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"content": "\u003cp>History is never really linear, no matter how nicely it’s packaged. \u003cem>It Was All a Dream\u003c/em>, a new documentary by \u003ca href=\"https://www.kqed.org/arts/13848278/making-surviving-r-kelly-a-conversation-with-executive-producer-dream-hampton\">dream hampton\u003c/a>, is a collection of archival footage from the famed filmmaker’s early days covering hip-hop. This unearthed material, found in hampton’s home decades later, shows how complicated the gleam of rap’s golden age was even before it was minted.\u003c/p>\n\u003cp>The director’s visual memoir, which premiered at the 2024 Tribeca Film Festival, is a selection of roving snapshots of life from 1993 to 1995, a pivotal period when Dr. Dre’s \u003cem>The Chronic\u003c/em> stamped the flag in the West Coast and the \u003ca href=\"https://www.kqed.org/arts/13847666/hip-hop-deserves-that-respect-honoring-the-notorious-b-i-g-wu-tang-clan-in-nyc\">Notorious B.I.G.\u003c/a>’s \u003cem>Ready To Die\u003c/em> was the answer from the East, when the genre itself was transitioning from being a Black cultural dialogue to a money-making, mainstream fascination. It’s also when rap feminist foremothers were the fledglings weeding through a messy love-hate relationship timeline with the artform.\u003c/p>\n\u003cp>[aside postid='arts_13932030']During this time, new acts were popping up everywhere and hampton was getting all the footage she could. Before they were prolific rap icons or masters behind the boards, they were as hampton writes later, “kamikazee capitalists who just happened to be teenagers,” young men and women making sense out of the world. The film welcomes the viewer into intimate, informal interviews with Notorious B.I.G, Snoop Dogg and Method Man, smirked, bright-eyed faces of artists who would become bonafide stars way before their hip-hop or Hollywood personas were cemented.\u003c/p>\n\u003cp>With roots in hip-hop journalism, hampton (who stylizes her name in all lowercase as a nod to Black feminist bell hooks) is a writer, producer and filmmaker who’s penned influential pieces about music and culture for \u003cem>The Village Voice\u003c/em>, \u003cem>Vibe\u003c/em>, \u003cem>The Source\u003c/em> and more. She has positioned her lens to cover movements of both subjugation and liberation, including the award-winning documentaries \u003ca href=\"https://www.kqed.org/pop/109568/surviving-r-kelly-producer-dream-hampton-takes-on-ecosystem-that-supported-the-star\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a> and \u003cem>Ladies First: A Story of Women in Hip-Hop\u003c/em>.\u003c/p>\n\u003cp>Though the exclusivity of the classic material is the draw, \u003cem>It Was All a Dream \u003c/em>stands out for another reason. By partially making herself the subject of the doc, hampton does what few artists ever have the courage or humility to do: show their first drafts. Though the narration of the film is pulled from articles she’d written in the same time period — eloquent words that now feel like sacred texts of early hip-hop feminist theory — the footage shows a much less incisive critic. It’s a period when hampton was a film student at NYU and, just as her subjects, still figuring it out as she went.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For most of the film, hampton is a grinning, tomboy femme fly on the wall. She’s much more in documentarian mode than interviewer while in studio sessions, backstage at shows and sharing blunts in the back of Biggie’s Benz. B.I.G’s booming laugh and Coogi-down’d presence is a centerpiece of the visual. (Biggie’s own son, C.J. Wallace, became an executive producer on the project after hampton showed him footage of his late father.) For Frank White fans, it’s a treasure trove of material. For hampton fans, it’s a window into the complexities — and the complicity — of trying to cover someone as both a subject and a friend.\u003c/p>\n\u003cp>There are behind the scenes looks at \u003cem>Source\u003c/em> photo shoots in progress with Onyx and \u003ca href=\"https://www.kqed.org/arts/13911949/cypress-hill-documentary-showtime-insane-in-the-brain-estevan-oriol\">Cypress Hill\u003c/a>; cross-coast studio sessions featuring the likes of \u003ca href=\"https://www.kqed.org/bayareabites/112562/from-mobb-deep-rapper-a-cookbook-for-healthy-eating-in-prison\">Mobb Deep\u003c/a>, Q-Tip, Snoop, Dre, Tha Dogg Pound, Lady of Rage and Warren G cooking up soon-to-be classics; and shots of Big freestyling off the dome and his (\u003ca href=\"https://www.kqed.org/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe\">recently besmirched\u003c/a>) Bad Boy exec, Puff Daddy, mimicking his flow. But when hampton does question her subjects or convenes with her editors\u003cem>, \u003c/em>she uses her access, intellect and curiosity to not only capture the moment, but really zoom in.\u003c/p>\n\u003cp>[aside postid='arts_13934460']hampton films herself in a brainstorm with \u003cem>The Source\u003c/em> associate editor Kierna Mayo and tries to chart when misogyny became so “overbearing” in the music. “We just have to be careful to analyze it wholly,” Mayo says of hampton’s pitch. When hampton hosts a roundtable discussion and photoshoot (attended by now-defamed executive Russell Simmons) with rappers Nikki D, Boss, LeShaun and Hurricane Gloria, the women break down, as hampton writes, having to be “three times as good” in the face of hip-hop’s sexist double standard.\u003c/p>\n\u003cp>“Ain’t nobody at this table right here scared of being called a bitch,” says Nikki D, Def Jam Recording’s first signed female rapper. “You can call me a bitch all you want to, but you know what you can and what you can’t do with me.”\u003c/p>\n\u003cp>In one studio session where Big, bathed in red light, raps lines of what will become a feature on Pudgee tha Phat Bastard’s “\u003ca href=\"https://www.youtube.com/watch?v=PM0Yvpfu9AQ\">Think Big\u003c/a>” and freestyles a joke about a “rap rapist,” hampton appears from slightly off to the side to say, while laughing, that she’s offended by the joke. Even more telling, there is a scene about an hour in where Big scolds a young Lil’ Kim, his Junior M.A.F.I.A artist and girlfriend at the time, about her attitude and not taking pictures. While Kim ignores him at first, Big leans over and lifts up a chair, an action that makes Kim visibly flinch. It’s no more than a minute, but it’s a glimpse of the unspoken dynamic of their relationship, one that Kim would later speak on as being violent, caught on camera by hampton.\u003c/p>\n\u003cp>During an interview with Guru, hampton follows up a question to the rapper-producer about rap fantasies with a counter about the very real virulence towards women in the rhymes. “Why do n****s wanna kill bitches?” she poses to him clearly. Guru’s expression never changes but he lets out a small laugh as a brush-off. He then flips the question, rationalizing that maybe “bitches wanna kill n****s”; that there’s women who “don’t have their sh** together” and makes the distinction that rappers aren’t talking about women who are intelligent with ambition.\u003c/p>\n\u003cp>[aside postid='arts_13927349']These same themes of exceptionalism and compartmentalization come around often enough that they repeatedly obscure the point hampton is trying to drive in the discourse. Even with her feminist theory and moments of fearlessness, try as she might, her voice is not cutting through just yet. Maybe because her audience never really wants to change or maybe because it’s a dichotomous thesis she’s still wrestling with herself.\u003c/p>\n\u003cp>One of the last scenes in the doc finds hampton on-camera, looking downward at the Hudson River as she travels on the Staten Island Ferry. As her eyelashes brush the far-off Twin Towers in the Manhattan background, hampton appears introspective and frustrated. She’d just had a debate with Wu-Tang Clan’s Method Man, who’s no more than 23 at the time, about his own misogynistic lyrics. “I don’t like when brothers make distinctions between women like some of us are hoodrats and some of us are goddesses. I think that we’re all goddesses,” hampton says to a friend. She remembers her interview with \u003ca href=\"https://www.kqed.org/arts/13934043/leila-steinberg-tupac-shakur-manager\">Tupac Shakur\u003c/a>, not shown in the film, annoyed with her missed opportunity, admitting, “I don’t know if I was challenging enough.