month of September. There, too, is a poignant symbol of companions, friends and family members who vanished, but whose memories still stir within us.\u003c/p>\n\u003cp>This is, you might be thinking, a lot for a cartoon about a dog and a robot to evoke. And yet \u003cem>Robot Dreams\u003c/em> does so, beautifully. And it will leave you curiously lifted by the spirit and lyrics of one of the most-played wedding songs of all time: “Only blue talk and love, remember/ The true love we share today.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Robot Dreams’ is released nationwide on May 31, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s an unconventional release pattern for an unconventional film. \u003cem>Robot Dreams\u003c/em>, adapted from Sara Varon’s 2007 graphic novel, is likewise an all-ages movie in a curious way. It’s very much for kids, but it’s also so mature in its depictions of relationships that older generations may swoon hardest for it.\u003c/p>\n\u003cp>\u003cem>Robot Dreams\u003c/em> begins in the East Village where Dog lives a rather lonely life. Before he sits down to eat a microwave dinner, he notices his solitary reflection in the TV screen. An ad, though, sparks Dog to order the Amica 2000. A few days later, a box arrives, Dog assembles its contents and soon a friendly robot is smiling back at him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Together, they have a grand old time around a New York colorfully rendered with pointillist detail. They jump the subway turnstiles, visit Woolworths and rollerblade in Central Park (with “September” playing on the boombox). But after an outing to Playland (which looks much more like Coney Island), Robot’s enthusiasm gets him into some trouble. After frolicking in the water, he lies down on the beach and later finds he can’t move. This may be a movie about a Dog who rollerblades and a Robot who eats hot dogs, but the scientific reality of rust is one suspense of disbelief too far for \u003cem>Robot Dreams\u003c/em>.\u003c/p>\n\u003cp>Despite all of Dog’s efforts, Robot is stuck, and, this being September, the beach is soon closed for the off-season. Much of \u003cem>Robot Dreams\u003c/em> passes through the seasons while Robot dreamily sleeps through the winter and Dog is forced to go on with his life, and maybe try to meet someone new.\u003c/p>\n\u003cp>The dreams of each can be surreal; Dog has a bowling alley visit with a snowman who bowls his own head, while Robot imagines a \u003cem>Wizard of Oz\u003c/em>-like fantasy. But both are consumed by fears of their friend’s abandonment while progressively finding new experiences and friends. New characters enter, with their own New Yorks (kite-flying in the park, rooftop barbeques) and their own soundtracks. \u003cem>Robot Dreams\u003c/em> movingly turns into a story about moving on while still cherishing the good times you once shared with someone — a valuable lesson to young and old, in friendship and romance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And even this sense of memory runs deeper in \u003cem>Robot Dreams\u003c/em> than you might be prepared for. Berger, the Spanish filmmaker whose movies include the 2012 black-and-white silent \u003cem>Blancanieves\u003c/em>, has filled his movie with countless bits of a bygone past, from Atari to Tab soda. The name Amica 2000 could be a pun for the Amiga 500, the early computer and harbinger of our digital present. Even more dramatic, though, is the way the Twin Towers often loom in the background in a film so connected to the month of September. There, too, is a poignant symbol of companions, friends and family members who vanished, but whose memories still stir within us.\u003c/p>\n\u003cp>This is, you might be thinking, a lot for a cartoon about a dog and a robot to evoke. And yet \u003cem>Robot Dreams\u003c/em> does so, beautifully. And it will leave you curiously lifted by the spirit and lyrics of one of the most-played wedding songs of all time: “Only blue talk and love, remember/ The true love we share today.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Robot Dreams’ is released nationwide on May 31, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13958708\" class=\"wp-caption aligncenter\" style=\"max-width: 962px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958708\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM.png\" alt=\"A book cover featuring a sketch of a small child's face with thick head of hair and fangs.\" width=\"962\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM.png 962w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM-800x1010.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM-160x202.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-28-at-12.27.36-PM-768x969.png 768w\" sizes=\"(max-width: 962px) 100vw, 962px\">\u003cfigcaption class=\"wp-caption-text\">‘My Favorite Thing Is Monsters Book Two’ by Emil Ferris. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are two types of monsters: Ones that simply appear scary and ones that are scary by their cruelty. Karen Reyes is the former, but what does that make her troubled older brother, Deeze?\u003c/p>\n\u003cp>Emil Ferris has finally followed up on her visually stunning, 2017 debut graphic novel with its concluding half, \u003ca href=\"https://www.fantagraphics.com/products/my-favorite-thing-is-monsters-book-two\">\u003cem>My Favorite Thing Is Monsters Book 2\u003c/em>\u003c/a>. It picks up right where \u003cem>Book 1\u003c/em> left off (spoilers for \u003cem>Book 1\u003c/em> … now), with 10-year-old Karen in a fever dream as she processes her mother’s death from cancer and the revelation that she had another brother named Victor before his twin Deeze killed him.\u003c/p>\n\u003cp>[aside postid='arts_13939131']For the uninitiated, the story is essentially Karen’s diary as she dons a detective hat and oversized coat to solve mysteries — like who killed the upstairs neighbor and where her emaciated classmate disappeared to — in 1968 Chicago, featuring historical events like the Rev. Martin Luther King Jr.’s assassination and Vietnam War protests. Karen, a monster-loving Catholic school student who identifies more with werewolves than with girls, sketches her experiences in lined notebooks. She has an astounding ability to capture people — a technically skilled artist who also sees through her subjects and depicts their nature alongside their features. And she’s gay, something her beloved Mama definitely did not approve of and which she must now reconcile with the society she lives in.\u003c/p>\n\u003cp>\u003cem>Monsters\u003c/em> may be narrated by a kid, but it is definitely an adult book with adult language and themes. Ferris raises complicated issues ranging from the patriarchy’s role in homophobia and America’s role in eugenics to the merits of capitalism, socialism and communism. Along with why school sucks.\u003c/p>\n\u003cp>And I cannot give Ferris enough accolades for acknowledging the depth of children, who often see and understand more than most adults want to admit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ferris revels in gray areas and often calls taboos and moral lines into question, using Karen’s elementary-age perspective as an opportunity to see people not as their profession, race or sexuality, but as people — or, in any case, monsters, but equalizing regardless.\u003c/p>\n\u003cp>Although \u003cem>Book 2\u003c/em> has an introduction and brief callbacks to remind readers who’s who and what happened, it’s really best to read or reread \u003cem>Book 1\u003c/em> first. There are tons of characters at play and it’s a multi-faceted story that requires deep reading. The recaps are decent reminders, but they can’t possibly capture the nuance from \u003cem>Book 1\u003c/em> in just a page or two.\u003c/p>\n\u003cp>[aside postid='arts_13930727']If \u003cem>Book 2\u003c/em> seems almost too familiar, that’s because it follows the same basic plot arc as \u003cem>Book 1\u003c/em>, even down to starting and ending with wild dreams. But unlike its prequel, the plot jumps around with considerably more frequency and suddenness. Ferris leans on her readers to read between the lines and apply the same techniques for viewing her art that her characters use when they visit the Art Institute of Chicago.\u003c/p>\n\u003cp>\u003cem>Monsters\u003c/em> is an incredible feat of both storytelling and artistic achievement that makes for a brag-worthy coffee table art book, as well as a compelling story with a seriously intense moral and philosophical workout. Ferris is a must-have for any comic-lover’s collection.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘My Favorite Thing Is Monsters Book 2’ by Emil Ferris is released via Fantagraphics on May 28, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For the uninitiated, the story is essentially Karen’s diary as she dons a detective hat and oversized coat to solve mysteries — like who killed the upstairs neighbor and where her emaciated classmate disappeared to — in 1968 Chicago, featuring historical events like the Rev. Martin Luther King Jr.’s assassination and Vietnam War protests. Karen, a monster-loving Catholic school student who identifies more with werewolves than with girls, sketches her experiences in lined notebooks. She has an astounding ability to capture people — a technically skilled artist who also sees through her subjects and depicts their nature alongside their features. And she’s gay, something her beloved Mama definitely did not approve of and which she must now reconcile with the society she lives in.\u003c/p>\n\u003cp>\u003cem>Monsters\u003c/em> may be narrated by a kid, but it is definitely an adult book with adult language and themes. Ferris raises complicated issues ranging from the patriarchy’s role in homophobia and America’s role in eugenics to the merits of capitalism, socialism and communism. Along with why school sucks.\u003c/p>\n\u003cp>And I cannot give Ferris enough accolades for acknowledging the depth of children, who often see and understand more than most adults want to admit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ferris revels in gray areas and often calls taboos and moral lines into question, using Karen’s elementary-age perspective as an opportunity to see people not as their profession, race or sexuality, but as people — or, in any case, monsters, but equalizing regardless.\u003c/p>\n\u003cp>Although \u003cem>Book 2\u003c/em> has an introduction and brief callbacks to remind readers who’s who and what happened, it’s really best to read or reread \u003cem>Book 1\u003c/em> first. There are tons of characters at play and it’s a multi-faceted story that requires deep reading. The recaps are decent reminders, but they can’t possibly capture the nuance from \u003cem>Book 1\u003c/em> in just a page or two.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If \u003cem>Book 2\u003c/em> seems almost too familiar, that’s because it follows the same basic plot arc as \u003cem>Book 1\u003c/em>, even down to starting and ending with wild dreams. But unlike its prequel, the plot jumps around with considerably more frequency and suddenness. Ferris leans on her readers to read between the lines and apply the same techniques for viewing her art that her characters use when they visit the Art Institute of Chicago.\u003c/p>\n\u003cp>\u003cem>Monsters\u003c/em> is an incredible feat of both storytelling and artistic achievement that makes for a brag-worthy coffee table art book, as well as a compelling story with a seriously intense moral and philosophical workout. Ferris is a must-have for any comic-lover’s collection.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘My Favorite Thing Is Monsters Book 2’ by Emil Ferris is released via Fantagraphics on May 28, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last week, as YouTuber Jenny Nicholson’s review/eulogy for the shuttered Disney Star Wars hotel started making the rounds, I was curious. I’d of course heard about the “immersive experience” officially called Star Wars: Galactic Starcruiser, and here was someone who’d actually experienced the, um, experience. But then I saw the video’s running time — four hours and five minutes! — and I closed the tab faster than I do whenever the algorithm wants to show me some dumbass trying to pick up a cobra.\u003c/p>\n\u003cp>[aside postid='arts_13958493']Who has the kind of time, I wondered, to sit around and watch YouTube for half the damn workday? In this, the era of TikTok? And Reels? And in what is, we have all been repeatedly assured, a time of shrinking attention spans?\u003c/p>\n\u003cp>In the case of Nicholson’s Starcruiser video, millions and millions of people have the time, it turns out. And she’s not alone: Over the past few years, you may have noticed YouTube suggesting videos to you so long they make \u003cem>Lawrence of Arabia\u003c/em> seem downright punchy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T0CpOYZZZW4&t=1s\u003c/p>\n\u003cp>In my feed, most of these take the form of disquietingly deep — and often critical — dives into various aspects of nerdy pop culture. “That internet D&D show we all used to love sucks now, and here’s three hours worth of proof!” “That new movie that everyone loves sucks, and here’s 63 reasons why!” “Here’s a recap of that series no one but you and me is watching, and the 43 glaring errors in continuity it overlooked!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s not hard to understand why this is happening. Nerds gonna nerd, after all. We love what we love, and we’re prepared to corner you at a party, maybe over by the onion dip, and talk to you (OK: at you) about our every concern with it. At considerable length. (Why, yes, we do notice you gazing imploringly over our shoulders for someone, anyone, to rescue you; we just don’t care, because the really interesting thing about \u003cem>Buffy\u003c/em> Season 4 that most people overlook is… ) And of course the YouTube monetization model prizes every precious minute it gets to spend with those delicious eyeballs of yours. Passion + Profit-Seeking is a powerful motivator; these videos will keep coming.\u003c/p>\n\u003cp>Or, if you truly believe in the marketplace of ideas, maybe they won’t. After all, most of these long-haul grievance videos aren’t worth anywhere near the time commitment they demand, and spending so many hours watching such sustained negativity leaves you feeling coated in a kind of psychic grime, a residue of greasy cynicism. I should note that Nicholson’s Starcruiser video is a glaring exception — she’s passionate, yes, but admirably clear-eyed about that passion. She makes her points (her many, many, many points) with equanimity and humor, and she’s got the literal receipts. She’s also quick to praise those aspects of the experience worth praising, and smartly drills down on the question of value-for-money.\u003c/p>\n\u003cp>[aside postid='arts_13958101']But there’s no denying that a shift is happening. TikTok itself — that online smithy wherein memes get forged and hammered — is launching longer videos, and Mr. Beast, arguably the quintessential YouTuber, recently started pumping out longer videos based, he says, on viewer demand.\u003c/p>\n\u003cp>Now, me? I’m so old I remember thinking a 13-minute music video was downright audacious. And I’ll admit, I didn’t actually watch the Starcruiser video, I listened to it while driving to and from the city for a movie screening. But I do watch several actual-play D&D YouTube shows, which sometimes stretch past the four-hour mark. And back in the early aughts I’d happily sink endless hours into reading smart, well-written TV recaps that might as well have been novellas. Is there any substantive difference?\u003c/p>\n\u003cp>But I choose to be heartened by the rise of long-form video. Or more specifically: By the willingness of people to watch a single video for hours on end. It suggests that quality of work continues to matter — you do, after all, still have to earn all those extra minutes of our attention. And in a culture so quick to blame a raft of societal ills on shrinking attention spans, it offers a surprising and intriguing counter-narrative to the experts who cite audience data to dictate precisely how long a YouTube video, or a web article, or a podcast episode “should” be.\u003c/p>\n\u003cp>Turns out the answer isn’t quantitative, but qualitative — not precise length, but personal value.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s ‘Pop Culture Happy Hour’ newsletter. Listen to ‘Pop Culture Happy Hour’ on Apple Podcasts and Spotify.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, as YouTuber Jenny Nicholson’s review/eulogy for the shuttered Disney Star Wars hotel started making the rounds, I was curious. I’d of course heard about the “immersive experience” officially called Star Wars: Galactic Starcruiser, and here was someone who’d actually experienced the, um, experience. But then I saw the video’s running time — four hours and five minutes! — and I closed the tab faster than I do whenever the algorithm wants to show me some dumbass trying to pick up a cobra.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Who has the kind of time, I wondered, to sit around and watch YouTube for half the damn workday? In this, the era of TikTok? And Reels? And in what is, we have all been repeatedly assured, a time of shrinking attention spans?\u003c/p>\n\u003cp>In the case of Nicholson’s Starcruiser video, millions and millions of people have the time, it turns out. And she’s not alone: Over the past few years, you may have noticed YouTube suggesting videos to you so long they make \u003cem>Lawrence of Arabia\u003c/em> seem downright punchy.\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/T0CpOYZZZW4'\n title='//www.youtube.com/embed/T0CpOYZZZW4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In my feed, most of these take the form of disquietingly deep — and often critical — dives into various aspects of nerdy pop culture. “That internet D&D show we all used to love sucks now, and here’s three hours worth of proof!” “That new movie that everyone loves sucks, and here’s 63 reasons why!” “Here’s a recap of that series no one but you and me is watching, and the 43 glaring errors in continuity it overlooked!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s not hard to understand why this is happening. Nerds gonna nerd, after all. We love what we love, and we’re prepared to corner you at a party, maybe over by the onion dip, and talk to you (OK: at you) about our every concern with it. At considerable length. (Why, yes, we do notice you gazing imploringly over our shoulders for someone, anyone, to rescue you; we just don’t care, because the really interesting thing about \u003cem>Buffy\u003c/em> Season 4 that most people overlook is… ) And of course the YouTube monetization model prizes every precious minute it gets to spend with those delicious eyeballs of yours. Passion + Profit-Seeking is a powerful motivator; these videos will keep coming.\u003c/p>\n\u003cp>Or, if you truly believe in the marketplace of ideas, maybe they won’t. After all, most of these long-haul grievance videos aren’t worth anywhere near the time commitment they demand, and spending so many hours watching such sustained negativity leaves you feeling coated in a kind of psychic grime, a residue of greasy cynicism. I should note that Nicholson’s Starcruiser video is a glaring exception — she’s passionate, yes, but admirably clear-eyed about that passion. She makes her points (her many, many, many points) with equanimity and humor, and she’s got the literal receipts. She’s also quick to praise those aspects of the experience worth praising, and smartly drills down on the question of value-for-money.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But there’s no denying that a shift is happening. TikTok itself — that online smithy wherein memes get forged and hammered — is launching longer videos, and Mr. Beast, arguably the quintessential YouTuber, recently started pumping out longer videos based, he says, on viewer demand.\u003c/p>\n\u003cp>Now, me? I’m so old I remember thinking a 13-minute music video was downright audacious. And I’ll admit, I didn’t actually watch the Starcruiser video, I listened to it while driving to and from the city for a movie screening. But I do watch several actual-play D&D YouTube shows, which sometimes stretch past the four-hour mark. And back in the early aughts I’d happily sink endless hours into reading smart, well-written TV recaps that might as well have been novellas. Is there any substantive difference?\u003c/p>\n\u003cp>But I choose to be heartened by the rise of long-form video. Or more specifically: By the willingness of people to watch a single video for hours on end. It suggests that quality of work continues to matter — you do, after all, still have to earn all those extra minutes of our attention. And in a culture so quick to blame a raft of societal ills on shrinking attention spans, it offers a surprising and intriguing counter-narrative to the experts who cite audience data to dictate precisely how long a YouTube video, or a web article, or a podcast episode “should” be.\u003c/p>\n\u003cp>Turns out the answer isn’t quantitative, but qualitative — not precise length, but personal value.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s ‘Pop Culture Happy Hour’ newsletter. Listen to ‘Pop Culture Happy Hour’ on Apple Podcasts and Spotify.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Naked Ambition’ Brings Bunny Yeager’s Photography to a 21st Century Audience",