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though the film promises never-before-seen footage of hip-hop greats, \u003cem>It Was All a Dream \u003c/em>is really a nostalgic, nascent Trojan horse, one that shows the important, imperfect, initial seed-sowing of the deeper questions we’re still tilling as a hip-hop culture today.\u003c/p>\n\u003chr>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>History is never really linear, no matter how nicely it’s packaged. \u003cem>It Was All a Dream\u003c/em>, a new documentary by \u003ca href=\"https://www.kqed.org/arts/13848278/making-surviving-r-kelly-a-conversation-with-executive-producer-dream-hampton\">dream hampton\u003c/a>, is a collection of archival footage from the famed filmmaker’s early days covering hip-hop. This unearthed material, found in hampton’s home decades later, shows how complicated the gleam of rap’s golden age was even before it was minted.\u003c/p>\n\u003cp>The director’s visual memoir, which premiered at the 2024 Tribeca Film Festival, is a selection of roving snapshots of life from 1993 to 1995, a pivotal period when Dr. Dre’s \u003cem>The Chronic\u003c/em> stamped the flag in the West Coast and the \u003ca href=\"https://www.kqed.org/arts/13847666/hip-hop-deserves-that-respect-honoring-the-notorious-b-i-g-wu-tang-clan-in-nyc\">Notorious B.I.G.\u003c/a>’s \u003cem>Ready To Die\u003c/em> was the answer from the East, when the genre itself was transitioning from being a Black cultural dialogue to a money-making, mainstream fascination. It’s also when rap feminist foremothers were the fledglings weeding through a messy love-hate relationship timeline with the artform.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During this time, new acts were popping up everywhere and hampton was getting all the footage she could. Before they were prolific rap icons or masters behind the boards, they were as hampton writes later, “kamikazee capitalists who just happened to be teenagers,” young men and women making sense out of the world. The film welcomes the viewer into intimate, informal interviews with Notorious B.I.G, Snoop Dogg and Method Man, smirked, bright-eyed faces of artists who would become bonafide stars way before their hip-hop or Hollywood personas were cemented.\u003c/p>\n\u003cp>With roots in hip-hop journalism, hampton (who stylizes her name in all lowercase as a nod to Black feminist bell hooks) is a writer, producer and filmmaker who’s penned influential pieces about music and culture for \u003cem>The Village Voice\u003c/em>, \u003cem>Vibe\u003c/em>, \u003cem>The Source\u003c/em> and more. She has positioned her lens to cover movements of both subjugation and liberation, including the award-winning documentaries \u003ca href=\"https://www.kqed.org/pop/109568/surviving-r-kelly-producer-dream-hampton-takes-on-ecosystem-that-supported-the-star\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a> and \u003cem>Ladies First: A Story of Women in Hip-Hop\u003c/em>.\u003c/p>\n\u003cp>Though the exclusivity of the classic material is the draw, \u003cem>It Was All a Dream \u003c/em>stands out for another reason. By partially making herself the subject of the doc, hampton does what few artists ever have the courage or humility to do: show their first drafts. Though the narration of the film is pulled from articles she’d written in the same time period — eloquent words that now feel like sacred texts of early hip-hop feminist theory — the footage shows a much less incisive critic. It’s a period when hampton was a film student at NYU and, just as her subjects, still figuring it out as she went.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For most of the film, hampton is a grinning, tomboy femme fly on the wall. She’s much more in documentarian mode than interviewer while in studio sessions, backstage at shows and sharing blunts in the back of Biggie’s Benz. B.I.G’s booming laugh and Coogi-down’d presence is a centerpiece of the visual. (Biggie’s own son, C.J. Wallace, became an executive producer on the project after hampton showed him footage of his late father.) For Frank White fans, it’s a treasure trove of material. For hampton fans, it’s a window into the complexities — and the complicity — of trying to cover someone as both a subject and a friend.\u003c/p>\n\u003cp>There are behind the scenes looks at \u003cem>Source\u003c/em> photo shoots in progress with Onyx and \u003ca href=\"https://www.kqed.org/arts/13911949/cypress-hill-documentary-showtime-insane-in-the-brain-estevan-oriol\">Cypress Hill\u003c/a>; cross-coast studio sessions featuring the likes of \u003ca href=\"https://www.kqed.org/bayareabites/112562/from-mobb-deep-rapper-a-cookbook-for-healthy-eating-in-prison\">Mobb Deep\u003c/a>, Q-Tip, Snoop, Dre, Tha Dogg Pound, Lady of Rage and Warren G cooking up soon-to-be classics; and shots of Big freestyling off the dome and his (\u003ca href=\"https://www.kqed.org/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe\">recently besmirched\u003c/a>) Bad Boy exec, Puff Daddy, mimicking his flow. But when hampton does question her subjects or convenes with her editors\u003cem>, \u003c/em>she uses her access, intellect and curiosity to not only capture the moment, but really zoom in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>hampton films herself in a brainstorm with \u003cem>The Source\u003c/em> associate editor Kierna Mayo and tries to chart when misogyny became so “overbearing” in the music. “We just have to be careful to analyze it wholly,” Mayo says of hampton’s pitch. When hampton hosts a roundtable discussion and photoshoot (attended by now-defamed executive Russell Simmons) with rappers Nikki D, Boss, LeShaun and Hurricane Gloria, the women break down, as hampton writes, having to be “three times as good” in the face of hip-hop’s sexist double standard.\u003c/p>\n\u003cp>“Ain’t nobody at this table right here scared of being called a bitch,” says Nikki D, Def Jam Recording’s first signed female rapper. “You can call me a bitch all you want to, but you know what you can and what you can’t do with me.”\u003c/p>\n\u003cp>In one studio session where Big, bathed in red light, raps lines of what will become a feature on Pudgee tha Phat Bastard’s “\u003ca href=\"https://www.youtube.com/watch?v=PM0Yvpfu9AQ\">Think Big\u003c/a>” and freestyles a joke about a “rap rapist,” hampton appears from slightly off to the side to say, while laughing, that she’s offended by the joke. Even more telling, there is a scene about an hour in where Big scolds a young Lil’ Kim, his Junior M.A.F.I.A artist and girlfriend at the time, about her attitude and not taking pictures. While Kim ignores him at first, Big leans over and lifts up a chair, an action that makes Kim visibly flinch. It’s no more than a minute, but it’s a glimpse of the unspoken dynamic of their relationship, one that Kim would later speak on as being violent, caught on camera by hampton.\u003c/p>\n\u003cp>During an interview with Guru, hampton follows up a question to the rapper-producer about rap fantasies with a counter about the very real virulence towards women in the rhymes. “Why do n****s wanna kill bitches?” she poses to him clearly. Guru’s expression never changes but he lets out a small laugh as a brush-off. He then flips the question, rationalizing that maybe “bitches wanna kill n****s”; that there’s women who “don’t have their sh** together” and makes the distinction that rappers aren’t talking about women who are intelligent with ambition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>These same themes of exceptionalism and compartmentalization come around often enough that they repeatedly obscure the point hampton is trying to drive in the discourse. Even with her feminist theory and moments of fearlessness, try as she might, her voice is not cutting through just yet. Maybe because her audience never really wants to change or maybe because it’s a dichotomous thesis she’s still wrestling with herself.\u003c/p>\n\u003cp>One of the last scenes in the doc finds hampton on-camera, looking downward at the Hudson River as she travels on the Staten Island Ferry. As her eyelashes brush the far-off Twin Towers in the Manhattan background, hampton appears introspective and frustrated. She’d just had a debate with Wu-Tang Clan’s Method Man, who’s no more than 23 at the time, about his own misogynistic lyrics. “I don’t like when brothers make distinctions between women like some of us are hoodrats and some of us are goddesses. I think that we’re all goddesses,” hampton says to a friend. She remembers her interview with \u003ca href=\"https://www.kqed.org/arts/13934043/leila-steinberg-tupac-shakur-manager\">Tupac Shakur\u003c/a>, not shown in the film, annoyed with her missed opportunity, admitting, “I don’t know if I was challenging enough.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13959718\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM.png\" alt=\"A book cover depicting a smashed VHS tape against a black background.\" width=\"832\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM-800x1165.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM-768x1119.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘Horror Movie: A Novel’ by Paul Tremblay. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paul Tremblay’s \u003cem>Horror Movie\u003c/em> is a peculiar horror novel that takes a refreshing look at the haunted film subgenre, while also eliminating the line between novels and movie scripts.\u003c/p>\n\u003cp>Dark, surprisingly violent, and incredibly multilayered, this narrative is a superb addition to Tremblay’s already impressive oeuvre that shows he can deliver the elements fans love from him — while also constantly pushing the envelope and exploring new ways to tell stories.\u003c/p>\n\u003cp>[aside postid='arts_13958207']In June of 1993, a small group of young people got together and spent a month making a bizarre horror movie titled \u003cem>Horror Movie\u003c/em>. With one camera, a skeleton crew, a script that broke a lot of rules, and almost no budget, they managed to make their film after a few setbacks and plenty of blood and accidents. While the film was never released, three scenes and a few stills were made available online, and they became the stuff of legend over the years, collecting a cult following and sparking a frenzy of speculation, online debate, and conspiracy theories.\u003c/p>\n\u003cp>Now, 30 years after the original, unreleased film was made and after all the drama —psychological and emotional as well as legal — that ensued, Hollywood wants to make a big budget version and release it. The man who played “The Thin Kid,” perhaps the original film’s most iconic and mysterious character, is the only surviving cast member, and they want him to reprise his role. He still has the mask he used in the movie, and also the scars the filming process left behind. He remembers the strange things that happened on the set, the brutality that quickly became normalized while they shot dark scenes, and the chaos and destruction the film brought to all of them. Still, he agrees to help with the reboot. As things move forward and he deals with directors and movie people, the past comes back to haunt him — but The Thin Kid pushes forward, as always.\u003c/p>\n\u003cp>Reading a Tremblay novel is entering a universe in which confusion and ambiguity — “My answer was not no. I didn’t say the word ‘yes'” — reign supreme. \u003cem>Horror Movie\u003c/em> is no different. In fact, this might be Tremblay’s most Tremblay novel to date. For starters, the author once again eschews the traditional novel format, this time in favor of a mix of novel and screenplay in which one bleeds into the other frequently, switching chapters and effortlessly taking readers from past to present and back again. Also, the screenplay itself is unique in format and makes the reader part of what’s happening, constantly shattering the fourth wall and acknowledging that the events are communal — that we are there, witnessing what the characters are witnessing and feeling the same sense of dread and anticipation that they feel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the structure of this novel is unique, the narrative itself is very easy to follow — until it’s not. The story is there, but with many purposeful holes. We know bad things happened while the movie was being filmed — accidents, injuries, extreme violence that occurred with consent — and that the whole thing ended up in court, but we don’t know how or why. And the author holds those secrets until the very end, which, as with any other Tremblay novel, holds a few surprise twists.\u003c/p>\n\u003cp>Most importantly, this is a narrative that questions the motivation behind evil acts. During the filming, The Thin Kid is horribly tortured: The kids who keep him hostage throw things at him, put out cigarettes on his body, and cut off part of his pinky finger. Some of that happens for real, partly to make it look convincing on screen and partly for reasons that aren’t too clear. There are several unsettling moments in this novel, and at the core of each of them are people acting horribly just because they can. Tremblay’s work has often interrogated the nature of horror and bad behavior, but never as clearly as he does here.\u003c/p>\n\u003cp>[aside postid='arts_13937318']While \u003cem>Horror Movie\u003c/em> is the kind of creepy narrative that can be enjoyed without much thinking, it’s also a multilayered novel that almost demands intellectual engagement. Besides the way the author studies awful behavior, the story also explores the unreliable nature of memory. The Thin Kid, now the adult who narrates the novel, is self-deprecating and unreliable. He remembers things a certain way, but knows that his memories might not be accurate: “We laughed. I think we laughed, or I choose to remember we laughed. I think we’re in more control of what we remember or what we don’t remember than we assume.” This purposeful lack of certainty is designed to keep readers wondering, and it succeeds at that.\u003c/p>\n\u003cp>\u003cem>Horror Movie\u003c/em> is strange and unsettling in the best way possible. This is a novel that’s also a screenplay, but the story all blends together perfectly. Tremblay’s unique voice and chameleonic style have made him one of the leading voices in speculative fiction, and this is one of his best novels so far.\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Horror Movie’ by Paul Tremblay is out now, via William Morrow.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While \u003cem>Horror Movie\u003c/em> is the kind of creepy narrative that can be enjoyed without much thinking, it’s also a multilayered novel that almost demands intellectual engagement. Besides the way the author studies awful behavior, the story also explores the unreliable nature of memory. The Thin Kid, now the adult who narrates the novel, is self-deprecating and unreliable. He remembers things a certain way, but knows that his memories might not be accurate: “We laughed. I think we laughed, or I choose to remember we laughed. I think we’re in more control of what we remember or what we don’t remember than we assume.” This purposeful lack of certainty is designed to keep readers wondering, and it succeeds at that.\u003c/p>\n\u003cp>\u003cem>Horror Movie\u003c/em> is strange and unsettling in the best way possible. This is a novel that’s also a screenplay, but the story all blends together perfectly. Tremblay’s unique voice and chameleonic style have made him one of the leading voices in speculative fiction, and this is one of his best novels so far.\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Horror Movie’ by Paul Tremblay is out now, via William Morrow.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Death has taken many forms in cinema. It’s been Bengt Ekerot. Ian McKellen. John Cleese. Even Brad Pitt with blonde highlights. But in \u003cem>Tuesday\u003c/em>, filmmaker Daina O. Pusić’s bold, fantastical and affecting debut, death looks like a lot like a macaw that’s seen better days.