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"content": "\u003cp>It’s taken the better part of 60 years, but the bold women who helped kickstart America’s sexual revolution seem to finally be getting their due on film.\u003c/p>\n\u003cp>[aside postid='arts_13953248']Earlier this year, San Francisco’s own Carol Doda was honored with \u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">\u003cem>Topless at the Condor\u003c/em>\u003c/a>, a documentary recounting the dancer’s fame as North Beach’s first topless performer and the hardships she faced after her heyday. Now comes \u003ca href=\"https://www.imdb.com/title/tt10445326/\">\u003cem>Naked Ambition\u003c/em>\u003c/a>, a film that captures the life story of Bunny Yeager, a photographer and model who created some of the most iconic pin-up images of the 1950s and ’60s.\u003c/p>\n\u003cp>\u003cem>Naked Ambition\u003c/em> is careful to pay tribute to what made Yeager so special. Though attention early in her career came from being dubbed the “world’s prettiest photographer,” the documentary explains in detail just why her work was so special at the time and why it continues to endure now. The film also demonstrates the ways in which her photographs and stylistic choices have impacted popular culture in the decades since.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Iwy83i5XDx8\u003c/p>\n\u003cp>As seen in Dennis Scholl and Kareem Tausch’s film, Yeager didn’t merely shoot images that titillated, she made sure that each of her models’ personalities had space to shine through. Her ability to put women at ease and to present their nudity in joyful, celebratory ways was born from her own experiences as a model in the 1940s. It was Yeager’s inherent humor and playfulness that transformed Bettie Page from an underground fetish model to the leopard-print-clad icon she is most commonly thought of today. Yeager’s own work with self-portraits also broke new ground.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think it’s so important that she was a bombshell pin-up girl,” burlesque star Dita Von Teese notes in the film. “It really made all the difference in how she photographed other people.”\u003c/p>\n\u003cp>One of the most fascinating elements of \u003cem>Naked Ambition\u003c/em> is the way in which Yeager managed to walk a line between sexually liberated creative and 1950s domestic goddess. Though dedicated to her two daughters and to building a suburban home in Miami, Yeager also had zero qualms about taking photos of women in various states of undress for publications like \u003cem>Playboy\u003c/em>. (Yeager was one of the magazine’s first regular contributors and first female photographers. She counted Hugh Hefner as a close personal friend.)\u003c/p>\n\u003cp>Interviewees in the documentary include cultural commentators, Yeager’s friends and family members, individuals tasked with safeguarding Yeager’s legacy, and models with fond memories of working with the photographer, including \u003ca href=\"https://www.legacy.com/us/obituaries/herald/name/marcia-ludwig-obituary?id=33129914\">Marcia Valibus\u003c/a> and \u003ca href=\"https://www.maikaihistory.com/2016/08/07/nani-maka-tropical-maiden/\">Nani Maka\u003c/a>. There is also wonderful archival footage of Yeager at work, as well as some words between her and Bettie Page recorded in a 1993 conversation for \u003cem>Interview\u003c/em> magazine.\u003c/p>\n\u003cfigure id=\"attachment_13958173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bunny_self_portrait_four_copy-e1716246569243.jpg\" alt=\"A beautiful 1950s-era woman wearing a low cut top, looks down towards her camera.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">When her career behind the camera began in the 1950s, Bunny Yeager was dubbed the ‘world’s prettiest photographer.’ \u003ccite>(Courtesy SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As with many women who make their names working in the sex industry, Yeager’s later life came with some extra challenges. The photographer struggled financially because her tone and aesthetics fell out of favor in the 1970s, as porn hit the mainstream. (“The Yeager photographic style does not parallel the contemporary mood and image of \u003cem>Penthouse\u003c/em> magazine,” one stinging rejection letter reads.) Only with the 1990s rise of rockabilly and swing did Yeager’s work find a new generation of fans. During the lull before, she made ends meet with work in graphic design and even as a nightclub singer.\u003c/p>\n\u003cp>Yeager’s personal life was also impacted by her career. One of her daughters, Cherilu Irwin, remains ashamed of her mother’s catalog of work, speaking openly of her disapproval in \u003cem>Naked Ambition\u003c/em>. When asked what she thinks her mother’s legacy is, Irwin leaves a long pause before openly wishing Yeager had not followed the career path she followed. Irwin’s longing to disassociate from her mom’s work has also clearly been a source of tension between her and her sister Lisa, who, in contrast, feels very proud of Yeager’s accomplishments.\u003c/p>\n\u003cp>[aside postid='arts_13954358']\u003cem>Naked Ambition\u003c/em> isn’t all perfect. One gets the sense that darker elements of Yeager’s story are glossed over for the sake of a more upbeat veneer. There is no commentary about the fact that her husband Bud Irwin was fired from the police force after being charged with falsifying burglary reports. There is little mention of the toll that his suicide in 1977 took on her. The fact that one of her best friends — and favorite models — \u003ca href=\"https://www.themoviedb.org/person/1790519-maria-stinger?language=en-US\">Maria Stinger\u003c/a> died by suicide in 1967 isn’t even touched on, despite the fact that Yeager’s working relationship with Stinger is prominently featured.\u003c/p>\n\u003cp>Overall, \u003cem>Naked Ambition\u003c/em> is an entertaining snapshot of a resourceful and endlessly creative woman who was determined to live life on her own terms. It works fabulously as an introduction to an often-forgotten talent. It’s just a shame that, now and again, it leaves a little too much to the imagination.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://roxie.com/film/sf-docfest-2024-naked-ambition-steph-and-the-customers/\">‘Naked Ambition’ screens at San Francisco’s Roxie Cinema\u003c/a> as part of SF DocFest, on May 31, 2024 at 6:30 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Earlier this year, San Francisco’s own Carol Doda was honored with \u003ca href=\"https://www.kqed.org/arts/13953248/topless-at-the-condor-movie-review-carol-doda-documentary-north-beach-history\">\u003cem>Topless at the Condor\u003c/em>\u003c/a>, a documentary recounting the dancer’s fame as North Beach’s first topless performer and the hardships she faced after her heyday. Now comes \u003ca href=\"https://www.imdb.com/title/tt10445326/\">\u003cem>Naked Ambition\u003c/em>\u003c/a>, a film that captures the life story of Bunny Yeager, a photographer and model who created some of the most iconic pin-up images of the 1950s and ’60s.\u003c/p>\n\u003cp>\u003cem>Naked Ambition\u003c/em> is careful to pay tribute to what made Yeager so special. Though attention early in her career came from being dubbed the “world’s prettiest photographer,” the documentary explains in detail just why her work was so special at the time and why it continues to endure now. The film also demonstrates the ways in which her photographs and stylistic choices have impacted popular culture in the decades since.\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/Iwy83i5XDx8'\n title='//www.youtube.com/embed/Iwy83i5XDx8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As seen in Dennis Scholl and Kareem Tausch’s film, Yeager didn’t merely shoot images that titillated, she made sure that each of her models’ personalities had space to shine through. Her ability to put women at ease and to present their nudity in joyful, celebratory ways was born from her own experiences as a model in the 1940s. It was Yeager’s inherent humor and playfulness that transformed Bettie Page from an underground fetish model to the leopard-print-clad icon she is most commonly thought of today. Yeager’s own work with self-portraits also broke new ground.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think it’s so important that she was a bombshell pin-up girl,” burlesque star Dita Von Teese notes in the film. “It really made all the difference in how she photographed other people.”\u003c/p>\n\u003cp>One of the most fascinating elements of \u003cem>Naked Ambition\u003c/em> is the way in which Yeager managed to walk a line between sexually liberated creative and 1950s domestic goddess. Though dedicated to her two daughters and to building a suburban home in Miami, Yeager also had zero qualms about taking photos of women in various states of undress for publications like \u003cem>Playboy\u003c/em>. (Yeager was one of the magazine’s first regular contributors and first female photographers. She counted Hugh Hefner as a close personal friend.)\u003c/p>\n\u003cp>Interviewees in the documentary include cultural commentators, Yeager’s friends and family members, individuals tasked with safeguarding Yeager’s legacy, and models with fond memories of working with the photographer, including \u003ca href=\"https://www.legacy.com/us/obituaries/herald/name/marcia-ludwig-obituary?id=33129914\">Marcia Valibus\u003c/a> and \u003ca href=\"https://www.maikaihistory.com/2016/08/07/nani-maka-tropical-maiden/\">Nani Maka\u003c/a>. There is also wonderful archival footage of Yeager at work, as well as some words between her and Bettie Page recorded in a 1993 conversation for \u003cem>Interview\u003c/em> magazine.\u003c/p>\n\u003cfigure id=\"attachment_13958173\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958173\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/bunny_self_portrait_four_copy-e1716246569243.jpg\" alt=\"A beautiful 1950s-era woman wearing a low cut top, looks down towards her camera.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">When her career behind the camera began in the 1950s, Bunny Yeager was dubbed the ‘world’s prettiest photographer.’ \u003ccite>(Courtesy SF DocFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As with many women who make their names working in the sex industry, Yeager’s later life came with some extra challenges. The photographer struggled financially because her tone and aesthetics fell out of favor in the 1970s, as porn hit the mainstream. (“The Yeager photographic style does not parallel the contemporary mood and image of \u003cem>Penthouse\u003c/em> magazine,” one stinging rejection letter reads.) Only with the 1990s rise of rockabilly and swing did Yeager’s work find a new generation of fans. During the lull before, she made ends meet with work in graphic design and even as a nightclub singer.\u003c/p>\n\u003cp>Yeager’s personal life was also impacted by her career. One of her daughters, Cherilu Irwin, remains ashamed of her mother’s catalog of work, speaking openly of her disapproval in \u003cem>Naked Ambition\u003c/em>. When asked what she thinks her mother’s legacy is, Irwin leaves a long pause before openly wishing Yeager had not followed the career path she followed. Irwin’s longing to disassociate from her mom’s work has also clearly been a source of tension between her and her sister Lisa, who, in contrast, feels very proud of Yeager’s accomplishments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Naked Ambition\u003c/em> isn’t all perfect. One gets the sense that darker elements of Yeager’s story are glossed over for the sake of a more upbeat veneer. There is no commentary about the fact that her husband Bud Irwin was fired from the police force after being charged with falsifying burglary reports. There is little mention of the toll that his suicide in 1977 took on her. The fact that one of her best friends — and favorite models — \u003ca href=\"https://www.themoviedb.org/person/1790519-maria-stinger?language=en-US\">Maria Stinger\u003c/a> died by suicide in 1967 isn’t even touched on, despite the fact that Yeager’s working relationship with Stinger is prominently featured.\u003c/p>\n\u003cp>Overall, \u003cem>Naked Ambition\u003c/em> is an entertaining snapshot of a resourceful and endlessly creative woman who was determined to live life on her own terms. It works fabulously as an introduction to an often-forgotten talent. It’s just a shame that, now and again, it leaves a little too much to the imagination.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://roxie.com/film/sf-docfest-2024-naked-ambition-steph-and-the-customers/\">‘Naked Ambition’ screens at San Francisco’s Roxie Cinema\u003c/a> as part of SF DocFest, on May 31, 2024 at 6:30 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Let’s all be clear, if we weren’t already, that when it comes to Jennifer Lopez, it’s about the love story. Always the love story.\u003c/p>\n\u003cp>J.Lo the pop star, singing about rekindled love on her latest album, \u003cem>This is Me … Now\u003c/em>. J.Lo the rom-com regular, making movies about seeking love (including the extremely autobiographical film of the same name.) J.Lo the real-life celebrity goddess, in countless headlines about … what else?\u003c/p>\n\u003cp>[aside postid='arts_13957540']Love, for better or worse.\u003c/p>\n\u003cp>And so if we tell you that now, we have J.Lo in \u003cem>Atlas\u003c/em>, playing a data analyst who travels to a planet populated solely by evil AI bots preparing to extinguish humanity, well, your only question really should be, “Where’s the love story?”\u003c/p>\n\u003cp>Glad you asked! Because there is one. It may not be with a human. It may actually be with a computer program. But there is one. Because \u003cem>Atlas\u003c/em>, an often ridiculous sci-fi epic with dialogue cheesier than a Brie wheel but also an old-fashioned, human heart o’ gold, is a J.Lo movie. Through and through.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We’ll give the filmmakers some credit: \u003cem>Atlas\u003c/em>, directed by Brad Peyton (\u003cem>San Andreas\u003c/em>) is timely. And not just because Lopez has been in the news lately, but because the subject is AI — which has been in the news even more than Bennifer, believe it or not.\u003c/p>\n\u003cp>We begin our story on Earth, way off into the future, at a time where someone can say “Remember there used to be things called smartphones?” and everyone laughs. A montage of news reports informs us that things have not been going well for the human race. AI, created to advance humanity, has turned against it, killing over 1 million civilians.\u003c/p>\n\u003cp>The evil AI leader is Harlan (Simu Liu), who after turning on humanity has escaped to an unknown location far from Earth. But when an associate of his, Casca, is captured on Earth, the head of ICN, a coalition of nations fighting the AI menace, calls on Atlas Shepherd (Lopez) to help question him. Who better than the woman who’s devoted her life to the hunt for Harlan?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jokpt_LJpbw\u003c/p>\n\u003cp>We learn Atlas is not a happy person. Also, she’s addicted to coffee — quad Americanos, to be precise. And she hates — absolutely hates — AI, for reasons unknown.\u003c/p>\n\u003cp>[aside postid='arts_13957803']Anyway, Atlas deftly manages to obtain Harlan’s location from Casca, and soon finds herself begging to join a mission to his far-off planet to capture the villainous bot, with whom she shares a mysterious past connection. At first, mission commander Banks (Sterling K. Brown) objects strenuously, but quickly and rather illogically changes his mind. (Both Liu and Brown deserve much better roles than the generic, lifeless ones they’re given.)\u003c/p>\n\u003cp>Soon they’re off, to GR-39 in the Andromeda galaxy, where the ICN space rangers fall into a disastrous trap laid by Harlan. It’s here that Atlas meets the most important other person in the movie — well, not a person. It’s her AI software, who proves her crucial ally once Atlas is forced to crash land, in her mechanized battle suit, onto the planet.\u003c/p>\n\u003cp>The key issue is trust-building. Atlas, as we said, doesn’t trust AI. As the two get to know each other, the software gives himself (he has a “default” male voice) a name: Smith\u003c/p>\n\u003cp>Atlas: “Is that really necessary?” Smith: “Names create an emotional reaction.” Atlas: “You’re a computer program.”\u003c/p>\n\u003cp>The plan consists of finding Harlan, defeating his dastardly plot to destroy humanity and getting off the planet — all while hopefully staying alive. At every step, Smith informs Atlas with all the data at his disposal how precisely desperate the odds are. This results in some amusing banter as Smith, voiced by Gregory James Cohan, “learns” sarcasm and humor.\u003c/p>\n\u003cp>As for Atlas, she needs to learn how to let down her guard — or rather, her brain walls. Her mistrust of AI leads her to stubbornly refuse (at first) Smith’s entreaties to use the “neural link” — a pathway into each other’s brains — that will vastly enhance Atlas’ chances of survival, combining her analytic capacity with Smith’s data access.\u003c/p>\n\u003cp>[aside postid='arts_13958145']Harlan doesn’t appear until halfway into the movie, and we soon learn something about the tragic past he shares with Atlas. In any case, it’s Smith, not Harlan, that ultimately evokes real feeling from Atlas — and gives Lopez a chance to emote, which she does reasonably well given the mediocre dialogue. You could call it a futuristic triangle: Human, bad AI, good AI.\u003c/p>\n\u003cp>Who will win out? Our protocol, as Smith would say, doesn’t allow us to give spoilers. But you can guess one idea that emerges shining bright: It’s a four letter word that starts with “L.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Atlas’ begins streaming on Netflix on May 24, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Love, for better or worse.