\u003c/p>\n\u003cp>Covered in a thick layer of grime and oil with patches of feathers missing, \u003cem>Tuesday\u003c/em>’s Death can be as big as a room or as small as an ear canal. Its booming, gravelly voice (that of actor Arinzé Kene) sounds ancient and otherworldly. And it all adds up to something profoundly unsettling. Not exactly a comforting welcome into the afterlife, or whatever comes next.\u003c/p>\n\u003cp>[aside postid='arts_13959385']\u003cem>Tuesday\u003c/em>, expanding nationwide Friday, is about death, and acceptance, between a mother and her dying daughter. But this is no Hallmark affair fitting for a sympathy card. It is prickly, wry, somewhat unsentimental, a bit gritty and awfully painful at times. Or maybe it’s just uniquely British. And you may just find yourself in a puddle of your own tears as a result.\u003c/p>\n\u003cp>Now, in terms of cinematic emotional blackmail, a parent coming to terms with a child’s imminent death is pretty much in the red zone. That sort of setup could produce involuntary tears from an audience regardless of the level of talent involved. Thankfully for us, there is immense creativity and vision both in front of and behind the camera, including not just the writer-director but the special effects experts responsible for Death as well as the haunting and innovative sound design.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qvqyBWCN39o\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lola Petticrew plays the titular Tuesday, a teen with a \u003cem>Breathless\u003c/em> pixie cut, a love of jokes and rap music and a terminal illness that has bound her to an oxygen tank and the use of a wheelchair. Her mother, Zora ( Julia Louis-Dreyfus ), has entirely disconnected from the situation. She tiptoes around the house waiting for the nurse, Billie (a lovely Leah Harvey), to do the caretaking. She stays out all day, pawning household items for cash to pay for the care, ignoring Tuesday’s calls and occasionally falling asleep on park benches. At home, she doesn’t want to talk to Tuesday about anything real — the death, her job, their precarious financial position — it’s all been deeply repressed and compartmentalized and is making everyone crazy.\u003c/p>\n\u003cp>The day we meet Zora and Tuesday is the day Death arrives. Billie has left Tuesday on the patio for just a minute to start a bath. All of a sudden, the girl who was just joking around is having an episode, gasping for air, when the macaw lands by her side. Death is actually the first character introduced, in an unnerving series of deaths setting an ominous tone that will loom throughout. Some are ready to go, begging for relief. Some are just scared. And all have the same outcome once he’s put his wing around them.\u003c/p>\n\u003cp>[aside postid='arts_13959268']Tuesday, however, decides to tell a joke. This disarms Death (who bursts out laughing) and suddenly they’re in conversation together. She gives him a bath, puts on some music and asks a favor: She’d like to say goodbye to her mom first. Death obliges.\u003c/p>\n\u003cp>Of course the story both is and isn’t that simple. \u003cem>Tuesday\u003c/em> becomes some strange combination of body horror, fairy tale, domestic drama and apocalypse thriller. It is weird and transfixing — never predictable and never boring. Louis-Dreyfus is both chilling and deeply empathetic as this woman who has been paralyzed by grief even before it’s happened. She seems to be preparing for her own death in a way, unable and unwilling to process a life without her daughter who, at this point, doesn’t even realize that her mother still loves her. Petticrew holds her own, going head-to-head with Louis-Dreyfus at her cruelest, exhibiting a wisdom beyond her years and fitting of a person who’s had to grow up and face death far too early.\u003c/p>\n\u003cp>\u003cem>Tuesday\u003c/em> is ultimately a cathartic affair, whether death is top of mind at the moment or not. And it announces the arrival of a daring filmmaker worth following.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tuesday’ begins screening around the Bay Area on June 13, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Tuesday\u003c/em>, expanding nationwide Friday, is about death, and acceptance, between a mother and her dying daughter. But this is no Hallmark affair fitting for a sympathy card. It is prickly, wry, somewhat unsentimental, a bit gritty and awfully painful at times. Or maybe it’s just uniquely British. And you may just find yourself in a puddle of your own tears as a result.\u003c/p>\n\u003cp>Now, in terms of cinematic emotional blackmail, a parent coming to terms with a child’s imminent death is pretty much in the red zone. That sort of setup could produce involuntary tears from an audience regardless of the level of talent involved. Thankfully for us, there is immense creativity and vision both in front of and behind the camera, including not just the writer-director but the special effects experts responsible for Death as well as the haunting and innovative sound design.\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/qvqyBWCN39o'\n title='//www.youtube.com/embed/qvqyBWCN39o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lola Petticrew plays the titular Tuesday, a teen with a \u003cem>Breathless\u003c/em> pixie cut, a love of jokes and rap music and a terminal illness that has bound her to an oxygen tank and the use of a wheelchair. Her mother, Zora ( Julia Louis-Dreyfus ), has entirely disconnected from the situation. She tiptoes around the house waiting for the nurse, Billie (a lovely Leah Harvey), to do the caretaking. She stays out all day, pawning household items for cash to pay for the care, ignoring Tuesday’s calls and occasionally falling asleep on park benches. At home, she doesn’t want to talk to Tuesday about anything real — the death, her job, their precarious financial position — it’s all been deeply repressed and compartmentalized and is making everyone crazy.\u003c/p>\n\u003cp>The day we meet Zora and Tuesday is the day Death arrives. Billie has left Tuesday on the patio for just a minute to start a bath. All of a sudden, the girl who was just joking around is having an episode, gasping for air, when the macaw lands by her side. Death is actually the first character introduced, in an unnerving series of deaths setting an ominous tone that will loom throughout. Some are ready to go, begging for relief. Some are just scared. And all have the same outcome once he’s put his wing around them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Tuesday, however, decides to tell a joke. This disarms Death (who bursts out laughing) and suddenly they’re in conversation together. She gives him a bath, puts on some music and asks a favor: She’d like to say goodbye to her mom first. Death obliges.\u003c/p>\n\u003cp>Of course the story both is and isn’t that simple. \u003cem>Tuesday\u003c/em> becomes some strange combination of body horror, fairy tale, domestic drama and apocalypse thriller. It is weird and transfixing — never predictable and never boring. Louis-Dreyfus is both chilling and deeply empathetic as this woman who has been paralyzed by grief even before it’s happened. She seems to be preparing for her own death in a way, unable and unwilling to process a life without her daughter who, at this point, doesn’t even realize that her mother still loves her. Petticrew holds her own, going head-to-head with Louis-Dreyfus at her cruelest, exhibiting a wisdom beyond her years and fitting of a person who’s had to grow up and face death far too early.\u003c/p>\n\u003cp>\u003cem>Tuesday\u003c/em> is ultimately a cathartic affair, whether death is top of mind at the moment or not. And it announces the arrival of a daring filmmaker worth following.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Tuesday’ begins screening around the Bay Area on June 13, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The new Hulu series \u003cem>Queenie\u003c/em> explores the quarter-life growing pains of lonely South Londoner Queenie Jenkins.\u003c/p>\n\u003cp>The first of her British Jamaican family to go to university, Queenie is a struggling writer awkwardly straddling multiple worlds. An unwanted breakup with her white, longtime live-in boyfriend Tom sends her painfully reeling — spiraling into, and then climbing out of, destructive behaviors and onto a journey of growth and self-acceptance.\u003c/p>\n\u003cp>[aside postid='arts_13959601']The show, which premiered Friday, is based on a 2019 book by Candice Carty-Williams. And with Carty-Williams at the creative helm, the novel’s strengths are immediately visible on screen: the sharp social observation, the rawness of the voice, and the specificity and conundrums of aspirational, young Black British life in the millennium.\u003c/p>\n\u003cp>As showrunner, Carty-Williams effectively translates and expands her vision, addressing the pain points that both riveted and rankled the book’s readers and ensuring that the creative aspects of production also make an impression. Through sight, sound and performance, \u003cem>Queenie \u003c/em>creates an empathetic and irresistible portrait of a young woman’s life in multicultural-yet-divided London.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wwRwPcm3P4Q\u003c/p>\n\u003ch3>The performances bring the novel to life\u003c/h3>\n\u003cp>As great as the production sounds and looks, it’s the performances that make Queenie’s journey really accessible on screen. The material is challenging and multi-tonal but not a performance hits a wrong note. British actor Dionne Brown embodies Queenie Jenkins inside and out in a breakout role that is a world away from her restrained supporting performance as a police detective in the Apple TV+ crime drama \u003cem>Criminal Record\u003c/em>. Brown told NPR she felt drawn to the role because of how strongly she related to the novel: “my most visceral and initial reaction was just, I didn’t know that other women felt like this. I didn’t know other Black women felt like this.” So throughout taping she used the book “like a Bible.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And though it’s her first screen acting role, hip-hop artist Bellah is bubbly and fierce as Queenie’s bestie Kyazike. As her loving and protective Jamaican grandparents, Joseph Marcell (butler Geoffrey from \u003cem>The Fresh Prince of Bel Air\u003c/em>) and actress and comedian Llewella Gideon steal every scene they’re in. Pivotally, BAFTA-nominated actor Samuel Adewunmi, so powerful in the crime drama \u003cem>You Don’t Know Me\u003c/em>, radiates charisma and kindness as Kyazike’s cousin Frank.\u003c/p>\n\u003ch3>The format allows the audience to go deep\u003c/h3>\n\u003cp>The eight-episode series format allows viewers to go deep into Queenie’s world, getting to know friends and family and helping us understand how love surrounds Queenie without her really feeling it. Where the novel can seem a bit bleak in spite of the humor, episodic TV gives Carty-Williams more room to experiment with different moods and tones. A few days before the premiere, Carty-Williams told NPR that she knew “we would need a lot more light on the screen” in the TV adaptation.\u003c/p>\n\u003cfigure id=\"attachment_13959643\" class=\"wp-caption aligncenter\" style=\"max-width: 1898px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png\" alt=\"Three Black women stand side by side wearing cool clothes.\" width=\"1898\" height=\"1070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png 1898w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1020x575.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1536x866.png 1536w\" sizes=\"(max-width: 1898px) 100vw, 1898px\">\u003cfigcaption class=\"wp-caption-text\">Candice Carty-Williams’ ‘Queenie’ stars Dionne Brown and Bellah. \u003ccite>(Ramona Rosales/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carty-Williams also said she felt fiercely protective bringing her first published novel to the screen. Basing Queenie’s story on her own experience coupled with second hand-horror stories from friends, “I had all those feelings and I didn’t want them to be stripped away, or watered down. The politics were important to me, the characters are important to me.”\u003c/p>\n\u003cp>[aside postid='arts_13959205']\u003cem>Queenie\u003c/em> is a young woman’s story, but it’s also the manifestation of the adage that the personal is political. Queenie’s experiences lay bare the contours and consequences of England’s casual racism in every dimension of daily life. That includes, “the ways that [Queenie] was treated by people. This is at work, this is in relationships, this is in her relationship with Tom.” Carty-Williams said she was “willing to fight” to ensure that Queenie’s mental and emotional journey of finding herself in this world she saw as unfair made it to the screen intact.\u003c/p>\n\u003cp>Despite the production’s extensive management structure (Lions Gate, Disney’s Onyx Collective, and British Channel 4 were involved and over a dozen executives), it’s clear she succeeded. The show teems with the sometimes-painful, subtly-political observational humor and confessional motif that made the book stand out — and all the elements work well together.\u003c/p>\n\u003ch3>Some important changes from novel to screen\u003c/h3>\n\u003cp>Still, though faithful to the novel’s quarter-life crisis story, with the book’s most memorable thoughts and lines of dialogue making the leap almost verbatim from page to screen, the script bears some important changes. For one, Queenie’s circle includes a romantic addition — best friend Kiyazike’s cousin Frank, a friend and new love interest who appeared once briefly in the novel. Frank’s addition improves the series by addressing one of the biggest issues dogging the novel’s more ambivalent readers: Queenie’s fear and avoidance of Black men in favor of often painful encounters with white and brown men.\u003c/p>\n\u003cp>[aside postid='arts_13959163']\u003cem>Queenie’s\u003c/em> original release reflected both the pervasiveness and abuse of “rom-com” and “chick-lit” as book industry terms of art, and the delicate tightrope that Black writers walk telling stories about love, sex and race.\u003c/p>\n\u003cp>When \u003cem>Queenie\u003c/em> debuted it appeared on best seller lists in multiple countries. \u003cem>Queenie\u003c/em> won both Best Debut and Book of the Year at the British Book Awards. Carty-Williams was the first Black woman author to win the latter award.\u003c/p>\n\u003cp>In Britain, where Carty-Williams grew up, \u003cem>Queenie\u003c/em> quickly found a fiercely loyal following — a largely female audience that loved its voice and perspective. Many of those readers were women of color, Black British women who identified fiercely with the young woman struggling to claim love, career, self worth and mental health.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes.\u003c/h2>\n\u003c/blockquote>\n\u003cp>But the book’s popular and critical reception was somewhat mixed in the U.S., where the author was an unknown quantity. At minimum, some audiences were discomfited by Queenie’s emotional scarring and trauma around race when they believed they were promised something lighter — the heft and trauma of the book billed as a Black \u003cem>Bridget Jones Diary \u003c/em>\u003ca href=\"https://www.npr.org/2019/05/30/728278275/queenie-author-candice-carty-williams\">seemed to betray its framing\u003c/a>. While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes. At worst, some storylines were seen as painfully self-hating or even the product of internalized anti-Black racism.\u003c/p>\n\u003cp>Falling into ever more painful situations, Queenie has sex with men who talk about and treat her in demeaning, if not downright racist ways — the men she meets in apps and in the neighborhood reference her race, color, and the contours of her body as though she is a sex toy. They don’t see or aren’t that interested in her intelligence and her pain.\u003c/p>\n\u003cfigure id=\"attachment_13959644\" class=\"wp-caption aligncenter\" style=\"max-width: 708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959644\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png\" alt=\"A book cover depicting a Black woman's ear and braids piles high on her head. Her face is not visible.