\u003c/p>\n\u003cp>And so if we tell you that now, we have J.Lo in \u003cem>Atlas\u003c/em>, playing a data analyst who travels to a planet populated solely by evil AI bots preparing to extinguish humanity, well, your only question really should be, “Where’s the love story?”\u003c/p>\n\u003cp>Glad you asked! Because there is one. It may not be with a human. It may actually be with a computer program. But there is one. Because \u003cem>Atlas\u003c/em>, an often ridiculous sci-fi epic with dialogue cheesier than a Brie wheel but also an old-fashioned, human heart o’ gold, is a J.Lo movie. Through and through.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We’ll give the filmmakers some credit: \u003cem>Atlas\u003c/em>, directed by Brad Peyton (\u003cem>San Andreas\u003c/em>) is timely. And not just because Lopez has been in the news lately, but because the subject is AI — which has been in the news even more than Bennifer, believe it or not.\u003c/p>\n\u003cp>We begin our story on Earth, way off into the future, at a time where someone can say “Remember there used to be things called smartphones?” and everyone laughs. A montage of news reports informs us that things have not been going well for the human race. AI, created to advance humanity, has turned against it, killing over 1 million civilians.\u003c/p>\n\u003cp>The evil AI leader is Harlan (Simu Liu), who after turning on humanity has escaped to an unknown location far from Earth. But when an associate of his, Casca, is captured on Earth, the head of ICN, a coalition of nations fighting the AI menace, calls on Atlas Shepherd (Lopez) to help question him. Who better than the woman who’s devoted her life to the hunt for Harlan?\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/Jokpt_LJpbw'\n title='//www.youtube.com/embed/Jokpt_LJpbw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We learn Atlas is not a happy person. Also, she’s addicted to coffee — quad Americanos, to be precise. And she hates — absolutely hates — AI, for reasons unknown.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Anyway, Atlas deftly manages to obtain Harlan’s location from Casca, and soon finds herself begging to join a mission to his far-off planet to capture the villainous bot, with whom she shares a mysterious past connection. At first, mission commander Banks (Sterling K. Brown) objects strenuously, but quickly and rather illogically changes his mind. (Both Liu and Brown deserve much better roles than the generic, lifeless ones they’re given.)\u003c/p>\n\u003cp>Soon they’re off, to GR-39 in the Andromeda galaxy, where the ICN space rangers fall into a disastrous trap laid by Harlan. It’s here that Atlas meets the most important other person in the movie — well, not a person. It’s her AI software, who proves her crucial ally once Atlas is forced to crash land, in her mechanized battle suit, onto the planet.\u003c/p>\n\u003cp>The key issue is trust-building. Atlas, as we said, doesn’t trust AI. As the two get to know each other, the software gives himself (he has a “default” male voice) a name: Smith\u003c/p>\n\u003cp>Atlas: “Is that really necessary?” Smith: “Names create an emotional reaction.” Atlas: “You’re a computer program.”\u003c/p>\n\u003cp>The plan consists of finding Harlan, defeating his dastardly plot to destroy humanity and getting off the planet — all while hopefully staying alive. At every step, Smith informs Atlas with all the data at his disposal how precisely desperate the odds are. This results in some amusing banter as Smith, voiced by Gregory James Cohan, “learns” sarcasm and humor.\u003c/p>\n\u003cp>As for Atlas, she needs to learn how to let down her guard — or rather, her brain walls. Her mistrust of AI leads her to stubbornly refuse (at first) Smith’s entreaties to use the “neural link” — a pathway into each other’s brains — that will vastly enhance Atlas’ chances of survival, combining her analytic capacity with Smith’s data access.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Harlan doesn’t appear until halfway into the movie, and we soon learn something about the tragic past he shares with Atlas. In any case, it’s Smith, not Harlan, that ultimately evokes real feeling from Atlas — and gives Lopez a chance to emote, which she does reasonably well given the mediocre dialogue. You could call it a futuristic triangle: Human, bad AI, good AI.\u003c/p>\n\u003cp>Who will win out? Our protocol, as Smith would say, doesn’t allow us to give spoilers. But you can guess one idea that emerges shining bright: It’s a four letter word that starts with “L.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Atlas’ begins streaming on Netflix on May 24, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[aside postid='arts_13957998']June is around the corner, meaning summer is almost here! As we look forward to travel and staycations, plane rides and trips to the beach, we’ve asked our book critics for some advice: What upcoming fiction and nonfiction are they most looking forward to reading?\u003c/p>\n\u003cp>Their picks range from memoirs to sci-fi and fantasy to translations, love stories and everything in between. Here’s a look:\u003c/p>\n\u003chr>\n\u003ch3>June\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/daughter_custom-b786e59ae645b23b705710ab415dc3a27f150a5f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Redhook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Daughter of the Merciful Deep’ by Leslye Penelope\u003c/strong>\u003c/p>\n\u003cp>I was hooked when I first saw the gorgeous cover for \u003cem>Daughter of the Merciful Deep\u003c/em> by Leslye Penelope. But the novel’s premise put it at the top of my summer reading list. Penelope is known for unforgettable characters, world-building, beautiful writing and robust storytelling. Her latest work, inspired by actual events — the drowned Black towns of the American South — promises a magical, mythical and powerful tale of a young woman’s quest to save her town. A historical fantasy must-read. (June 4) — \u003cem>Denny Bryce\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/futurewascolor_custom-8cf072dcb45a69feb8bf38d30adb3a03422fce58.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Counterpoint LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Future Was Color’ by Patrick Nathan\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Future Was Color\u003c/em> by Patrick Nathan has everything I look for in a book: a unique and startling voice, a queer protagonist and a deep understanding of a particular time and place. George — once György — is a gay Hungarian immigrant working as a screenwriter in McCarthy-era Hollywood, occasionally fantasizing about his officemate, Jack. When a once-famous actress named Madeline invites George to stay and write at her spacious Malibu house, she won’t take no for an answer — and so George finds himself in a hedonistic milieu where pleasure, politics and strong personalities intermingle. (June 4) — \u003cem>Ilana Masad\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/mirrored_custom-278fb8c0571ce760702cf2f0b0e763480f39862b.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (S&S/Saga Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Mirrored Heavens: Between Earth & Sky, Book 3’ by Rebecca Roanhorse\u003c/strong>\u003c/p>\n\u003cp>Rebecca Roanhorse is one of my auto-read authors — and one major reason is because of her fire \u003cem>Between Earth and Sky\u003c/em> series. That trilogy comes to a stunning, fevered conclusion with \u003cem>Mirrored Heavens\u003c/em>. All of the characters you love, hate and love to hate will converge on the city of Tova. Get ready for an epic battle between ancient gods, their human avatars and the mortals caught in between. (June 4) \u003cem>— Alex Brown\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/singlikefish_custom-08ec44af144d163477bad03e23664864c096488f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Crown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Sing Like Fish: How Sound Rules Life Under Water’ by Amorina Kingdon\u003c/strong>\u003c/p>\n\u003cp>You may know about \u003ca href=\"https://www.theguardian.com/environment/2021/jul/13/loneliest-whale-in-the-world-search\">52 Blue\u003c/a>, whose vocalizations likely go unheard by some other whales; it captured worldwide sympathy and became a pop-culture metaphor. But did you know \u003cem>all\u003c/em> \u003ca href=\"https://www.bbc.com/news/science-environment-68358414\">whale song is critically disrupted by ships\u003c/a>? If that gets you wondering, keep an eye out for \u003cem>Sing Like Fish\u003c/em>, which promises to illuminate the fragile symphony of the deep. (June 4) —\u003cem> Genevieve Valentine\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/consent_custom-08d1ad496975300988db3f69077a2990ae9a4073.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Consent: A Memoir’ by Jill Ciment\u003c/strong>\u003c/p>\n\u003cp>I look forward to reading Jill Ciment’s \u003cem>Consent \u003c/em>and to the discussions it’s sure to provoke. In this follow-up memoir to \u003cem>Half a Life,\u003c/em> Ciment reconsiders what she wrote 25 years ago about her teenage affair and marriage to her art teacher, 30 years her senior. \u003cem>Half a Life \u003c/em>was written before the #MeToo movement, and before her husband died at the age of 93 after 45 years of marriage. \u003cem>Consent \u003c/em>promises a fuller picture. (June 11) — \u003cem>Heller McAlpin\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/godmother_custom-ff8270a1d4a20fda0c303d080ef095532b512f9d.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Publisher Union Square & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Do What Godmother Says’ by L.S. Stratton\u003c/strong>\u003c/p>\n\u003cp>As we continue to experience the frenzy of Harlem Renaissance celebrations, commemorations and historical resonance, \u003cem>Do What Godmother Says\u003c/em> by L.S. Stratton is the perfect addition to the litany of works set in this artistic period this year. It examines the intense and frequently degenerating relationship between patrons and artists during this intellectual and cultural movement. In this dual-timeline gothic thriller, a modern writer discovers a family heirloom painting by a Harlem Renaissance artist, which connects her family to a mysterious past. This historical novel is one I’m eager to read because it deftly exposes the layers of creative ownership, especially when race and wealth are involved. (June 11) — \u003cem>Keishel Williams\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/horrormovie_custom-585da57f9b35c75005e2591f96db69eb8900038d.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Horror Movie: A Novel’ by Paul Tremblay\u003c/strong>\u003c/p>\n\u003cp>Paul Tremblay is one of the most entertaining and innovative voices in contemporary fiction regardless of genre. \u003cem>Horror Movie\u003c/em>, a story about a cursed movie that never came out and is about to get a remake, is a love letter to horror novels and horror movies, as well as a tense narrative that will redefine the cursed film subgenre. Tremblay is one of the modern masters of horror, and this new novel promises to be packed with the author’s distinctive voice, knack for ambiguity and intrigue, and superb atmosphere. (June 11) —\u003cem> Gabino Iglesias\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/cuethesun_custom-d017b905e1f57c346bd155e2b1e00b7e8a5018b3.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Cue The Sun! The Invention of Reality TV’ by Emily Nussbaum\u003c/strong>\u003c/p>\n\u003cp>Every so often there’s a nonfiction title I covet like it’s the next installment in my favorite mystery series. This summer it’s \u003cem>Cue the Sun! \u003c/em>Based on in-depth interviews with more than 300 sources from every aspect of the production process, this book is a cultural history of the genre that ate American entertainment, from \u003cem>New Yorker\u003c/em> critic Emily Nussbaum. It combines the appeal of a page-turning thriller and the heft of serious scholarship. Juicy and thoughtful, it’s a must-read for anyone interested in television or popular culture. (June 25) — \u003cem>Carole V. Bell\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>July\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/undermining_custom-0ab0ee15894c33905bc361a0c1dd2073df28cf79.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Orbit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Undermining of Twyla and Frank’ by Megan Bannen\u003c/strong>\u003c/p>\n\u003cp>In this return to the delightfully wacky world established in one of my personal top-five romance novels of all time, \u003cem>The\u003c/em> \u003cem>Undertaking of Hart and Mercy\u003c/em>, Megan Bannen takes on the friends to lovers trope with a combination of madcap \u003cem>joie de vivre\u003c/em> and the exhausted practicality of a mom who’s had enough. Also, there are dragons! (July 2) \u003cem>— Caitlyn Paxson\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/anthropologists_custom-fafa91131dbe50c4d7e17dad7a6d5e8262282d1f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Anthropologists’ by Ayşegül Savaş\u003c/strong>\u003c/p>\n\u003cp>I am eagerly awaiting Ayşegül Savaş’ \u003cem>The Anthropologists\u003c/em>. Born in Istanbul, Savaş has lived in England, Denmark and the U.S. also and now resides in France; in this novel she takes up themes of cultural migration through focus on a young couple seeking an apartment in a foreign city. I’m intrigued to discover how Savaş gifts her characters with an anthropological lens of exploration. (July 9) — \u003cem>Barbara J. King \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/elevator_custom-dcdd9705bb7ed0ee4d0cd6c1044b7affb5f454c9.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (New Directions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Elevator in Saigon by Thuân’ translated by Nguyen An Lý\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Elevator in Saigon\u003c/em> is a literal and structural \u003cem>exquisite corpse\u003c/em>, capturing Vietnam’s eventful period from 1954 to 2004. Mimicking an elevator’s movement, the novel heightens our yearning for romance and mystery, while unflinchingly exposing such narrative shaft. Channeling Marguerite Duras and Patrick Modiano, the book also offers a dead-on tour of a society cunningly leaping from one ideological mode to the next. As if challenging Rick’s parting words to Ilsa in \u003cem>Casablanca\u003c/em>, Thuận’s sophomore novel in English implies that geopolitical debacles might have been mitigated if personal relations were held in more elevated regard than “a hill of beans.” (July 9) —\u003cem> Thúy Đinh\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/goodnighttokyo_custom-5e0f418add83234a499f5adf8225cb5a1671c022.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Europa Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Goodnight Tokyo’ by Atsuhiro Yoshida, translated by Haydn Trowell\u003c/strong>\u003c/p>\n\u003cp>Atsuhiro Yoshida’s \u003cem>Goodnight Tokyo\u003c/em> begins with a film company procurer who’s tasked with finding fresh kumquats for a production. From there, interlinked tales of Tokyo residents unspool in unpredictable directions. Characters range from a cabdriver to a star of a detective TV series who might be an actual detective. Readers will be reminded of Jim Jarmusch’s 1991 movie \u003cem>Night on Earth\u003c/em>, which also takes place in the wee hours of the morning and threads together the stories of strangers. (July 9) — \u003cem>Leland Cheuk \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/navola_custom-9ffec1a70800c395d9dfba994a9592218ea4b9ca.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Navola: A Novel’ by Paolo Bacigalupi\u003c/strong>\u003c/p>\n\u003cp>I love when a beloved author — especially one known mostly for a certain type of book — throws us a daring curveball. \u003cem>Navola\u003c/em> is exactly such a pitch. Paolo Bacigalupi, who has won pretty much every major award in the science-fiction field with his climate-conscious dystopianism, is veering hard left with his new novel. It doesn’t take place in the future, and it isn’t a cautionary tale. Instead, it’s a hefty tome of high fantasy set in a dreamed-up world akin to Renaissance Florence. Only with, you guessed it, dragons. But also high finance, political intrigue, and de’ Medici-esque opulence. Bacigalupi is one of today’s most gripping spinners of speculative fiction, and I can’t wait to dive into this surprising magical foray. (July 9) \u003cem>— Jason Heller \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/luckyones_custom-d83a34ee0f3f90aaf4c10d5cf111eea0a9af1313.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Crown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Lucky Ones: A Memoir’ by Zara Chowdhary\u003c/strong>\u003c/p>\n\u003cp>In 2002, two train carriages were set on fire in Gujarat, India. Within three weeks, more than 2,000 Muslims were murdered in response by Hindu mobs. By the end of the year, more than 50,000 Muslims became refugees in their own country. \u003cem>The Lucky Ones \u003c/em>is a unique memoir in English of this largest-ever \u003ca href=\"http://www.cnn.com/2011/WORLD/asiapcf/03/01/india.arson.case/index.html\">massacre in independent India\u003c/a>. It is also about a communal crisis bringing a fractured family together. A must-read in our warring world today. (July 16) — \u003cem>Jenny Bhatt\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/16/sharks_custom-b9e1d9ca19799e9b94e3376fd8cb3928daa3b31d.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Sharks Don’t Sink: Adventures of a Rogue Shark Scientist’ by Jasmin Graham\u003c/strong>\u003c/p>\n\u003cp>Author Jasmin Graham is a marine biologist specializing in smalltooth sawfish and hammerhead sharks. Who are the real sharks in this story? Graham had to face the sharp-teethed truths of academia, while creating a world of curiosity and discovery around the complex lives of sharks. To combat the racism she encountered in academia, Graham created an “ocean of her own” to become an independent scientist and a champion of social justice, a journey she unspools in this new memoir. (July 16) —\u003cem> Martha Ann Toll\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/liars1_custom-61788f1e8cc522d62ed49db9f9f6f48b020cd8bd.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Hogarth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Liars’ by Sarah Manguso\u003c/strong>\u003c/p>\n\u003cp>I have long been a fan of Sarah Manguso’s crystalline prose, from her fragmented illness memoir\u003cem> The Two Kinds of Decay \u003c/em>to her tightly constrained 2022 novel \u003cem>Very Cold People\u003c/em>. Her second novel\u003cem>,\u003c/em> \u003cem>Liars\u003c/em>, marries restraint with rage — in it, Manguso traces the full arc of a 15-year relationship between Jane, a successful writer, and John, a dilettante artist-cum-techie, in aphoristic vignettes. The result is a furious, propulsive meditation on wifehood, motherhood and artistic ambition. (July 23) —\u003cem> Kristen Martin \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/horse_custom-03be9b1d7e9c48e6deeff68af65f228511ae27be.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Harper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Horse: A Novel’ by Willy Vlautin\u003c/strong>\u003c/p>\n\u003cp>Musician and \u003cem>Lean on Pete\u003c/em> author Willy Vlautin captures the American West like few other writers. His prose is always excellent, his characters always beautifully drawn, and that promises to be the case with his next novel, about an isolated Nevada man in his 60s who is visited by a blind horse that refuses to leave. (July 30) — \u003cem>Michael Schaub\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>August\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/einstein_custom-e50a08faa4e05056ec6279194d5b40d0db8a1b74.