\" width=\"708\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png 708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM-160x249.png 160w\" sizes=\"(max-width: 708px) 100vw, 708px\">\u003cfigcaption class=\"wp-caption-text\">‘Queenie’ by Candice Carty-Williams. \u003ccite>(Gallery/Scout Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>Carty-William’s unflinching portrayal of Queenie’s situation is one of the novel’s most challenging aspects. Though Queenie notices and complains about the degrading approaches, she dates a series of these men and continues to long for the return of a boyfriend who seems to treat her with little regard. She seems to internalize racism and brush off the disrespect, taking it in stride as long as the men dishing it out are not Black. Even for a literary novel (which despite the comedic tone, \u003cem>Queenie\u003c/em> really is) that would be hard to take in (\u003cem>Luster\u003c/em> comes to mind). But that’s not how the book was positioned.\u003c/p>\n\u003cp>[aside postid='arts_13958131']Though Carty-Williams used the “Black Bridget Jones” marketing pitch to broaden the readership, she’s also said of Queenie: “She’s not Bridget Jones. She could never be.” As a result of the label, though, and the gorgeous, brightly-colored cover drawing of a Black woman with braids and hoop earrings, Black women were primed to see themselves at the center of romance-infused comedy. That’s not what they got.\u003c/p>\n\u003cp>Instead, the novel \u003cem>Queenie\u003c/em> offers a sometimes harrowing multidimensional portrait of the dynamics of love, work and identity, mental health, and the Black immigrant experience. The love and acceptance Queenie eventually finds is hard won, and it lies not in a romantic relationship but within herself and her community. That’s a healthy choice. But every genre makes a promise, and a bait and switch in terms of reader expectations can feel like erasure.\u003c/p>\n\u003ch3>Exploring critically important topics in the book and on screen\u003c/h3>\n\u003cp>That said, as Carty-Williams emphasizes, discomfiting or not, Queenie’s experience is worth delving into. If it’s hard to reconcile Queenie’s sharp insight and her self-destructive actions, it’s also true that Queenie navigates a world that routinely doesn’t see, or fetishizes and even villainizes, her. Exploding the stereotype of a “strong Black woman,” with intense vulnerability, parts are hard to watch, but through her experimentation and misadventures, both the novel and the series explore essential topics: the racial and gender dynamics and politics of consent and desirability, and the rippling effects of domestic partner abuse. It is hard to watch her covet white attention and approval even when it hurts her, but it’s something that many Black women have been through.\u003c/p>\n\u003cfigure id=\"attachment_13959645\" class=\"wp-caption aligncenter\" style=\"max-width: 1752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png\" alt=\"Two Black women stand outside at dusk, next to two white women.\" width=\"1752\" height=\"1022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png 1752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-800x467.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1020x595.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-768x448.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1536x896.png 1536w\" sizes=\"(max-width: 1752px) 100vw, 1752px\">\u003cfigcaption class=\"wp-caption-text\">Dionne Brown as Queenie in a scene with her best friend Kyazike, played by Bellah. \u003ccite>(Latoya Okuneye/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A big challenge for the screen adaptation is that despite therapy, Queenie’s deeply rooted fear of Black men doesn’t have a resolution, or much deeper exploration in the original text. In a novel about self reflection, self-acceptance and growth, this is hard to reconcile. The series does better. The racial dimensions of Queenie’s pain and fears were at the center of some online discourse in 2019 and, in the leadup to the premiere, some with knowledge of the story raised similar questions on social media in reaction to the \u003cem>Queenie\u003c/em> trailer.\u003c/p>\n\u003cp>When talking with NPR for this piece, Carty-Williams pointed out that when readers have been in conversation about her debut, they tend to ask how Queenie did what she did. She pushes back wondering why the onus is on the woman rather than asking why men behave how they do toward Queenie. She also disclosed that the series allowed her to better resolve Queenie’s difficulties with men in her community partly, but not exclusively, through her relationship with her best friend’s cousin Frank. Carty-Williams said that this exploration was inspired both by conversations with readers and by her own maturation. Now in her 30s, she says she better understands attachment disorder, and how fears and triggers manifest, than when she started writing the novel at 26. In this way, the story of the making of \u003cem>Queenie\u003c/em>-the-series has a happier ending — giving Queenie more room to grow.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Queenie’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new Hulu series \u003cem>Queenie\u003c/em> explores the quarter-life growing pains of lonely South Londoner Queenie Jenkins.\u003c/p>\n\u003cp>The first of her British Jamaican family to go to university, Queenie is a struggling writer awkwardly straddling multiple worlds. An unwanted breakup with her white, longtime live-in boyfriend Tom sends her painfully reeling — spiraling into, and then climbing out of, destructive behaviors and onto a journey of growth and self-acceptance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The show, which premiered Friday, is based on a 2019 book by Candice Carty-Williams. And with Carty-Williams at the creative helm, the novel’s strengths are immediately visible on screen: the sharp social observation, the rawness of the voice, and the specificity and conundrums of aspirational, young Black British life in the millennium.\u003c/p>\n\u003cp>As showrunner, Carty-Williams effectively translates and expands her vision, addressing the pain points that both riveted and rankled the book’s readers and ensuring that the creative aspects of production also make an impression. Through sight, sound and performance, \u003cem>Queenie \u003c/em>creates an empathetic and irresistible portrait of a young woman’s life in multicultural-yet-divided London.\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/wwRwPcm3P4Q'\n title='//www.youtube.com/embed/wwRwPcm3P4Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The performances bring the novel to life\u003c/h3>\n\u003cp>As great as the production sounds and looks, it’s the performances that make Queenie’s journey really accessible on screen. The material is challenging and multi-tonal but not a performance hits a wrong note. British actor Dionne Brown embodies Queenie Jenkins inside and out in a breakout role that is a world away from her restrained supporting performance as a police detective in the Apple TV+ crime drama \u003cem>Criminal Record\u003c/em>. Brown told NPR she felt drawn to the role because of how strongly she related to the novel: “my most visceral and initial reaction was just, I didn’t know that other women felt like this. I didn’t know other Black women felt like this.” So throughout taping she used the book “like a Bible.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And though it’s her first screen acting role, hip-hop artist Bellah is bubbly and fierce as Queenie’s bestie Kyazike. As her loving and protective Jamaican grandparents, Joseph Marcell (butler Geoffrey from \u003cem>The Fresh Prince of Bel Air\u003c/em>) and actress and comedian Llewella Gideon steal every scene they’re in. Pivotally, BAFTA-nominated actor Samuel Adewunmi, so powerful in the crime drama \u003cem>You Don’t Know Me\u003c/em>, radiates charisma and kindness as Kyazike’s cousin Frank.\u003c/p>\n\u003ch3>The format allows the audience to go deep\u003c/h3>\n\u003cp>The eight-episode series format allows viewers to go deep into Queenie’s world, getting to know friends and family and helping us understand how love surrounds Queenie without her really feeling it. Where the novel can seem a bit bleak in spite of the humor, episodic TV gives Carty-Williams more room to experiment with different moods and tones. A few days before the premiere, Carty-Williams told NPR that she knew “we would need a lot more light on the screen” in the TV adaptation.