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Einstein in Kafkaland: How Albert Fell Down the Rabbit Hole and Came Up With the Universe’ by Ken Krimstein\u003c/strong>\u003c/p>\n\u003cp>Art and science collide in Ken Krimstein’s new graphic biography\u003cem>.\u003c/em> In this book, the author of the brilliant and whimsical \u003cem>The Three Escapes of Hannah Arendt \u003c/em>similarly translates careful research into scenic, emotive comics — in this case tracking the potential effects of an adventitious meeting in Prague between two geniuses on the cusp of world-changing discoveries. (Aug. 20) —\u003cem> Tahneer Oksman \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/survivalisapromise_custom-256957d8e07e0104d0900cb0fc8b729fbf4ae29f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Survival Is a Promise: The Eternal Life of Audre Lorde’ by Alexis Pauline Gumbs\u003c/strong>\u003c/p>\n\u003cp>I’d probably be interested in a new biography of Audre Lorde if it focused on the eating habits of the brilliant thinker, poet, feminist and activist. But biographer Alexis Pauline Gumbs promises to more than exceed that bar. An award-winning poet, writer, feminist and activist in her own right, Gumbs is among the first researchers to delve into Lorde’s manuscript archives. The resulting book highlights the late author’s commitment to interrogating what it means to survive on this planet — and how Lorde’s radical understanding of ecology can guide us today. (Aug. 20)\u003cem> — Ericka Taylor \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/etcetera_custom-bea1fc18ec2ef90d7c5e32a84f79290c07f0168e.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Andrews McMeel Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Et Cetera: An Illustrated Guide to Latin Phrases’ by Maia Lee-Chin, illustrated by Marta Bertello\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To those claiming Latin is dead, I say \u003cem>res ipsa loquitur — \u003c/em>the thing speaks for itself — in \u003ca href=\"https://urldefense.com/v3/__https:/www.youtube.com/watch?v=Ey_LPYFFvl0__;!!Iwwt!S7fnrtv-9xP8yJIcvz_iIknkh59ohTNRYWNdqCxOk8CoFzscVIHtud8YlvSylNTgXvfFeFbNxVUQUDkPow%24\">children’s cartoons\u003c/a>, \u003ca href=\"https://urldefense.com/v3/__https:/www.youtube.com/watch?v=Y4Q_DCgbEz0__;!!Iwwt!S7fnrtv-9xP8yJIcvz_iIknkh59ohTNRYWNdqCxOk8CoFzscVIHtud8YlvSylNTgXvfFeFbNxVV4VxiN2Q%24\">Hollywood cartoons\u003c/a> and \u003ca href=\"https://urldefense.com/v3/__https:/classics.mit.edu/Virgil/aeneid.html__;!!Iwwt!S7fnrtv-9xP8yJIcvz_iIknkh59ohTNRYWNdqCxOk8CoFzscVIHtud8YlvSylNTgXvfFeFbNxVV5MbcrQA%24\">enduring epics\u003c/a>. As a fan of both Mr. Peabody and the Muses, the idea of combining Maia Lee-Chin’s thoughtful scholarship and Marta Bertello’s dynamic artistry is captivating. Their new book reimagines the world of Latin’s invention and tops my summer reading list. (Aug. 27) — \u003cem>Marcela Davison Avilés\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>June is around the corner, meaning summer is almost here! As we look forward to travel and staycations, plane rides and trips to the beach, we’ve asked our book critics for some advice: What upcoming fiction and nonfiction are they most looking forward to reading?\u003c/p>\n\u003cp>Their picks range from memoirs to sci-fi and fantasy to translations, love stories and everything in between. Here’s a look:\u003c/p>\n\u003chr>\n\u003ch3>June\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/daughter_custom-b786e59ae645b23b705710ab415dc3a27f150a5f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Redhook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Daughter of the Merciful Deep’ by Leslye Penelope\u003c/strong>\u003c/p>\n\u003cp>I was hooked when I first saw the gorgeous cover for \u003cem>Daughter of the Merciful Deep\u003c/em> by Leslye Penelope. But the novel’s premise put it at the top of my summer reading list. Penelope is known for unforgettable characters, world-building, beautiful writing and robust storytelling. Her latest work, inspired by actual events — the drowned Black towns of the American South — promises a magical, mythical and powerful tale of a young woman’s quest to save her town. A historical fantasy must-read. (June 4) — \u003cem>Denny Bryce\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/futurewascolor_custom-8cf072dcb45a69feb8bf38d30adb3a03422fce58.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Counterpoint LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Future Was Color’ by Patrick Nathan\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Future Was Color\u003c/em> by Patrick Nathan has everything I look for in a book: a unique and startling voice, a queer protagonist and a deep understanding of a particular time and place. George — once György — is a gay Hungarian immigrant working as a screenwriter in McCarthy-era Hollywood, occasionally fantasizing about his officemate, Jack. When a once-famous actress named Madeline invites George to stay and write at her spacious Malibu house, she won’t take no for an answer — and so George finds himself in a hedonistic milieu where pleasure, politics and strong personalities intermingle. (June 4) — \u003cem>Ilana Masad\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/mirrored_custom-278fb8c0571ce760702cf2f0b0e763480f39862b.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (S&S/Saga Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Mirrored Heavens: Between Earth & Sky, Book 3’ by Rebecca Roanhorse\u003c/strong>\u003c/p>\n\u003cp>Rebecca Roanhorse is one of my auto-read authors — and one major reason is because of her fire \u003cem>Between Earth and Sky\u003c/em> series. That trilogy comes to a stunning, fevered conclusion with \u003cem>Mirrored Heavens\u003c/em>. All of the characters you love, hate and love to hate will converge on the city of Tova. Get ready for an epic battle between ancient gods, their human avatars and the mortals caught in between. (June 4) \u003cem>— Alex Brown\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/singlikefish_custom-08ec44af144d163477bad03e23664864c096488f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Crown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Sing Like Fish: How Sound Rules Life Under Water’ by Amorina Kingdon\u003c/strong>\u003c/p>\n\u003cp>You may know about \u003ca href=\"https://www.theguardian.com/environment/2021/jul/13/loneliest-whale-in-the-world-search\">52 Blue\u003c/a>, whose vocalizations likely go unheard by some other whales; it captured worldwide sympathy and became a pop-culture metaphor. But did you know \u003cem>all\u003c/em> \u003ca href=\"https://www.bbc.com/news/science-environment-68358414\">whale song is critically disrupted by ships\u003c/a>? If that gets you wondering, keep an eye out for \u003cem>Sing Like Fish\u003c/em>, which promises to illuminate the fragile symphony of the deep. (June 4) —\u003cem> Genevieve Valentine\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/consent_custom-08d1ad496975300988db3f69077a2990ae9a4073.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Consent: A Memoir’ by Jill Ciment\u003c/strong>\u003c/p>\n\u003cp>I look forward to reading Jill Ciment’s \u003cem>Consent \u003c/em>and to the discussions it’s sure to provoke. In this follow-up memoir to \u003cem>Half a Life,\u003c/em> Ciment reconsiders what she wrote 25 years ago about her teenage affair and marriage to her art teacher, 30 years her senior. \u003cem>Half a Life \u003c/em>was written before the #MeToo movement, and before her husband died at the age of 93 after 45 years of marriage. \u003cem>Consent \u003c/em>promises a fuller picture. (June 11) — \u003cem>Heller McAlpin\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/godmother_custom-ff8270a1d4a20fda0c303d080ef095532b512f9d.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Publisher Union Square & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Do What Godmother Says’ by L.S. Stratton\u003c/strong>\u003c/p>\n\u003cp>As we continue to experience the frenzy of Harlem Renaissance celebrations, commemorations and historical resonance, \u003cem>Do What Godmother Says\u003c/em> by L.S. Stratton is the perfect addition to the litany of works set in this artistic period this year. It examines the intense and frequently degenerating relationship between patrons and artists during this intellectual and cultural movement. In this dual-timeline gothic thriller, a modern writer discovers a family heirloom painting by a Harlem Renaissance artist, which connects her family to a mysterious past. This historical novel is one I’m eager to read because it deftly exposes the layers of creative ownership, especially when race and wealth are involved. (June 11) — \u003cem>Keishel Williams\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/horrormovie_custom-585da57f9b35c75005e2591f96db69eb8900038d.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Horror Movie: A Novel’ by Paul Tremblay\u003c/strong>\u003c/p>\n\u003cp>Paul Tremblay is one of the most entertaining and innovative voices in contemporary fiction regardless of genre. \u003cem>Horror Movie\u003c/em>, a story about a cursed movie that never came out and is about to get a remake, is a love letter to horror novels and horror movies, as well as a tense narrative that will redefine the cursed film subgenre. Tremblay is one of the modern masters of horror, and this new novel promises to be packed with the author’s distinctive voice, knack for ambiguity and intrigue, and superb atmosphere. (June 11) —\u003cem> Gabino Iglesias\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/cuethesun_custom-d017b905e1f57c346bd155e2b1e00b7e8a5018b3.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Cue The Sun! The Invention of Reality TV’ by Emily Nussbaum\u003c/strong>\u003c/p>\n\u003cp>Every so often there’s a nonfiction title I covet like it’s the next installment in my favorite mystery series. This summer it’s \u003cem>Cue the Sun! \u003c/em>Based on in-depth interviews with more than 300 sources from every aspect of the production process, this book is a cultural history of the genre that ate American entertainment, from \u003cem>New Yorker\u003c/em> critic Emily Nussbaum. It combines the appeal of a page-turning thriller and the heft of serious scholarship. Juicy and thoughtful, it’s a must-read for anyone interested in television or popular culture. (June 25) — \u003cem>Carole V. Bell\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>July\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/undermining_custom-0ab0ee15894c33905bc361a0c1dd2073df28cf79.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Orbit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Undermining of Twyla and Frank’ by Megan Bannen\u003c/strong>\u003c/p>\n\u003cp>In this return to the delightfully wacky world established in one of my personal top-five romance novels of all time, \u003cem>The\u003c/em> \u003cem>Undertaking of Hart and Mercy\u003c/em>, Megan Bannen takes on the friends to lovers trope with a combination of madcap \u003cem>joie de vivre\u003c/em> and the exhausted practicality of a mom who’s had enough. Also, there are dragons! (July 2) \u003cem>— Caitlyn Paxson\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/anthropologists_custom-fafa91131dbe50c4d7e17dad7a6d5e8262282d1f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Anthropologists’ by Ayşegül Savaş\u003c/strong>\u003c/p>\n\u003cp>I am eagerly awaiting Ayşegül Savaş’ \u003cem>The Anthropologists\u003c/em>. Born in Istanbul, Savaş has lived in England, Denmark and the U.S. also and now resides in France; in this novel she takes up themes of cultural migration through focus on a young couple seeking an apartment in a foreign city. I’m intrigued to discover how Savaş gifts her characters with an anthropological lens of exploration. (July 9) — \u003cem>Barbara J. King \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/elevator_custom-dcdd9705bb7ed0ee4d0cd6c1044b7affb5f454c9.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (New Directions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Elevator in Saigon by Thuân’ translated by Nguyen An Lý\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Elevator in Saigon\u003c/em> is a literal and structural \u003cem>exquisite corpse\u003c/em>, capturing Vietnam’s eventful period from 1954 to 2004. Mimicking an elevator’s movement, the novel heightens our yearning for romance and mystery, while unflinchingly exposing such narrative shaft. Channeling Marguerite Duras and Patrick Modiano, the book also offers a dead-on tour of a society cunningly leaping from one ideological mode to the next. As if challenging Rick’s parting words to Ilsa in \u003cem>Casablanca\u003c/em>, Thuận’s sophomore novel in English implies that geopolitical debacles might have been mitigated if personal relations were held in more elevated regard than “a hill of beans.” (July 9) —\u003cem> Thúy Đinh\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/goodnighttokyo_custom-5e0f418add83234a499f5adf8225cb5a1671c022.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Europa Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Goodnight Tokyo’ by Atsuhiro Yoshida, translated by Haydn Trowell\u003c/strong>\u003c/p>\n\u003cp>Atsuhiro Yoshida’s \u003cem>Goodnight Tokyo\u003c/em> begins with a film company procurer who’s tasked with finding fresh kumquats for a production. From there, interlinked tales of Tokyo residents unspool in unpredictable directions. Characters range from a cabdriver to a star of a detective TV series who might be an actual detective. Readers will be reminded of Jim Jarmusch’s 1991 movie \u003cem>Night on Earth\u003c/em>, which also takes place in the wee hours of the morning and threads together the stories of strangers. (July 9) — \u003cem>Leland Cheuk \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/navola_custom-9ffec1a70800c395d9dfba994a9592218ea4b9ca.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Navola: A Novel’ by Paolo Bacigalupi\u003c/strong>\u003c/p>\n\u003cp>I love when a beloved author — especially one known mostly for a certain type of book — throws us a daring curveball. \u003cem>Navola\u003c/em> is exactly such a pitch. Paolo Bacigalupi, who has won pretty much every major award in the science-fiction field with his climate-conscious dystopianism, is veering hard left with his new novel. It doesn’t take place in the future, and it isn’t a cautionary tale. Instead, it’s a hefty tome of high fantasy set in a dreamed-up world akin to Renaissance Florence. Only with, you guessed it, dragons. But also high finance, political intrigue, and de’ Medici-esque opulence. Bacigalupi is one of today’s most gripping spinners of speculative fiction, and I can’t wait to dive into this surprising magical foray. (July 9) \u003cem>— Jason Heller \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/luckyones_custom-d83a34ee0f3f90aaf4c10d5cf111eea0a9af1313.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Crown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Lucky Ones: A Memoir’ by Zara Chowdhary\u003c/strong>\u003c/p>\n\u003cp>In 2002, two train carriages were set on fire in Gujarat, India. Within three weeks, more than 2,000 Muslims were murdered in response by Hindu mobs. By the end of the year, more than 50,000 Muslims became refugees in their own country. \u003cem>The Lucky Ones \u003c/em>is a unique memoir in English of this largest-ever \u003ca href=\"http://www.cnn.com/2011/WORLD/asiapcf/03/01/india.arson.case/index.html\">massacre in independent India\u003c/a>. It is also about a communal crisis bringing a fractured family together. A must-read in our warring world today. (July 16) — \u003cem>Jenny Bhatt\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/16/sharks_custom-b9e1d9ca19799e9b94e3376fd8cb3928daa3b31d.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Sharks Don’t Sink: Adventures of a Rogue Shark Scientist’ by Jasmin Graham\u003c/strong>\u003c/p>\n\u003cp>Author Jasmin Graham is a marine biologist specializing in smalltooth sawfish and hammerhead sharks. Who are the real sharks in this story? Graham had to face the sharp-teethed truths of academia, while creating a world of curiosity and discovery around the complex lives of sharks. To combat the racism she encountered in academia, Graham created an “ocean of her own” to become an independent scientist and a champion of social justice, a journey she unspools in this new memoir. (July 16) —\u003cem> Martha Ann Toll\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/liars1_custom-61788f1e8cc522d62ed49db9f9f6f48b020cd8bd.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Hogarth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Liars’ by Sarah Manguso\u003c/strong>\u003c/p>\n\u003cp>I have long been a fan of Sarah Manguso’s crystalline prose, from her fragmented illness memoir\u003cem> The Two Kinds of Decay \u003c/em>to her tightly constrained 2022 novel \u003cem>Very Cold People\u003c/em>. Her second novel\u003cem>,\u003c/em> \u003cem>Liars\u003c/em>, marries restraint with rage — in it, Manguso traces the full arc of a 15-year relationship between Jane, a successful writer, and John, a dilettante artist-cum-techie, in aphoristic vignettes. The result is a furious, propulsive meditation on wifehood, motherhood and artistic ambition. (July 23) —\u003cem> Kristen Martin \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/horse_custom-03be9b1d7e9c48e6deeff68af65f228511ae27be.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Harper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Horse: A Novel’ by Willy Vlautin\u003c/strong>\u003c/p>\n\u003cp>Musician and \u003cem>Lean on Pete\u003c/em> author Willy Vlautin captures the American West like few other writers. His prose is always excellent, his characters always beautifully drawn, and that promises to be the case with his next novel, about an isolated Nevada man in his 60s who is visited by a blind horse that refuses to leave. (July 30) — \u003cem>Michael Schaub\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>August\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/einstein_custom-e50a08faa4e05056ec6279194d5b40d0db8a1b74.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Einstein in Kafkaland: How Albert Fell Down the Rabbit Hole and Came Up With the Universe’ by Ken Krimstein\u003c/strong>\u003c/p>\n\u003cp>Art and science collide in Ken Krimstein’s new graphic biography\u003cem>.\u003c/em> In this book, the author of the brilliant and whimsical \u003cem>The Three Escapes of Hannah Arendt \u003c/em>similarly translates careful research into scenic, emotive comics — in this case tracking the potential effects of an adventitious meeting in Prague between two geniuses on the cusp of world-changing discoveries. (Aug. 20) —\u003cem> Tahneer Oksman \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/survivalisapromise_custom-256957d8e07e0104d0900cb0fc8b729fbf4ae29f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Survival Is a Promise: The Eternal Life of Audre Lorde’ by Alexis Pauline Gumbs\u003c/strong>\u003c/p>\n\u003cp>I’d probably be interested in a new biography of Audre Lorde if it focused on the eating habits of the brilliant thinker, poet, feminist and activist. But biographer Alexis Pauline Gumbs promises to more than exceed that bar. An award-winning poet, writer, feminist and activist in her own right, Gumbs is among the first researchers to delve into Lorde’s manuscript archives. The resulting book highlights the late author’s commitment to interrogating what it means to survive on this planet — and how Lorde’s radical understanding of ecology can guide us today. (Aug. 20)\u003cem> — Ericka Taylor \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/etcetera_custom-bea1fc18ec2ef90d7c5e32a84f79290c07f0168e.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Andrews McMeel Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Et Cetera: An Illustrated Guide to Latin Phrases’ by Maia Lee-Chin, illustrated by Marta Bertello\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To those claiming Latin is dead, I say \u003cem>res ipsa loquitur — \u003c/em>the thing speaks for itself — in \u003ca href=\"https://urldefense.com/v3/__https:/www.youtube.com/watch?v=Ey_LPYFFvl0__;!!Iwwt!S7fnrtv-9xP8yJIcvz_iIknkh59ohTNRYWNdqCxOk8CoFzscVIHtud8YlvSylNTgXvfFeFbNxVUQUDkPow%24\">children’s cartoons\u003c/a>, \u003ca href=\"https://urldefense.com/v3/__https:/www.youtube.com/watch?v=Y4Q_DCgbEz0__;!!Iwwt!S7fnrtv-9xP8yJIcvz_iIknkh59ohTNRYWNdqCxOk8CoFzscVIHtud8YlvSylNTgXvfFeFbNxVV4VxiN2Q%24\">Hollywood cartoons\u003c/a> and \u003ca href=\"https://urldefense.com/v3/__https:/classics.mit.edu/Virgil/aeneid.html__;!!Iwwt!S7fnrtv-9xP8yJIcvz_iIknkh59ohTNRYWNdqCxOk8CoFzscVIHtud8YlvSylNTgXvfFeFbNxVV5MbcrQA%24\">enduring epics\u003c/a>. As a fan of both Mr. Peabody and the Muses, the idea of combining Maia Lee-Chin’s thoughtful scholarship and Marta Bertello’s dynamic artistry is captivating. Their new book reimagines the world of Latin’s invention and tops my summer reading list. (Aug. 27) — \u003cem>Marcela Davison Avilés\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "kathleen-hanna-rebel-girl-book-brontez-purnell-in-conversation-city-arts-and-lectures",
"title": "Kathleen Hanna Transforms Trauma Into Comedic Triumph With Brontez Purnell",
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"headTitle": "Kathleen Hanna Transforms Trauma Into Comedic Triumph With Brontez Purnell | KQED",
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"content": "\u003cp>When I was a child growing up in the 1980s, the most common thing I heard about feminists was that they were ugly, man-hating, sex-phobic shrews with no sense of humor.\u003c/p>\n\u003cp>Kathleen Hanna has long stood as a glaring repudiation of that lazy old stereotype on every level. There wasn’t a lot about \u003ca href=\"https://www.kqed.org/pop/14084/90s-nostalgia-a-look-at-how-our-lives-do-and-dont-matter\">riot grrrl\u003c/a> that was comedic, but from the moment the now-55-year-old arrived in the public eye, hers was always a biting, sarcastic wit with a healthy underbelly of goofiness. For the last 20 years, though, it would appear the Bikini Kill/Le Tigre/Julie Ruin frontwoman has only been getting more hilarious. (That much is evident in the ridiculous social media \u003ca href=\"https://www.tiktok.com/@thekathleenhanna/video/7368929147986529582\">videos Hanna has recently been posting\u003c/a> to promote the release of her \u003ca href=\"https://www.kqed.org/arts/13957749/kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl\">new autobiography, \u003c/a>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13957749/kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl\">Rebel Girl\u003c/a>.\u003c/em>)\u003c/p>\n\u003cp>[aside postid='arts_13957749']That said, even avid followers of the singer were treated to a side-splitting surprise Tuesday night in San Francisco, when Hanna sat down in conversation with Oakland musician and author \u003ca href=\"https://www.kqed.org/forum/2010101904684/brontez-purnell-on-his-memoir-in-verse-and-a-life-of-making-transgressive-art\">Brontez Purnell\u003c/a>\u003cem>, \u003c/em>as part of the \u003ca href=\"https://www.cityarts.net/\">City Arts & Lectures\u003c/a> series.\u003c/p>\n\u003cp>The way these conversational events so often go is that only one person at a time is allowed to be unfiltered and unhinged onstage. The joy of seeing Hanna and Purnell in action together is that neither one of them is willing or able to play the “straight man” role. (Pun intended.) The pair have also been friends for many years, having first exchanged mail back when Purnell was a 15-year-old Bikini Kill fan who sent Hanna a selfie he took on a disposable camera. To say these two have a good rapport at this point is a gross understatement.\u003c/p>\n\u003cp>Every member of the Sydney Goldstein Theater audience benefitted from that chemistry, treated to a magnificent zig-zag of subject matters, occasionally landing on the audience at a dizzying — and very funny — pace. Here are just some of the very strange things that came up in the course of Hanna and Purnell’s conversation:\u003c/p>\n\u003cul>\n\u003cli>The fact that Hanna’s mom refers to vaginas as “front bottoms” and to actual rear ends as “back bottoms”\u003c/li>\n\u003cli>The fact that Hanna once tried to get a role in a terrible \u003cem>Less Than Zero\u003c/em> musical, even though she had literally just started Le Tigre\u003c/li>\n\u003cli>Purnell’s repeated assertion that the future of punk rock lies in DJing\u003c/li>\n\u003cli>Hanna’s onstage cover of \u003ca href=\"https://www.youtube.com/watch?v=OqeKV2UYq1Q\">“Harden My Heart” by Quarterflash\u003c/a>, performed in the style of the musical \u003cem>Oklahoma\u003c/em>\u003c/li>\n\u003cli>Purnell and Hanna realizing in real time that they both spent their youths lusting after the same member of obscure Portland band Dead Moon\u003c/li>\n\u003cli>The pride Hanna feels about sharing a birthday (and birth hospital) with 1990s ice skating icon Tonya Harding\u003c/li>\n\u003cli>The fact that both Hanna and Purnell still obsess about folk tales in which major characters are rescued by insects (Purnell’s is \u003cem>Cupid and Psyche\u003c/em>, Hanna’s is \u003cem>Pinocchio\u003c/em>)\u003c/li>\n\u003cli>The news that Hanna’s second cousin was an Oregon drag legend known as Darcelle XV — and that she’s currently making a documentary about them\u003c/li>\n\u003cli>Purnell’s opinion that every tour Iggy Pop performs from here on out should just be referred to as “The Jim Crow Revival Fest”\u003c/li>\n\u003cli>The revelation that the 10-year-old son Hanna shares with husband Ad-Rock (of the Beastie Boys) is a fan of “fairy porn” book series \u003cem>A Court of Thorns and Roses —\u003c/em> but “at least he’s reading!”\u003c/li>\n\u003c/ul>\n\u003cp>Sure, Hanna and Purnell talked about all manner of serious things too, including the ways both have dealt with and healed from trauma. The two also touched on a “kidnapping” and one violent sexual assault that Hanna removed from the \u003cem>Rebel Girl\u003c/em> manuscript when early readers and editors told her it was too dark. (Reader be advised: The book still contains several descriptions of assault.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The difficulty of financially surviving as an artist also came up — though that, too, got funny. (“I married someone rich,” Hanna smiled without missing a beat, then sang dramatically: “I live off him!”)\u003c/p>\n\u003cp>Together, Purnell and Hanna delivered a City Arts & Lecture appointment that perfectly encapsulated the subject of the evening: an artist who has always found a way to take the most painful elements of her life and transform them into something engaging and enjoyable and useful. Hanna did that in her bands, she did that in 2013 documentary \u003cem>The Punk Singer, \u003c/em>she’s done that in her new book —\u003cem> \u003c/em>and she certainly did that last night.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://www.harpercollins.com/products/rebel-girl-kathleen-hanna?variant=41096269103138\">‘Rebel Girl’ by Kathleen Hanna (Ecco) is out now\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanna and Brontez Purnell’s conversation from City Arts & Lectures will premiere on KQED, 88.5 FM, on Sept. 1, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I was a child growing up in the 1980s, the most common thing I heard about feminists was that they were ugly, man-hating, sex-phobic shrews with no sense of humor.\u003c/p>\n\u003cp>Kathleen Hanna has long stood as a glaring repudiation of that lazy old stereotype on every level. There wasn’t a lot about \u003ca href=\"https://www.kqed.org/pop/14084/90s-nostalgia-a-look-at-how-our-lives-do-and-dont-matter\">riot grrrl\u003c/a> that was comedic, but from the moment the now-55-year-old arrived in the public eye, hers was always a biting, sarcastic wit with a healthy underbelly of goofiness. For the last 20 years, though, it would appear the Bikini Kill/Le Tigre/Julie Ruin frontwoman has only been getting more hilarious. (That much is evident in the ridiculous social media \u003ca href=\"https://www.tiktok.com/@thekathleenhanna/video/7368929147986529582\">videos Hanna has recently been posting\u003c/a> to promote the release of her \u003ca href=\"https://www.kqed.org/arts/13957749/kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl\">new autobiography, \u003c/a>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13957749/kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl\">Rebel Girl\u003c/a>.\u003c/em>)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That said, even avid followers of the singer were treated to a side-splitting surprise Tuesday night in San Francisco, when Hanna sat down in conversation with Oakland musician and author \u003ca href=\"https://www.kqed.org/forum/2010101904684/brontez-purnell-on-his-memoir-in-verse-and-a-life-of-making-transgressive-art\">Brontez Purnell\u003c/a>\u003cem>, \u003c/em>as part of the \u003ca href=\"https://www.cityarts.net/\">City Arts & Lectures\u003c/a> series.\u003c/p>\n\u003cp>The way these conversational events so often go is that only one person at a time is allowed to be unfiltered and unhinged onstage. The joy of seeing Hanna and Purnell in action together is that neither one of them is willing or able to play the “straight man” role. (Pun intended.) The pair have also been friends for many years, having first exchanged mail back when Purnell was a 15-year-old Bikini Kill fan who sent Hanna a selfie he took on a disposable camera. To say these two have a good rapport at this point is a gross understatement.\u003c/p>\n\u003cp>Every member of the Sydney Goldstein Theater audience benefitted from that chemistry, treated to a magnificent zig-zag of subject matters, occasionally landing on the audience at a dizzying — and very funny — pace. Here are just some of the very strange things that came up in the course of Hanna and Purnell’s conversation:\u003c/p>\n\u003cul>\n\u003cli>The fact that Hanna’s mom refers to vaginas as “front bottoms” and to actual rear ends as “back bottoms”\u003c/li>\n\u003cli>The fact that Hanna once tried to get a role in a terrible \u003cem>Less Than Zero\u003c/em> musical, even though she had literally just started Le Tigre\u003c/li>\n\u003cli>Purnell’s repeated assertion that the future of punk rock lies in DJing\u003c/li>\n\u003cli>Hanna’s onstage cover of \u003ca href=\"https://www.youtube.com/watch?v=OqeKV2UYq1Q\">“Harden My Heart” by Quarterflash\u003c/a>, performed in the style of the musical \u003cem>Oklahoma\u003c/em>\u003c/li>\n\u003cli>Purnell and Hanna realizing in real time that they both spent their youths lusting after the same member of obscure Portland band Dead Moon\u003c/li>\n\u003cli>The pride Hanna feels about sharing a birthday (and birth hospital) with 1990s ice skating icon Tonya Harding\u003c/li>\n\u003cli>The fact that both Hanna and Purnell still obsess about folk tales in which major characters are rescued by insects (Purnell’s is \u003cem>Cupid and Psyche\u003c/em>, Hanna’s is \u003cem>Pinocchio\u003c/em>)\u003c/li>\n\u003cli>The news that Hanna’s second cousin was an Oregon drag legend known as Darcelle XV — and that she’s currently making a documentary about them\u003c/li>\n\u003cli>Purnell’s opinion that every tour Iggy Pop performs from here on out should just be referred to as “The Jim Crow Revival Fest”\u003c/li>\n\u003cli>The revelation that the 10-year-old son Hanna shares with husband Ad-Rock (of the Beastie Boys) is a fan of “fairy porn” book series \u003cem>A Court of Thorns and Roses —\u003c/em> but “at least he’s reading!”\u003c/li>\n\u003c/ul>\n\u003cp>Sure, Hanna and Purnell talked about all manner of serious things too, including the ways both have dealt with and healed from trauma. The two also touched on a “kidnapping” and one violent sexual assault that Hanna removed from the \u003cem>Rebel Girl\u003c/em> manuscript when early readers and editors told her it was too dark. (Reader be advised: The book still contains several descriptions of assault.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The difficulty of financially surviving as an artist also came up — though that, too, got funny. (“I married someone rich,” Hanna smiled without missing a beat, then sang dramatically: “I live off him!”)\u003c/p>\n\u003cp>Together, Purnell and Hanna delivered a City Arts & Lecture appointment that perfectly encapsulated the subject of the evening: an artist who has always found a way to take the most painful elements of her life and transform them into something engaging and enjoyable and useful. Hanna did that in her bands, she did that in 2013 documentary \u003cem>The Punk Singer, \u003c/em>she’s done that in her new book —\u003cem> \u003c/em>and she certainly did that last night.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://www.harpercollins.com/products/rebel-girl-kathleen-hanna?variant=41096269103138\">‘Rebel Girl’ by Kathleen Hanna (Ecco) is out now\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanna and Brontez Purnell’s conversation from City Arts & Lectures will premiere on KQED, 88.5 FM, on Sept. 1, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13958209\" class=\"wp-caption aligncenter\" style=\"max-width: 886px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13958209 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-7.49.42-PM.png\" alt=\"A book cover illustration of a coast line and a rocky outcrop that resembles an alligator head.\" width=\"886\" height=\"1342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-7.49.42-PM.png 886w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-7.49.42-PM-800x1212.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-7.49.42-PM-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-7.49.42-PM-768x1163.png 768w\" sizes=\"(max-width: 886px) 100vw, 886px\">\u003cfigcaption class=\"wp-caption-text\">‘You Like It Darker’ by Stephen King. \u003ccite>(Scribner via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Stephen King’s world, \u003cem>It\u003c/em> is a loaded word. It’s hard not to picture Pennywise the Clown haunting the sewers of Derry, Maine, of course, but in the horror writer’s newest collection of stories, \u003cem>You Like It Darker\u003c/em>, It ranges from a suspicious stranger on a park bench, to an extraterrestrial being bestowing a gift that helps best friends realize their potential, to telepaths whose sole job is to keep airplanes from falling out of the sky.\u003c/p>\n\u003cp>Twelve stories makes up the book, with one of the longest (90 pages), “Rattlesnakes,” reintroducing readers to Vic Trenton, who King fans will remember as the father of Tad, the boy killed by the rabid St. Bernard Cujo in King’s 1981 novel of that name. Now 72, Trenton is riding out the pandemic at a friend’s waterfront property in the Florida Keys, where he meets a widow who also lost loved ones in a terrible accident. It’s fairly creepy, featuring long-dead twins trying to haunt their way back to life, but it’s hardly the darkest here.\u003c/p>\n\u003cp>[aside postid='pop_110691']I’d give that honor to “The Fifth Step,” which in just 10 pages should scare anyone who’s been paying attention to the true crime stories splashed across the screens of this country’s tawdrier news sources. But is it “darker,” really than any of the more than 60 books King has written in his illustrious career? Probably not, but perhaps the afterword quote from the author, also featured on the back of the hardcover — “You like it darker? Fine. So do I.” — helps sell books in today’s extreme world, even for a perennial bestseller like Mr. King.\u003c/p>\n\u003cp>The best of these stories, as is true with the best of King’s work, feature horror tempered with heart. I really enjoyed “On Slide Inn Road,” featuring a grandfather who’s still pretty accurate with a baseball bat, and “The Answer Man,” which poses the question, “If you could know anything about the future, what would it be?”\u003c/p>\n\u003cp>I’d like to know how much longer we’ll have to enjoy this uniquely American icon, who at the age of 76 continues to write and publish at a furious pace. This collection’s afterword reads like a recording from King’s therapist’s couch, or a confessional on a reality TV series. He admits “the only two times I ever came close to getting it all were in two prison stories: \u003cem>The Green Mile\u003c/em> and \u003cem>Rita Hayworth and Shawshank Redemption\u003c/em>.” Here’s hoping he keeps trying, because like millions of others around the world, I’ll read every word.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘You Like It Darker’ by Stephen King (Scribner) is released on May 21, 2024.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’d give that honor to “The Fifth Step,” which in just 10 pages should scare anyone who’s been paying attention to the true crime stories splashed across the screens of this country’s tawdrier news sources. But is it “darker,” really than any of the more than 60 books King has written in his illustrious career? Probably not, but perhaps the afterword quote from the author, also featured on the back of the hardcover — “You like it darker? Fine. So do I.” — helps sell books in today’s extreme world, even for a perennial bestseller like Mr. King.\u003c/p>\n\u003cp>The best of these stories, as is true with the best of King’s work, feature horror tempered with heart. I really enjoyed “On Slide Inn Road,” featuring a grandfather who’s still pretty accurate with a baseball bat, and “The Answer Man,” which poses the question, “If you could know anything about the future, what would it be?”\u003c/p>\n\u003cp>I’d like to know how much longer we’ll have to enjoy this uniquely American icon, who at the age of 76 continues to write and publish at a furious pace. This collection’s afterword reads like a recording from King’s therapist’s couch, or a confessional on a reality TV series. He admits “the only two times I ever came close to getting it all were in two prison stories: \u003cem>The Green Mile\u003c/em> and \u003cem>Rita Hayworth and Shawshank Redemption\u003c/em>.” Here’s hoping he keeps trying, because like millions of others around the world, I’ll read every word.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘You Like It Darker’ by Stephen King (Scribner) is released on May 21, 2024.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>At the beginning of \u003cem>Furiosa: A Mad Max Saga\u003c/em>, we are introduced to a kick-ass woman who rides a horse, then a motorbike, nails a few bad guys with sharpshooting finesse and fights off a mob. But it’s not Furiosa — it’s her mom.\u003c/p>\n\u003cp>That’s one of the oddities of this latest offering in the Mad Max Cinematic Universe: Creator and director George Miller has taken the coolest role of 2015’s \u003ca href=\"https://www.kqed.org/arts/10657581/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a> and built a whole prequel around her yet has her overshadowed by everyone else.\u003c/p>\n\u003cp>[aside postid='pop_95111']The adult Furiosa — a coiled, clenched Anya Taylor-Joy — only appears after the first hour-mark — we get way too much preteen Furiosa — and she’s meek for another quarter of the film. We, frankly, wanted more. Charlize Theron as Furiosa promised a \u003cem>Top\u003c/em> \u003cem>Gun\u003c/em> swagger yet Taylor-Joy mostly does furious side eye.