\u003c/p>\n\u003cfigure id=\"attachment_13959643\" class=\"wp-caption aligncenter\" style=\"max-width: 1898px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png\" alt=\"Three Black women stand side by side wearing cool clothes.\" width=\"1898\" height=\"1070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png 1898w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1020x575.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1536x866.png 1536w\" sizes=\"(max-width: 1898px) 100vw, 1898px\">\u003cfigcaption class=\"wp-caption-text\">Candice Carty-Williams’ ‘Queenie’ stars Dionne Brown and Bellah. \u003ccite>(Ramona Rosales/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carty-Williams also said she felt fiercely protective bringing her first published novel to the screen. Basing Queenie’s story on her own experience coupled with second hand-horror stories from friends, “I had all those feelings and I didn’t want them to be stripped away, or watered down. The politics were important to me, the characters are important to me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Queenie\u003c/em> is a young woman’s story, but it’s also the manifestation of the adage that the personal is political. Queenie’s experiences lay bare the contours and consequences of England’s casual racism in every dimension of daily life. That includes, “the ways that [Queenie] was treated by people. This is at work, this is in relationships, this is in her relationship with Tom.” Carty-Williams said she was “willing to fight” to ensure that Queenie’s mental and emotional journey of finding herself in this world she saw as unfair made it to the screen intact.\u003c/p>\n\u003cp>Despite the production’s extensive management structure (Lions Gate, Disney’s Onyx Collective, and British Channel 4 were involved and over a dozen executives), it’s clear she succeeded. The show teems with the sometimes-painful, subtly-political observational humor and confessional motif that made the book stand out — and all the elements work well together.\u003c/p>\n\u003ch3>Some important changes from novel to screen\u003c/h3>\n\u003cp>Still, though faithful to the novel’s quarter-life crisis story, with the book’s most memorable thoughts and lines of dialogue making the leap almost verbatim from page to screen, the script bears some important changes. For one, Queenie’s circle includes a romantic addition — best friend Kiyazike’s cousin Frank, a friend and new love interest who appeared once briefly in the novel. Frank’s addition improves the series by addressing one of the biggest issues dogging the novel’s more ambivalent readers: Queenie’s fear and avoidance of Black men in favor of often painful encounters with white and brown men.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Queenie’s\u003c/em> original release reflected both the pervasiveness and abuse of “rom-com” and “chick-lit” as book industry terms of art, and the delicate tightrope that Black writers walk telling stories about love, sex and race.\u003c/p>\n\u003cp>When \u003cem>Queenie\u003c/em> debuted it appeared on best seller lists in multiple countries. \u003cem>Queenie\u003c/em> won both Best Debut and Book of the Year at the British Book Awards. Carty-Williams was the first Black woman author to win the latter award.\u003c/p>\n\u003cp>In Britain, where Carty-Williams grew up, \u003cem>Queenie\u003c/em> quickly found a fiercely loyal following — a largely female audience that loved its voice and perspective. Many of those readers were women of color, Black British women who identified fiercely with the young woman struggling to claim love, career, self worth and mental health.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes.\u003c/h2>\n\u003c/blockquote>\n\u003cp>But the book’s popular and critical reception was somewhat mixed in the U.S., where the author was an unknown quantity. At minimum, some audiences were discomfited by Queenie’s emotional scarring and trauma around race when they believed they were promised something lighter — the heft and trauma of the book billed as a Black \u003cem>Bridget Jones Diary \u003c/em>\u003ca href=\"https://www.npr.org/2019/05/30/728278275/queenie-author-candice-carty-williams\">seemed to betray its framing\u003c/a>. While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes. At worst, some storylines were seen as painfully self-hating or even the product of internalized anti-Black racism.\u003c/p>\n\u003cp>Falling into ever more painful situations, Queenie has sex with men who talk about and treat her in demeaning, if not downright racist ways — the men she meets in apps and in the neighborhood reference her race, color, and the contours of her body as though she is a sex toy. They don’t see or aren’t that interested in her intelligence and her pain.\u003c/p>\n\u003cfigure id=\"attachment_13959644\" class=\"wp-caption aligncenter\" style=\"max-width: 708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959644\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png\" alt=\"A book cover depicting a Black woman's ear and braids piles high on her head. Her face is not visible.\" width=\"708\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png 708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM-160x249.png 160w\" sizes=\"(max-width: 708px) 100vw, 708px\">\u003cfigcaption class=\"wp-caption-text\">‘Queenie’ by Candice Carty-Williams. \u003ccite>(Gallery/Scout Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>Carty-William’s unflinching portrayal of Queenie’s situation is one of the novel’s most challenging aspects. Though Queenie notices and complains about the degrading approaches, she dates a series of these men and continues to long for the return of a boyfriend who seems to treat her with little regard. She seems to internalize racism and brush off the disrespect, taking it in stride as long as the men dishing it out are not Black. Even for a literary novel (which despite the comedic tone, \u003cem>Queenie\u003c/em> really is) that would be hard to take in (\u003cem>Luster\u003c/em> comes to mind). But that’s not how the book was positioned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though Carty-Williams used the “Black Bridget Jones” marketing pitch to broaden the readership, she’s also said of Queenie: “She’s not Bridget Jones. She could never be.” As a result of the label, though, and the gorgeous, brightly-colored cover drawing of a Black woman with braids and hoop earrings, Black women were primed to see themselves at the center of romance-infused comedy. That’s not what they got.\u003c/p>\n\u003cp>Instead, the novel \u003cem>Queenie\u003c/em> offers a sometimes harrowing multidimensional portrait of the dynamics of love, work and identity, mental health, and the Black immigrant experience. The love and acceptance Queenie eventually finds is hard won, and it lies not in a romantic relationship but within herself and her community. That’s a healthy choice. But every genre makes a promise, and a bait and switch in terms of reader expectations can feel like erasure.\u003c/p>\n\u003ch3>Exploring critically important topics in the book and on screen\u003c/h3>\n\u003cp>That said, as Carty-Williams emphasizes, discomfiting or not, Queenie’s experience is worth delving into. If it’s hard to reconcile Queenie’s sharp insight and her self-destructive actions, it’s also true that Queenie navigates a world that routinely doesn’t see, or fetishizes and even villainizes, her. Exploding the stereotype of a “strong Black woman,” with intense vulnerability, parts are hard to watch, but through her experimentation and misadventures, both the novel and the series explore essential topics: the racial and gender dynamics and politics of consent and desirability, and the rippling effects of domestic partner abuse. It is hard to watch her covet white attention and approval even when it hurts her, but it’s something that many Black women have been through.\u003c/p>\n\u003cfigure id=\"attachment_13959645\" class=\"wp-caption aligncenter\" style=\"max-width: 1752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png\" alt=\"Two Black women stand outside at dusk, next to two white women.