\u003c/p>\n\u003cp>What goes into making adult Furiosa is very unpleasant: She endures childhood kidnapping and torture, goes mute, passes herself as a boy, gets traded for gas, works her way up a madman’s hierarchy and only in the final scenes does she have real agency. We do learn how her left hand was maimed and that she was sweet on a guy. But making her mute? In her own movie?\u003c/p>\n\u003cp>Back are some familiar, scarred faces — Immortan Joe, The People Eater and a legion of half-naked War Boys. The new mega villain is Chris Hemsworth’s Dementus, who has a hunger for human blood sausage and a knack for spectacularly murdering people who Furiosa cares about.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Miller has added pretentious chapter titles like he was making a black-and-white Czech New Wave exposition on existentialism — “The Pole of Inaccessibility” and “The Stowaway” are among the sections — despite also employing a narrator.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FVswuip0-co\u003c/p>\n\u003cp>By the time Miller is finished, he’s built an epic, gritty history in the Wasteland like \u003cem>Lord of the Rings\u003c/em> or \u003cem>Game of Thrones\u003c/em>. But was the point of this franchise a better understanding of the negotiating tactics of untrusty warlords in a hellscape? No: It was rocket-propelled grenades, motorcycles, chains, massive sandstorms and cracked skulls.\u003c/p>\n\u003cp>The best action sequence happens at the halfway point — not a good omen — with a 15-minute sequence inside, over and under a barreling silver double-tanker War Rig while it is being attacked by motorbikes, buggies and parachuting adversaries. It’s a marvel, truly, but since 2015 we’ve had cooler moments in things like \u003cem>Mission: Impossible\u003c/em> and \u003cem>Fast and Furious\u003c/em> so, sorry, mind not blown.\u003c/p>\n\u003cp>Viewers also spend time whipping through the Citadel, the Bullet Farm and Gas Town but there’s something missing, that unpredictable spark of madness, maybe. Perhaps once you’ve seen an insane guy chained to the outside of a zooming truck playing guitar solos in front of a wall of amps with fire coming out of the headstock, the shock wears off.\u003c/p>\n\u003cp>[aside postid='arts_13957803']Speaking of heavy metal, Hemsworth wears fingerless gloves, a codpiece, leather pants, a sleeveless leather vest and flowing hair, like he was a member of Mötley Crüe circa 1983. He has decided to perform his role in full psychotic camp — licking the tears of a victim, he describes them as “zesty” — and proves it by incorporating a teddy bear into his ensemble. Perhaps he should have his own stand-alone movie because he doesn’t really fit in here as the deranged comedy monster in a film with grim faces and famine.\u003c/p>\n\u003cp>A large part of the problem here is that young Furiosa is on an epic hero’s quest to go home — like \u003cem>The Odyssey\u003c/em> or any \u003cem>John Wick\u003c/em> movie — but we know from \u003cem>Fury Road\u003c/em> that the Green Place is no more. So \u003cem>Furiosa\u003c/em> then just becomes a catalogue of crazy stuff that happens to her until it morphs into her cold-blooded quest for revenge. There’s no real risk either because we know Furiosa lives to team up with Tom Hardy in 2015.\u003c/p>\n\u003cp>It feels like with this fifth Mad Max installment, Miller is trying to add operatic heft and seriousness to what started in 1979 as a fun, rip-roaring smear of nightmarish, post-apocalyptic motor oil. In that case, \u003cem>Fury Road\u003c/em> was fantastic, but \u003cem>Furiosa\u003c/em> is just fine.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Furiosa’ is released nationwide on May 24, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the beginning of \u003cem>Furiosa: A Mad Max Saga\u003c/em>, we are introduced to a kick-ass woman who rides a horse, then a motorbike, nails a few bad guys with sharpshooting finesse and fights off a mob. But it’s not Furiosa — it’s her mom.\u003c/p>\n\u003cp>That’s one of the oddities of this latest offering in the Mad Max Cinematic Universe: Creator and director George Miller has taken the coolest role of 2015’s \u003ca href=\"https://www.kqed.org/arts/10657581/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a> and built a whole prequel around her yet has her overshadowed by everyone else.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The adult Furiosa — a coiled, clenched Anya Taylor-Joy — only appears after the first hour-mark — we get way too much preteen Furiosa — and she’s meek for another quarter of the film. We, frankly, wanted more. Charlize Theron as Furiosa promised a \u003cem>Top\u003c/em> \u003cem>Gun\u003c/em> swagger yet Taylor-Joy mostly does furious side eye.\u003c/p>\n\u003cp>What goes into making adult Furiosa is very unpleasant: She endures childhood kidnapping and torture, goes mute, passes herself as a boy, gets traded for gas, works her way up a madman’s hierarchy and only in the final scenes does she have real agency. We do learn how her left hand was maimed and that she was sweet on a guy. But making her mute? In her own movie?\u003c/p>\n\u003cp>Back are some familiar, scarred faces — Immortan Joe, The People Eater and a legion of half-naked War Boys. The new mega villain is Chris Hemsworth’s Dementus, who has a hunger for human blood sausage and a knack for spectacularly murdering people who Furiosa cares about.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Miller has added pretentious chapter titles like he was making a black-and-white Czech New Wave exposition on existentialism — “The Pole of Inaccessibility” and “The Stowaway” are among the sections — despite also employing a narrator.\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/FVswuip0-co'\n title='//www.youtube.com/embed/FVswuip0-co'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By the time Miller is finished, he’s built an epic, gritty history in the Wasteland like \u003cem>Lord of the Rings\u003c/em> or \u003cem>Game of Thrones\u003c/em>. But was the point of this franchise a better understanding of the negotiating tactics of untrusty warlords in a hellscape? No: It was rocket-propelled grenades, motorcycles, chains, massive sandstorms and cracked skulls.\u003c/p>\n\u003cp>The best action sequence happens at the halfway point — not a good omen — with a 15-minute sequence inside, over and under a barreling silver double-tanker War Rig while it is being attacked by motorbikes, buggies and parachuting adversaries. It’s a marvel, truly, but since 2015 we’ve had cooler moments in things like \u003cem>Mission: Impossible\u003c/em> and \u003cem>Fast and Furious\u003c/em> so, sorry, mind not blown.\u003c/p>\n\u003cp>Viewers also spend time whipping through the Citadel, the Bullet Farm and Gas Town but there’s something missing, that unpredictable spark of madness, maybe. Perhaps once you’ve seen an insane guy chained to the outside of a zooming truck playing guitar solos in front of a wall of amps with fire coming out of the headstock, the shock wears off.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Speaking of heavy metal, Hemsworth wears fingerless gloves, a codpiece, leather pants, a sleeveless leather vest and flowing hair, like he was a member of Mötley Crüe circa 1983. He has decided to perform his role in full psychotic camp — licking the tears of a victim, he describes them as “zesty” — and proves it by incorporating a teddy bear into his ensemble. Perhaps he should have his own stand-alone movie because he doesn’t really fit in here as the deranged comedy monster in a film with grim faces and famine.\u003c/p>\n\u003cp>A large part of the problem here is that young Furiosa is on an epic hero’s quest to go home — like \u003cem>The Odyssey\u003c/em> or any \u003cem>John Wick\u003c/em> movie — but we know from \u003cem>Fury Road\u003c/em> that the Green Place is no more. So \u003cem>Furiosa\u003c/em> then just becomes a catalogue of crazy stuff that happens to her until it morphs into her cold-blooded quest for revenge. There’s no real risk either because we know Furiosa lives to team up with Tom Hardy in 2015.\u003c/p>\n\u003cp>It feels like with this fifth Mad Max installment, Miller is trying to add operatic heft and seriousness to what started in 1979 as a fun, rip-roaring smear of nightmarish, post-apocalyptic motor oil. In that case, \u003cem>Fury Road\u003c/em> was fantastic, but \u003cem>Furiosa\u003c/em> is just fine.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Furiosa’ is released nationwide on May 24, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Pursuit of Radical Honesty, ‘Jerrod Carmichael Reality Show’ Delivers Ambiguity",
"headTitle": "In Pursuit of Radical Honesty, ‘Jerrod Carmichael Reality Show’ Delivers Ambiguity | KQED",
"content": "\u003cp>Peruse any online thread discussing \u003cem>Jerrod Carmichael Reality Show\u003c/em>, the disquieting HBO series created by and starring the titular comedian and filmmaker, and colorful descriptors like “pretentious,” “mega narcissist,” and “self-righteous piece of [\u003cem>redacted\u003c/em>]” are bound to appear.\u003c/p>\n\u003cp>“This show seems kinda invasive,” one observer noted\u003ca href=\"https://www.reddit.com/r/JerrodCarmichael/comments/1brcpr5/jerrod_carmichael_reality_show_kinda_weird_to/\"> on Reddit\u003c/a>. “… I’m not sure what the obsession is with public humiliation … About a year ago, I was very much a fan of his honesty and what seemed to be [a] down to earth personality but it looks like it’s morphed into the narcissistic cry for help.”\u003c/p>\n\u003cp>Carmichael earned a lot of good will from his 2022 breakout standup special\u003cem>\u003ca href=\"https://www.npr.org/2022/04/11/1091748272/jerrod-carmichael-rothaniel-standup-special-hbo-comes-out\"> Rothaniel\u003c/a>\u003c/em>, in which he — among other things — came out publicly as gay and processed his mom Cynthia’s devout homophobia. It launched him into the “mainstream”; that is, a stratosphere where one wins prestigious awards, guest hosts \u003cem>Saturday Night Live\u003c/em>, and makes headlines for\u003ca href=\"https://variety.com/2024/film/news/jerrod-carmichael-regrets-dave-chappelle-criticism-trans-jokes-1235974314/\"> easily agitating\u003c/a> the ever-crotchety elder statesman Dave Chappelle.\u003c/p>\n\u003cp>[aside postid='arts_13957959']He was easy to root for because he treated the performance like a therapist’s couch, a safe space where he could break through the silence that encourages shame and deceit. It was different from, but in the lineage of,\u003ca href=\"https://www.youtube.com/watch?v=HUUCnt0Jexg\"> Richard Pryor’s recounting of his own drug addiction\u003c/a> in \u003cem>Live on the Sunset Strip\u003c/em> — confessional, blunt, and refreshingly relatable to those who’ve shared a similar experience, delivered in the way only a gifted and self-aware comedian can.\u003c/p>\n\u003cp>But \u003cem>Reality Show \u003c/em>practices an entirely different mode of candor. On camera, Carmichael cheats on his boyfriend Mike and later lies about it during their couples therapy session. He misses a friend’s wedding because he makes a pit stop to get a hot dog along the way. (He was supposed to be the best man.) He goads his parents Joe and Cynthia into having raw, painful discussions about their once-private lives and tightly held beliefs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All of this is done in service of what he sees as a greater good: radical honesty, which he in turn hopes will lead to stronger bonds with his loved ones. Yet for some, the show has morphed the perception of him from that of an artist valiantly speaking the truth to an exhaustingly selfish crusader for a very specific truth — his own. And whether or not he succeeds at repairing his fractured relationships is only partially answered by \u003cem>Reality Show\u003c/em>‘s finale, which aired Friday.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r5Jly91mvGA\u003c/p>\n\u003ch3>\u003cem>\u003cstrong>Reality Show\u003c/strong>\u003c/em>\u003cstrong> stands apart\u003c/strong>\u003c/h3>\n\u003cp>If \u003cem>Rothaniel \u003c/em>was presented as catharsis, \u003cem>Reality Show \u003c/em>arguably functions as exploitation. It’s one thing to process grief, pain, and pathos through your art; it’s utterly baffling to directly involve the sources of that pathos in your artistic process, particularly when they seem formidably resistant to even acknowledging themselves as the source.\u003c/p>\n\u003cp>This isn’t the first time. In 2019, Carmichael released two HBO documentary specials that also featured him in conversation with his family, \u003cem>Home Videos \u003c/em>and \u003cem>Sermon on the Mount. Home Videos \u003c/em>is where he first tested the waters to see how his mom would react to him coming out to her. On camera, he offhandedly dropped in an admission that he’s hooked up with men but stopped short at identifying as gay. Cynthia barely acknowledged the unexpected disclosure.\u003c/p>\n\u003cp>As Carmichael told Dave Holmes for\u003ca href=\"https://www.esquire.com/entertainment/tv/a60341676/jerrod-carmichael-reality-show-profile-2024/\"> \u003cem>Esquire\u003c/em>\u003c/a>, the silence from his parents after coming out is what pushed him to create \u003cem>Reality Show \u003c/em>in the first place: “The lack of acknowledgment is what made me go, ‘Okay, I’ll turn the volume up.’ How do I make it as extreme as possible? It’s testing the limits of their cognitive dissonance.”\u003c/p>\n\u003cp>The extremities make up a strange gumbo: One-part old-school docu-style reality TV (in a different era, this could’ve been \u003cem>True Life\u003c/em>: “My Mom’s a Homophobe”); a dash of trashy celeb-reality (think \u003cem>Being Bobby Brown\u003c/em> or \u003cem>Britney & Kevin: Chaotic\u003c/em>); and another part self-referential prestige experiment (Sarah Polley’s \u003cem>Stories We Tell\u003c/em> or \u003cem>How To with John Wilson\u003c/em>).\u003c/p>\n\u003cp>[aside postid='arts_13957624']For all its cross-cultural parallels, though, \u003cem>Reality Show \u003c/em>stands apart. To his credit, while he has near-total creative control as the creator, co-executive producer, and star, he’s willing to show himself being challenged by his own cognitive dissonance. Within the first few minutes of \u003cem>Reality Show\u003c/em>, he makes his MO plain: “Cameras make me feel more comfortable, I like this — it seems permanent, and it feels really dumb to lie.” And yet, we later watch him lie on camera about being monogamous during a couples therapy session with Mike, proving he struggles to adhere to his own ethos, at least at first. (As the season carries on, he and Mike try out non-monogamy together, and seem to find that it works for them.)\u003c/p>\n\u003cp>The reality TV genre feeds heartily upon the judgmental instincts of its viewers. It needs audiences to engage with it as gossip fodder and opinion-generator, encouraging those who tune in for the “real”-ish drama to scoff at the foolish personalities, cheer on the likable heroes, and boo the flamboyant antagonists. Carmichael clearly understands the format — unscripted in theory, though manipulated and edited to make the “real” fit more neatly into a dramatic arc — and bends it to his will. And while the crudest entries in the reality genre tend to bring up social issues and prejudices either unintentionally or superficially, with \u003cem>Reality Show\u003c/em>, Carmichael chooses to purposefully expose the issues in the name of raw, unfiltered honesty.\u003c/p>\n\u003ch3>\u003cstrong>“I think this will be good for you”\u003c/strong>\u003c/h3>\n\u003cp>In the mid-2010s, he co-created and starred in the loosely autobiographical network sitcom \u003cem>The Carmichael Show\u003c/em>. Far more subversive than its multi-camera, live studio audience format let on, it positioned him as a nihilistic provocateur who revels in frank, multi-generational conversations on an assortment of hot-button issues with his fictional family: abortion, assisted suicide, mass shootings, depression. (It’s frequently, and aptly, been referred to as a modern-day \u003cem>All in the Family\u003c/em>.)\u003c/p>\n\u003cp>A Season 2 episode focuses on Jerrod’s dad Joe (David Alan Grier) as he prepares to deliver a eulogy for his own father, who was abusive and abandoned the family long ago. Jerrod doesn’t understand why Joe would want to honor him — “Am I the only one who remembers what a deadbeat that man was?” — but Joe feels bound by the tradition of never speaking ill of the dead. Jerrod counters that if Joe is going to give the eulogy, he should at least tell the truth about who the man was: “I think it will be good for you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oAM0GQW-Q04&t=3s\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>That line could’ve been the tagline for \u003cem>Reality Show\u003c/em>, which finds Carmichael butting up against the people in his life — many of them older — who bristle at his desire to revisit painful memories from the past. In the fourth episode, Jerrod attempts to have a straightforward conversation with his real dad Joe, and pelts him with a rapid-fire series of questions about the double life Joe led for years, which included having a secret second family with another woman.\u003c/p>\n\u003cp>“Would you say you loved [the other woman]? Or was it just like, sexual, or was it — ’cause it was a long time, what – like, 40 years of a relationship? Was it hard every time? Did you feel like a bad person?”\u003c/p>\n\u003cp>[aside postid='arts_13956944']Joe, clearly uncomfortable, begins to shut down and insist that the past is the past, but Jerrod keeps pressing him. Joe snaps back: “Why are you digging into this so deep, son?”\u003c/p>\n\u003cp>\u003cem>I think it will be good for you\u003c/em>.\u003c/p>\n\u003cp>“Is this gonna be on your special?” Joe wearily asks. “This is hard for me to discuss on cameras.”\u003c/p>\n\u003cp>Doing this in front of cameras is the only way Carmichael, a late-30s millennial who came of age in the early years of oversharing — \u003cem>The Real World\u003c/em>, blogging, Facebook — knows how to have (or force, really) these conversations. It’s telling that, spliced throughout some of the episodes, \u003cem>Reality Show \u003c/em>includes footage from the Carmichael family’s home videos going back decades, some of which Jerrod himself shot as a kid with a camcorder. The grainy images root the present-day points of conflict firmly in an “authentic” past, suggesting that this project was predestined, something this artist has unintentionally been working toward for decades.\u003c/p>\n\u003cp>“Your option is \u003cem>no\u003c/em> option,” Jerrod snaps back at Joe around that campfire, “so don’t criticize the way I do it. If the cameras help me, then they f—— help. But your way is nothing\u003cstrong>, \u003c/strong>your way is silence\u003cstrong>, \u003c/strong>your way is death.”\u003c/p>\n\u003cp>Eventually, Joe is tapped out. “You’ve expressed yourself … can I go home?”\u003c/p>\n\u003cp>The camera gives Jerrod courage, a security blanket to wear while attempting to address the distance between him and Joe, yet it’s not yielding the results he’s looking for. It’s hard not to wonder if the cameras are actually hindering him in the long run, keeping him stuck on the false hope that others around him — who have thus far only proven rigid in their stances — might open up to him the way he wants them to.\u003c/p>\n\u003cfigure id=\"attachment_13958132\" class=\"wp-caption aligncenter\" style=\"max-width: 1789px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958132\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7.jpg\" alt=\"Close up on a young Black man's face and shoulders. He is glancing downwards and smiling.\" width=\"1789\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7.jpg 1789w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-800x482.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-1536x926.jpg 1536w\" sizes=\"(max-width: 1789px) 100vw, 1789px\">\u003cfigcaption class=\"wp-caption-text\">Jerrod Carmichael in ‘Jerrod Carmichael Reality Show.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>Bending his truth for his mom\u003c/strong>\u003c/h3>\n\u003cp>At the core of \u003cem>Reality Show,\u003c/em> nestled beneath the layer of a mission for radical truth, is Carmichael’s determination to radically alter worldviews. “Could my mom \u003cem>change\u003c/em>?” he ponders at one point. He surmises, “It’s reason to keep fighting.”\u003c/p>\n\u003cp>“I’m not going to sit here and lie to you,” his uber-Christian mom Cynthia insists in the finale, while repeating yet again that she’d “prefer” that he isn’t gay. (In an earlier episode, she likened homosexuality to being a murderer.) Cynthia might be the most authentic of all the figures in \u003cem>Reality Show\u003c/em>, unapologetically herself. His impasse with her has less to do with avoiding the truth than it does the fact that \u003cem>her\u003c/em> truth stands in direct opposition to \u003cem>his\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13957776']She visits Jerrod and Mike in New York City for Mother’s Day weekend, and he takes her to a queer-friendly Harlem church, where the pastor pushes back against her insistence that the Bible condemns homosexuality. Later they meet with a queer therapist for joint counseling. Neither of these experiences sees her budging from her stance: “I’d like for him not to be gay,” she tells the therapist during one-on-one time, adding matter-of-factly, “I can go further [with my acceptance], I just choose right now not to … I don’t want to.”\u003c/p>\n\u003cp>Later, when she reiterates her desire for him to find a woman to settle down with, he tries meeting her on her terms: He consents to letting her attempt to pray away the gay in front of him. She’s truly giddy; it might be the happiest she appears in the entire show. “I love you. That blessed my heart,” she says, satisfied. She’s completely unaware (or unbothered?) by how her son’s body seems to recoil out of deep discomfort.\u003c/p>\n\u003cp>In an effective bit of dramatic editing, the prayer immediately cuts to Carmichael remarking on the moment during a standup performance. “She was so happy that I let her do it. I immediately regretted it.”\u003c/p>\n\u003cfigure id=\"attachment_13958135\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958135\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM.png\" alt=\"A Black man wearing a red shirt leans forward and smiles towards a microphone. He has one arm raised next to him.\" width=\"1290\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-1020x571.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-768x430.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Carmichael in ‘Rothaniel,’ his 2022 special. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout \u003cem>Reality Show\u003c/em>, Carmichael imagines standup snippets as if they were a more elevated version of a confessional booth, that reality TV convention where the cast members get to narrate their perspective of the story unfolding. It’s devastating watching him concede to her, to allow her this delusion. But there’s life as-it-happens and life as reflected upon later. And it’s important to note this doesn’t come out of nowhere; this has been years in the making, with long periods of absence and occasional heated exchanges, some of which were captured on camera. Through his extravagant attempts at familial reconciliation, Jerrod’s ultimately realized he has to bend his truth a little to maintain some sort of relationship with Cynthia.\u003c/p>\n\u003cp>\u003cem>I think it will be good for you.\u003c/em>\u003c/p>\n\u003cp>“You know what I realized I need is a reason to believe everything will be OK,” he adds. “I’m always looking for that. When I was young, I found it in my mother. And now, I’m finding a lot of that in [Mike].” As he says this, a montage of images flurry by: Cynthia packing her bags in her hotel room to go back home to North Carolina; a younger Cynthia smiling for the camera in a home video; Mike teaching Jerrod how to swim in a pool.\u003c/p>\n\u003ch3>A revelatory viewing experience\u003c/h3>\n\u003cp>And yet the finale also suggests a small but perceptible shift in Jerrod’s relationship with Cynthia, and proves the show is more than a masochistic, navel-gazey affair (though it’s certainly that, too). This is soap opera verité in its most anarchic state — almost certainly a terrible idea for everyone involved, but quite possibly a learning experience for those observing from the outside looking in.\u003c/p>\n\u003cp>The post-credits sequence is jarringly optimistic. The final image is of Mike and Cynthia laughing together in her kitchen in North Carolina a few months later; she even places her hand affectionately on his back for a quick moment. We have no idea if Cynthia still believes Jerrod and Mike are on equally sinful footing with murderers, though the scene implies something within her has softened.\u003c/p>\n\u003cp>[aside postid='arts_13957264']It’s unclear what we’re supposed to make of this — that maybe Jerrod’s persistence has actually helped him reconnect with his family? If so, it’s worth considering \u003cem>Reality Show \u003c/em>a success for what he’s said he wanted out of this project, even if there’s reason to be disappointed in the concessions he may have had to make to get there.\u003c/p>\n\u003cp>The impulse to question why any of this needed to happen in such a public manner doesn’t completely recede with this conclusion, though maybe it makes the show’s existence easier to digest. In any case, the ending is hardly pat — real life plays out on its own terms away from the cameras — and \u003cem>Reality Show\u003c/em>‘s frank depiction of a Black queer man attempting to push back against his family’s culture of silence moves the needle even further than \u003cem>Rothaniel \u003c/em>did. He’s provided viewers with an imperfect guide for how to have difficult but necessary conversations with the people they care about (preferably without dropping a camera crew in the mix).\u003c/p>\n\u003cp>Oddly enough, \u003cem>Reality Show \u003c/em>shares a bit in common with the most recent season of the absurdist Netflix dating series \u003cem>Love Is Blind\u003c/em>, which featured Clay, a young Black man who also dealt with unresolved trauma stemming from his own dad’s infidelities in a very public manner. The show’s silly “social experiment” — above all designed for maximum gawking and entertainment — inadvertently stumbled into a candid and relatively honest discussion about Black masculinity and generational trauma.\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://media.npr.org/assets/img/2024/05/17/love_is_blind_n_s6_e12_00_39_17_08rc.jpg-love_is_blind_n_s6_e12_00_39_17_08rc_custom-77d3eee5e4f32c0f5926a2d07484a391247d72ea.jpg?s=1200&c=75&f=jpeg\" alt=\"A young Black man in a smart suit walks arm-in-arm with an older Black woman who is wearing a green formal dress and yellow shoulder wrap.\" width=\"1200\" height=\"707\">\u003cfigcaption class=\"wp-caption-text\">Clay and his mom Margarita on ‘Love is Blind.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>At Clay’s doomed wedding ceremony to AD, his mom Margarita, no longer married to his dad Trevor, gave the series its truest moment thus far, when she explained to Trevor how his actions were affecting their son all these years later. “Your past and things that you witness, it’s part of your DNA. It’s part of your inside. And if you don’t get freakin’ help, you bring that s— into the next thing.”\u003c/p>\n\u003cp>Clay brought his baggage into \u003cem>Love Is Blind \u003c/em>and Jerrod brought his into \u003cem>Reality Show. \u003c/em>Disarray ensued and feelings were hurt. There’s a silver lining though: In making highly questionable decisions for all the world to see, they forced conversations that need to be had but often aren’t, and perhaps some viewers may come away feeling inspired to confront similar issues in their own lives. Even amid all the mess, some honesty managed to break through the silence.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Season 1 of ‘Jerrod Carmichael Reality Show’ is streaming now on Max.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The comedian’s Max series has been called invasive and narcissistic — but it's also a natural progression for Carmichael.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Peruse any online thread discussing \u003cem>Jerrod Carmichael Reality Show\u003c/em>, the disquieting HBO series created by and starring the titular comedian and filmmaker, and colorful descriptors like “pretentious,” “mega narcissist,” and “self-righteous piece of [\u003cem>redacted\u003c/em>]” are bound to appear.\u003c/p>\n\u003cp>“This show seems kinda invasive,” one observer noted\u003ca href=\"https://www.reddit.com/r/JerrodCarmichael/comments/1brcpr5/jerrod_carmichael_reality_show_kinda_weird_to/\"> on Reddit\u003c/a>. “… I’m not sure what the obsession is with public humiliation … About a year ago, I was very much a fan of his honesty and what seemed to be [a] down to earth personality but it looks like it’s morphed into the narcissistic cry for help.”\u003c/p>\n\u003cp>Carmichael earned a lot of good will from his 2022 breakout standup special\u003cem>\u003ca href=\"https://www.npr.org/2022/04/11/1091748272/jerrod-carmichael-rothaniel-standup-special-hbo-comes-out\"> Rothaniel\u003c/a>\u003c/em>, in which he — among other things — came out publicly as gay and processed his mom Cynthia’s devout homophobia. It launched him into the “mainstream”; that is, a stratosphere where one wins prestigious awards, guest hosts \u003cem>Saturday Night Live\u003c/em>, and makes headlines for\u003ca href=\"https://variety.com/2024/film/news/jerrod-carmichael-regrets-dave-chappelle-criticism-trans-jokes-1235974314/\"> easily agitating\u003c/a> the ever-crotchety elder statesman Dave Chappelle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He was easy to root for because he treated the performance like a therapist’s couch, a safe space where he could break through the silence that encourages shame and deceit. It was different from, but in the lineage of,\u003ca href=\"https://www.youtube.com/watch?v=HUUCnt0Jexg\"> Richard Pryor’s recounting of his own drug addiction\u003c/a> in \u003cem>Live on the Sunset Strip\u003c/em> — confessional, blunt, and refreshingly relatable to those who’ve shared a similar experience, delivered in the way only a gifted and self-aware comedian can.\u003c/p>\n\u003cp>But \u003cem>Reality Show \u003c/em>practices an entirely different mode of candor. On camera, Carmichael cheats on his boyfriend Mike and later lies about it during their couples therapy session. He misses a friend’s wedding because he makes a pit stop to get a hot dog along the way. (He was supposed to be the best man.) He goads his parents Joe and Cynthia into having raw, painful discussions about their once-private lives and tightly held beliefs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of this is done in service of what he sees as a greater good: radical honesty, which he in turn hopes will lead to stronger bonds with his loved ones. Yet for some, the show has morphed the perception of him from that of an artist valiantly speaking the truth to an exhaustingly selfish crusader for a very specific truth — his own. And whether or not he succeeds at repairing his fractured relationships is only partially answered by \u003cem>Reality Show\u003c/em>‘s finale, which aired Friday.\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/r5Jly91mvGA'\n title='//www.youtube.com/embed/r5Jly91mvGA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cem>\u003cstrong>Reality Show\u003c/strong>\u003c/em>\u003cstrong> stands apart\u003c/strong>\u003c/h3>\n\u003cp>If \u003cem>Rothaniel \u003c/em>was presented as catharsis, \u003cem>Reality Show \u003c/em>arguably functions as exploitation. It’s one thing to process grief, pain, and pathos through your art; it’s utterly baffling to directly involve the sources of that pathos in your artistic process, particularly when they seem formidably resistant to even acknowledging themselves as the source.\u003c/p>\n\u003cp>This isn’t the first time. In 2019, Carmichael released two HBO documentary specials that also featured him in conversation with his family, \u003cem>Home Videos \u003c/em>and \u003cem>Sermon on the Mount. Home Videos \u003c/em>is where he first tested the waters to see how his mom would react to him coming out to her. On camera, he offhandedly dropped in an admission that he’s hooked up with men but stopped short at identifying as gay. Cynthia barely acknowledged the unexpected disclosure.\u003c/p>\n\u003cp>As Carmichael told Dave Holmes for\u003ca href=\"https://www.esquire.com/entertainment/tv/a60341676/jerrod-carmichael-reality-show-profile-2024/\"> \u003cem>Esquire\u003c/em>\u003c/a>, the silence from his parents after coming out is what pushed him to create \u003cem>Reality Show \u003c/em>in the first place: “The lack of acknowledgment is what made me go, ‘Okay, I’ll turn the volume up.’ How do I make it as extreme as possible? It’s testing the limits of their cognitive dissonance.”\u003c/p>\n\u003cp>The extremities make up a strange gumbo: One-part old-school docu-style reality TV (in a different era, this could’ve been \u003cem>True Life\u003c/em>: “My Mom’s a Homophobe”); a dash of trashy celeb-reality (think \u003cem>Being Bobby Brown\u003c/em> or \u003cem>Britney & Kevin: Chaotic\u003c/em>); and another part self-referential prestige experiment (Sarah Polley’s \u003cem>Stories We Tell\u003c/em> or \u003cem>How To with John Wilson\u003c/em>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For all its cross-cultural parallels, though, \u003cem>Reality Show \u003c/em>stands apart. To his credit, while he has near-total creative control as the creator, co-executive producer, and star, he’s willing to show himself being challenged by his own cognitive dissonance. Within the first few minutes of \u003cem>Reality Show\u003c/em>, he makes his MO plain: “Cameras make me feel more comfortable, I like this — it seems permanent, and it feels really dumb to lie.” And yet, we later watch him lie on camera about being monogamous during a couples therapy session with Mike, proving he struggles to adhere to his own ethos, at least at first. (As the season carries on, he and Mike try out non-monogamy together, and seem to find that it works for them.)\u003c/p>\n\u003cp>The reality TV genre feeds heartily upon the judgmental instincts of its viewers. It needs audiences to engage with it as gossip fodder and opinion-generator, encouraging those who tune in for the “real”-ish drama to scoff at the foolish personalities, cheer on the likable heroes, and boo the flamboyant antagonists. Carmichael clearly understands the format — unscripted in theory, though manipulated and edited to make the “real” fit more neatly into a dramatic arc — and bends it to his will. And while the crudest entries in the reality genre tend to bring up social issues and prejudices either unintentionally or superficially, with \u003cem>Reality Show\u003c/em>, Carmichael chooses to purposefully expose the issues in the name of raw, unfiltered honesty.\u003c/p>\n\u003ch3>\u003cstrong>“I think this will be good for you”\u003c/strong>\u003c/h3>\n\u003cp>In the mid-2010s, he co-created and starred in the loosely autobiographical network sitcom \u003cem>The Carmichael Show\u003c/em>. Far more subversive than its multi-camera, live studio audience format let on, it positioned him as a nihilistic provocateur who revels in frank, multi-generational conversations on an assortment of hot-button issues with his fictional family: abortion, assisted suicide, mass shootings, depression. (It’s frequently, and aptly, been referred to as a modern-day \u003cem>All in the Family\u003c/em>.)\u003c/p>\n\u003cp>A Season 2 episode focuses on Jerrod’s dad Joe (David Alan Grier) as he prepares to deliver a eulogy for his own father, who was abusive and abandoned the family long ago. Jerrod doesn’t understand why Joe would want to honor him — “Am I the only one who remembers what a deadbeat that man was?” — but Joe feels bound by the tradition of never speaking ill of the dead. Jerrod counters that if Joe is going to give the eulogy, he should at least tell the truth about who the man was: “I think it will be good for you.”\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/oAM0GQW-Q04'\n title='//www.youtube.com/embed/oAM0GQW-Q04'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>That line could’ve been the tagline for \u003cem>Reality Show\u003c/em>, which finds Carmichael butting up against the people in his life — many of them older — who bristle at his desire to revisit painful memories from the past. In the fourth episode, Jerrod attempts to have a straightforward conversation with his real dad Joe, and pelts him with a rapid-fire series of questions about the double life Joe led for years, which included having a secret second family with another woman.\u003c/p>\n\u003cp>“Would you say you loved [the other woman]? Or was it just like, sexual, or was it — ’cause it was a long time, what – like, 40 years of a relationship? Was it hard every time? Did you feel like a bad person?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Joe, clearly uncomfortable, begins to shut down and insist that the past is the past, but Jerrod keeps pressing him. Joe snaps back: “Why are you digging into this so deep, son?”\u003c/p>\n\u003cp>\u003cem>I think it will be good for you\u003c/em>.\u003c/p>\n\u003cp>“Is this gonna be on your special?” Joe wearily asks. “This is hard for me to discuss on cameras.”\u003c/p>\n\u003cp>Doing this in front of cameras is the only way Carmichael, a late-30s millennial who came of age in the early years of oversharing — \u003cem>The Real World\u003c/em>, blogging, Facebook — knows how to have (or force, really) these conversations. It’s telling that, spliced throughout some of the episodes, \u003cem>Reality Show \u003c/em>includes footage from the Carmichael family’s home videos going back decades, some of which Jerrod himself shot as a kid with a camcorder. The grainy images root the present-day points of conflict firmly in an “authentic” past, suggesting that this project was predestined, something this artist has unintentionally been working toward for decades.\u003c/p>\n\u003cp>“Your option is \u003cem>no\u003c/em> option,” Jerrod snaps back at Joe around that campfire, “so don’t criticize the way I do it. If the cameras help me, then they f—— help. But your way is nothing\u003cstrong>, \u003c/strong>your way is silence\u003cstrong>, \u003c/strong>your way is death.”\u003c/p>\n\u003cp>Eventually, Joe is tapped out. “You’ve expressed yourself … can I go home?”\u003c/p>\n\u003cp>The camera gives Jerrod courage, a security blanket to wear while attempting to address the distance between him and Joe, yet it’s not yielding the results he’s looking for. It’s hard not to wonder if the cameras are actually hindering him in the long run, keeping him stuck on the false hope that others around him — who have thus far only proven rigid in their stances — might open up to him the way he wants them to.\u003c/p>\n\u003cfigure id=\"attachment_13958132\" class=\"wp-caption aligncenter\" style=\"max-width: 1789px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958132\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7.jpg\" alt=\"Close up on a young Black man's face and shoulders. He is glancing downwards and smiling.\" width=\"1789\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7.jpg 1789w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-800x482.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-1536x926.jpg 1536w\" sizes=\"(max-width: 1789px) 100vw, 1789px\">\u003cfigcaption class=\"wp-caption-text\">Jerrod Carmichael in ‘Jerrod Carmichael Reality Show.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>Bending his truth for his mom\u003c/strong>\u003c/h3>\n\u003cp>At the core of \u003cem>Reality Show,\u003c/em> nestled beneath the layer of a mission for radical truth, is Carmichael’s determination to radically alter worldviews. “Could my mom \u003cem>change\u003c/em>?” he ponders at one point. He surmises, “It’s reason to keep fighting.”\u003c/p>\n\u003cp>“I’m not going to sit here and lie to you,” his uber-Christian mom Cynthia insists in the finale, while repeating yet again that she’d “prefer” that he isn’t gay. (In an earlier episode, she likened homosexuality to being a murderer.) Cynthia might be the most authentic of all the figures in \u003cem>Reality Show\u003c/em>, unapologetically herself. His impasse with her has less to do with avoiding the truth than it does the fact that \u003cem>her\u003c/em> truth stands in direct opposition to \u003cem>his\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She visits Jerrod and Mike in New York City for Mother’s Day weekend, and he takes her to a queer-friendly Harlem church, where the pastor pushes back against her insistence that the Bible condemns homosexuality. Later they meet with a queer therapist for joint counseling. Neither of these experiences sees her budging from her stance: “I’d like for him not to be gay,” she tells the therapist during one-on-one time, adding matter-of-factly, “I can go further [with my acceptance], I just choose right now not to … I don’t want to.”\u003c/p>\n\u003cp>Later, when she reiterates her desire for him to find a woman to settle down with, he tries meeting her on her terms: He consents to letting her attempt to pray away the gay in front of him. She’s truly giddy; it might be the happiest she appears in the entire show. “I love you. That blessed my heart,” she says, satisfied. She’s completely unaware (or unbothered?) by how her son’s body seems to recoil out of deep discomfort.\u003c/p>\n\u003cp>In an effective bit of dramatic editing, the prayer immediately cuts to Carmichael remarking on the moment during a standup performance. “She was so happy that I let her do it. I immediately regretted it.”\u003c/p>\n\u003cfigure id=\"attachment_13958135\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958135\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM.png\" alt=\"A Black man wearing a red shirt leans forward and smiles towards a microphone. He has one arm raised next to him.\" width=\"1290\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-1020x571.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-768x430.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Carmichael in ‘Rothaniel,’ his 2022 special. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout \u003cem>Reality Show\u003c/em>, Carmichael imagines standup snippets as if they were a more elevated version of a confessional booth, that reality TV convention where the cast members get to narrate their perspective of the story unfolding. It’s devastating watching him concede to her, to allow her this delusion. But there’s life as-it-happens and life as reflected upon later. And it’s important to note this doesn’t come out of nowhere; this has been years in the making, with long periods of absence and occasional heated exchanges, some of which were captured on camera. Through his extravagant attempts at familial reconciliation, Jerrod’s ultimately realized he has to bend his truth a little to maintain some sort of relationship with Cynthia.\u003c/p>\n\u003cp>\u003cem>I think it will be good for you.\u003c/em>\u003c/p>\n\u003cp>“You know what I realized I need is a reason to believe everything will be OK,” he adds. “I’m always looking for that. When I was young, I found it in my mother. And now, I’m finding a lot of that in [Mike].” As he says this, a montage of images flurry by: Cynthia packing her bags in her hotel room to go back home to North Carolina; a younger Cynthia smiling for the camera in a home video; Mike teaching Jerrod how to swim in a pool.\u003c/p>\n\u003ch3>A revelatory viewing experience\u003c/h3>\n\u003cp>And yet the finale also suggests a small but perceptible shift in Jerrod’s relationship with Cynthia, and proves the show is more than a masochistic, navel-gazey affair (though it’s certainly that, too). This is soap opera verité in its most anarchic state — almost certainly a terrible idea for everyone involved, but quite possibly a learning experience for those observing from the outside looking in.\u003c/p>\n\u003cp>The post-credits sequence is jarringly optimistic. The final image is of Mike and Cynthia laughing together in her kitchen in North Carolina a few months later; she even places her hand affectionately on his back for a quick moment. We have no idea if Cynthia still believes Jerrod and Mike are on equally sinful footing with murderers, though the scene implies something within her has softened.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s unclear what we’re supposed to make of this — that maybe Jerrod’s persistence has actually helped him reconnect with his family? If so, it’s worth considering \u003cem>Reality Show \u003c/em>a success for what he’s said he wanted out of this project, even if there’s reason to be disappointed in the concessions he may have had to make to get there.\u003c/p>\n\u003cp>The impulse to question why any of this needed to happen in such a public manner doesn’t completely recede with this conclusion, though maybe it makes the show’s existence easier to digest. In any case, the ending is hardly pat — real life plays out on its own terms away from the cameras — and \u003cem>Reality Show\u003c/em>‘s frank depiction of a Black queer man attempting to push back against his family’s culture of silence moves the needle even further than \u003cem>Rothaniel \u003c/em>did. He’s provided viewers with an imperfect guide for how to have difficult but necessary conversations with the people they care about (preferably without dropping a camera crew in the mix).\u003c/p>\n\u003cp>Oddly enough, \u003cem>Reality Show \u003c/em>shares a bit in common with the most recent season of the absurdist Netflix dating series \u003cem>Love Is Blind\u003c/em>, which featured Clay, a young Black man who also dealt with unresolved trauma stemming from his own dad’s infidelities in a very public manner. The show’s silly “social experiment” — above all designed for maximum gawking and entertainment — inadvertently stumbled into a candid and relatively honest discussion about Black masculinity and generational trauma.\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://media.npr.org/assets/img/2024/05/17/love_is_blind_n_s6_e12_00_39_17_08rc.jpg-love_is_blind_n_s6_e12_00_39_17_08rc_custom-77d3eee5e4f32c0f5926a2d07484a391247d72ea.jpg?s=1200&c=75&f=jpeg\" alt=\"A young Black man in a smart suit walks arm-in-arm with an older Black woman who is wearing a green formal dress and yellow shoulder wrap.\" width=\"1200\" height=\"707\">\u003cfigcaption class=\"wp-caption-text\">Clay and his mom Margarita on ‘Love is Blind.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>At Clay’s doomed wedding ceremony to AD, his mom Margarita, no longer married to his dad Trevor, gave the series its truest moment thus far, when she explained to Trevor how his actions were affecting their son all these years later. “Your past and things that you witness, it’s part of your DNA. It’s part of your inside. And if you don’t get freakin’ help, you bring that s— into the next thing.”\u003c/p>\n\u003cp>Clay brought his baggage into \u003cem>Love Is Blind \u003c/em>and Jerrod brought his into \u003cem>Reality Show. \u003c/em>Disarray ensued and feelings were hurt. There’s a silver lining though: In making highly questionable decisions for all the world to see, they forced conversations that need to be had but often aren’t, and perhaps some viewers may come away feeling inspired to confront similar issues in their own lives. Even amid all the mess, some honesty managed to break through the silence.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Season 1 of ‘Jerrod Carmichael Reality Show’ is streaming now on Max.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Babes’ is a Giddy, Raunchy, Moving and (Very) Gooey Look at Childbirth and Friendship",
"headTitle": "‘Babes’ is a Giddy, Raunchy, Moving and (Very) Gooey Look at Childbirth and Friendship | KQED",
"content": "\u003cfigure id=\"attachment_13957964\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-15-at-5.38.43-PM-e1715820056416.png\" alt=\"A pregnant Black woman talks to a shorter white woman outside a restaurant.\" width=\"1920\" height=\"1139\">\u003cfigcaption class=\"wp-caption-text\">Michelle Buteau and Ilana Glazer in ‘Babes.’ \u003ccite>(Gwen Capistran/ Neon via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You know what? It’s true. They never do tell you about the placenta.\u003c/p>\n\u003cp>Let us explain. But first, let’s also point out that if you’re already queasy at the mention of “placenta,” well, \u003cem>Babes\u003c/em> — director Pamela Adlon’s brash, chaotic, hilarious and occasionally overly gooey (in so many ways) childbirth comedy — may not be your thing. Just saying.\u003c/p>\n\u003cp>Anyway! Somewhere late into \u003cem>Babes\u003c/em>, Eden (Ilana Glazer) is giving birth. We’ve seen most of this before in countless comedies: the outlandish obstacles, the tense trip to the hospital, the traffic — oh, the traffic — all melting away in that glorious moment when baby arrives and everyone starts happy-crying.\u003c/p>\n\u003cp>[aside postid='pop_96171']We get all that in \u003cem>Babes\u003c/em>, too, but then the doctor says “Start pushing” — again — and Eden asks, “What, is there another baby?” And she’s told no, it’s the placenta, aka the afterbirth. Ugh! “They don’t tell you about this part,” notes her friend, Dawn.\u003c/p>\n\u003cp>Which is funny, but also basically true. And there are lots of other pregnancy-related things people don’t mention, let alone depict in movies. Like: secretions. \u003cem>Babes\u003c/em>, written by Glazer with Josh Rabinowitz, loves bodily secretions of any kind. Not showing them, thank heavens, but talking about them. No wonder some are calling \u003cem>Babes\u003c/em> the \u003cem>Bridesmaids\u003c/em> of childbearing. Or \u003cem>Knocked Up\u003c/em> without the Seth Rogen part.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Speaking of the men in \u003cem>Babes\u003c/em>, well, the title should give you a sense of how important they are to the narrative. This is a film about two women, Eden and Dawn, lifelong buddies, and how pregnancy and childbirth change them. Side note: When we speak of goo, we’re referring both to actual goo — as referenced earlier — but also narrative goo. As in, schmaltz. No obstacle ever arises for long. Everybody basically hugs and cries it out whenever things get complicated.\u003c/p>\n\u003cp>But hey, most of this can be forgiven when a film is this well acted — especially by Glazer, a gifted comedian. Both she and Michelle Buteau as Dawn, are nothing but authentic and moving, but Glazer in particular will have you howling one minute and wiping those misty eyes the next.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rAfS15DIyEY\u003c/p>\n\u003cp>We begin early on Thanksgiving morning, at the multiplex, because Thanksgiving morning movies are a tradition for Eden and Dawn. The wrinkle here is that Dawn is pregnant with her second kid. Very pregnant. Very, very pregnant.\u003c/p>\n\u003cp>[aside postid='pop_11483']In fact, she goes into active labor as the movie starts. But instead of going to the hospital as directed by her doctor, Dawn requests a big meal at a restaurant, because you’re not allowed to eat in the hospital — leading to a high-slapstick scene at a posh eatery that includes Eden examining, amid bites, whether Dawn is dilated (we told you these are very good friends).\u003c/p>\n\u003cp>Eventually we’re at the hospital, where Dawn crawls down the corridors in pain, and we learn about more gross things that happen during childbirth (the movie does not crawl toward grossness — it runs headlong into it). We also meet Dawn’s husband, Marty (Hasan Minhaj). Marty is supportive and patient — to the point of utter implausibility.\u003c/p>\n\u003cp>Eden heads out to buy everyone sushi. In one of many Manhattan vs. Queens jokes, she buys it at a fancy place in Manhattan (she herself has remained in Queens, while Dawn has moved to the Upper West Side) and the bill comes to nearly $500. Unfortunately this IS plausible. It leads to a wonderful sequence where, on three or four subway trains back to Queens (we’re on a holiday schedule), Eden shares this sushi spread with a cute actor (Stephan James) she meets, dressed in a burgundy tux, who’s just left a film shoot where he played “Sexy Black Waiter.”\u003c/p>\n\u003cp>A one-night stand ensues. And then, Eden discovers she’s pregnant. This will radically shift the balance of her relationship with Dawn — and we don’t need to update you on any other relationships, because THIS is the one that matters.\u003c/p>\n\u003cp>There’s much here that rings true. Adlon, Glazer and Rabinowitz know how to get across the intensity of female buddyship, with the added complexity — not often explored in comedies — that these relationships can hurt, at bad times, perhaps even more than romantic ones.\u003c/p>\n\u003cp>[aside postid='arts_13872209']Though there are occasional lapses in narrative logic, on a deeper level the filmmakers clearly know of what they speak. At a recent screening, Adlon and her stars related a few personal childbirth anecdotes in a pre-show talk, and sure enough, at least three of these anecdotes could be found in the movie. (The funniest, though not in the film, came from moderator Julia Louis-Dreyfus — involving a starstruck nurse exclaiming “Elaine!” at a very embarrassing moment.)\u003c/p>\n\u003cp>Breast pumps. Raging pregnancy hormones that make even produce look sexy. A male obstetrician (John Carroll Lynch, funny) who overshares. A birth plan with, why not, a “prom” theme. All these elements, wacky or not, come together in a charming mishmash that adds something ultimately very important to the childbirth comedy genre: the message that childbirth is profound, yes, and full of wonder. But also, like life, it can be funny — and a bit of a mess.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Babes’ is released nationwide on May 17, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We get all that in \u003cem>Babes\u003c/em>, too, but then the doctor says “Start pushing” — again — and Eden asks, “What, is there another baby?” And she’s told no, it’s the placenta, aka the afterbirth. Ugh! “They don’t tell you about this part,” notes her friend, Dawn.\u003c/p>\n\u003cp>Which is funny, but also basically true. And there are lots of other pregnancy-related things people don’t mention, let alone depict in movies. Like: secretions. \u003cem>Babes\u003c/em>, written by Glazer with Josh Rabinowitz, loves bodily secretions of any kind. Not showing them, thank heavens, but talking about them. No wonder some are calling \u003cem>Babes\u003c/em> the \u003cem>Bridesmaids\u003c/em> of childbearing. Or \u003cem>Knocked Up\u003c/em> without the Seth Rogen part.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Speaking of the men in \u003cem>Babes\u003c/em>, well, the title should give you a sense of how important they are to the narrative. This is a film about two women, Eden and Dawn, lifelong buddies, and how pregnancy and childbirth change them. Side note: When we speak of goo, we’re referring both to actual goo — as referenced earlier — but also narrative goo. As in, schmaltz. No obstacle ever arises for long. Everybody basically hugs and cries it out whenever things get complicated.\u003c/p>\n\u003cp>But hey, most of this can be forgiven when a film is this well acted — especially by Glazer, a gifted comedian. Both she and Michelle Buteau as Dawn, are nothing but authentic and moving, but Glazer in particular will have you howling one minute and wiping those misty eyes the next.\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/rAfS15DIyEY'\n title='//www.youtube.com/embed/rAfS15DIyEY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We begin early on Thanksgiving morning, at the multiplex, because Thanksgiving morning movies are a tradition for Eden and Dawn. The wrinkle here is that Dawn is pregnant with her second kid. Very pregnant. Very, very pregnant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In fact, she goes into active labor as the movie starts. But instead of going to the hospital as directed by her doctor, Dawn requests a big meal at a restaurant, because you’re not allowed to eat in the hospital — leading to a high-slapstick scene at a posh eatery that includes Eden examining, amid bites, whether Dawn is dilated (we told you these are very good friends).\u003c/p>\n\u003cp>Eventually we’re at the hospital, where Dawn crawls down the corridors in pain, and we learn about more gross things that happen during childbirth (the movie does not crawl toward grossness — it runs headlong into it). We also meet Dawn’s husband, Marty (Hasan Minhaj). Marty is supportive and patient — to the point of utter implausibility.\u003c/p>\n\u003cp>Eden heads out to buy everyone sushi. In one of many Manhattan vs. Queens jokes, she buys it at a fancy place in Manhattan (she herself has remained in Queens, while Dawn has moved to the Upper West Side) and the bill comes to nearly $500. Unfortunately this IS plausible. It leads to a wonderful sequence where, on three or four subway trains back to Queens (we’re on a holiday schedule), Eden shares this sushi spread with a cute actor (Stephan James) she meets, dressed in a burgundy tux, who’s just left a film shoot where he played “Sexy Black Waiter.”\u003c/p>\n\u003cp>A one-night stand ensues. And then, Eden discovers she’s pregnant. This will radically shift the balance of her relationship with Dawn — and we don’t need to update you on any other relationships, because THIS is the one that matters.\u003c/p>\n\u003cp>There’s much here that rings true. Adlon, Glazer and Rabinowitz know how to get across the intensity of female buddyship, with the added complexity — not often explored in comedies — that these relationships can hurt, at bad times, perhaps even more than romantic ones.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though there are occasional lapses in narrative logic, on a deeper level the filmmakers clearly know of what they speak. At a recent screening, Adlon and her stars related a few personal childbirth anecdotes in a pre-show talk, and sure enough, at least three of these anecdotes could be found in the movie. (The funniest, though not in the film, came from moderator Julia Louis-Dreyfus — involving a starstruck nurse exclaiming “Elaine!” at a very embarrassing moment.)\u003c/p>\n\u003cp>Breast pumps. Raging pregnancy hormones that make even produce look sexy. A male obstetrician (John Carroll Lynch, funny) who overshares. A birth plan with, why not, a “prom” theme. All these elements, wacky or not, come together in a charming mishmash that adds something ultimately very important to the childbirth comedy genre: the message that childbirth is profound, yes, and full of wonder. But also, like life, it can be funny — and a bit of a mess.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Babes’ is released nationwide on May 17, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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