\" width=\"1752\" height=\"1022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png 1752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-800x467.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1020x595.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-768x448.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1536x896.png 1536w\" sizes=\"(max-width: 1752px) 100vw, 1752px\">\u003cfigcaption class=\"wp-caption-text\">Dionne Brown as Queenie in a scene with her best friend Kyazike, played by Bellah. \u003ccite>(Latoya Okuneye/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A big challenge for the screen adaptation is that despite therapy, Queenie’s deeply rooted fear of Black men doesn’t have a resolution, or much deeper exploration in the original text. In a novel about self reflection, self-acceptance and growth, this is hard to reconcile. The series does better. The racial dimensions of Queenie’s pain and fears were at the center of some online discourse in 2019 and, in the leadup to the premiere, some with knowledge of the story raised similar questions on social media in reaction to the \u003cem>Queenie\u003c/em> trailer.\u003c/p>\n\u003cp>When talking with NPR for this piece, Carty-Williams pointed out that when readers have been in conversation about her debut, they tend to ask how Queenie did what she did. She pushes back wondering why the onus is on the woman rather than asking why men behave how they do toward Queenie. She also disclosed that the series allowed her to better resolve Queenie’s difficulties with men in her community partly, but not exclusively, through her relationship with her best friend’s cousin Frank. Carty-Williams said that this exploration was inspired both by conversations with readers and by her own maturation. Now in her 30s, she says she better understands attachment disorder, and how fears and triggers manifest, than when she started writing the novel at 26. In this way, the story of the making of \u003cem>Queenie\u003c/em>-the-series has a happier ending — giving Queenie more room to grow.\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>‘Queenie’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>He’s 61 now, well-off and trim. He has many accomplishments as an actor but there’s this one thing he finds hard to shake: Back in 1985, he got called something.\u003c/p>\n\u003cp>During the Reagan administration, rising star Andrew McCarthy was lumped into an amorphous group of young actors who were changing Hollywood. They were called the “Brat Pack.”\u003c/p>\n\u003cp>[aside postid='arts_13959577']Now, it’s never nice to be called a “brat” or to lose your individuality to a pack, but McCarthy and the members of this collective — Emilio Estevez, Molly Ringwald, Demi Moore, Ally Sheedy, Judd Nelson, Rob Lowe and maybe Anthony Michael Hall — seemed to implode.\u003c/p>\n\u003cp>“That changed my life,” says McCarthy, who starred in \u003cem>Pretty in Pink\u003c/em> and \u003cem>St. Elmo’s Fire\u003c/em>. After being branded, the so-called bratty actors scattered, not wanting to work together again. The stigma, McCarthy says, was “defining.” He has PTSD, he suggests.\u003c/p>\n\u003cp>Now almost 40 years later, McCarthy hit the road to star in and direct his new Hulu documentary \u003cem>Brats\u003c/em>, trying to get a handle on the label and how some of the pack handled it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>First stop is a wary Estevez, who acknowledges that the Brat Pack term had some early benefits but was ultimately “more damage than good.”\u003c/p>\n\u003cp>“It created the perception that we were lightweights,” he adds.\u003c/p>\n\u003cfigure id=\"attachment_13959605\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png\" alt=\"A handsome middle-aged man sits at a kitchen counter, laughing warmly.\" width=\"1620\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1536x975.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Rob Lowe in a scene from new documentary, ‘Brats.’ \u003ccite>(Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are visits to Sheedy, Moore, Lowe, Jon Cryer, Tim Hutton and Lea Thompson — all who commiserate with McCarthy. (Ringwald and Nelson are notable absences, perhaps still nursing wounds.) These visits have the feeling of therapy sessions.\u003c/p>\n\u003cp>“Marty Scorsese, Steven Spielberg is not going to call up somebody who’s in the Brat Pack,” McCarthy tells Estevez, who admits to pulling out of a movie at the prospect of teaming up with McCarthy.\u003c/p>\n\u003cp>[aside postid='arts_13958881'](Not to be rude, but the Brat Pack-adjacent Tom Cruise did a movie with Scorsese, \u003cem>The Color of Money\u003c/em>, Moore became the hottest thing in Hollywood in the ’90s and Robert Downey Jr., also Pack-adjacent, just took home an Oscar.)\u003c/p>\n\u003cp>As he pays one former colleague after another a visit at their well-appointed homes, the heat of injustice has dissipated. Moore’s estate with its tasteful wood panels, shaded pool, massive glass walls and Japanese-inspired minimalism doesn’t exactly scream, “That label from 1985 really destroyed my life.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AUjGATC7tWs\u003c/p>\n\u003cp>The doc is scored well, with songs by The Cure, Lou Reed and Steve Winwood, “Forever Young” by Alphaville and a haunting “Don’t You (Forget About Me)” cover by Zoe Fox and the Rocket Clocks.\u003c/p>\n\u003cp>But McCarthy’s visual style is too fragmented, happy to capture his scrambling camera and sound operators in the frame and changing up his shots from guerilla-style jerky iPhone images to tasteful, polished portraits. His use of old clips is excellent, incorporating not just scenes from movies but TV interview outtakes, too.\u003c/p>\n\u003cp>[aside postid='arts_13958762']A more interesting thing happens in McCarthy’s road movie by the halfway mark — it becomes a sort of celebration of Brat Pack movies. Cultural observer Malcolm Gladwell talks about the generational transition in Hollywood, while Susannah Gora, who wrote \u003cem>You Couldn’t Ignore Me if You Tried\u003c/em> about the Brat Pack’s impact, notes that teens in the Midwest were singing British New Wave synth-pop tunes thanks to McCarthy.\u003c/p>\n\u003cp>Pop culture critic Ira Madison III zeroes in on the lack of diversity in Brat Pack movies, \u003cem>Less Than Zero\u003c/em> writer Bret Easton Ellis notes the influence the movies had on his work, and screenwriter Michael Oates Palmer comments that Brat Pack movies were the first to take “young people’s lives seriously.”\u003c/p>\n\u003cp>These are the building blocks of a better movie — Gladwell cutely mentions that he used parts of Cryer’s character Duckie from \u003cem>Pretty in Pink\u003c/em> as his identity in high school — but McCarthy isn’t willing to stray.\u003c/p>\n\u003cp>He comes across as a very thoughtful guy, able to quote Tennessee Williams and Eugene O’Neill, reserved, shy and wry, so often deep in his feelings. But this bratty label he cannot shake. He also wrote about it in \u003cem>Brat: An ’80s Story\u003c/em>. It is his \u003cem>Moby Dick\u003c/em>.\u003c/p>\n\u003cp>That analogy works when he finally harpoons his white whale — David Blum, who at 29 in 1985, hoping to snag some attention in the journalism world, coined the phrase “Brat Pack” — a flip play on the Rat Pack — for \u003cem>New York\u003c/em> magazine.\u003c/p>\n\u003cp>[aside postid='arts_13958101']McCarthy sits down with Blum at the conclusion of the film — the aggrieved actor and the journalist meeting for the first time four decades after being dragged into the ’80s cultural lexicon. This is the “You can’t handle the truth” moment.\u003c/p>\n\u003cp>And yet McCarthy is so nice that while he makes his case well, he sort of also understands Blum’s position and kind of likes him, too. Will Blum finally admit that the label is scathing? “I mean, I guess in retrospect, yes. At the time, no. I was proud of the creation of the phrase,” says the writer. They end their meeting with a hug.\u003c/p>\n\u003cp>Like a Brat Pack movie.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Brats’ begins streaming on Hulu on June 13, 2024.\u003c/em>\u003c/p>\n\n",
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"description": "In ‘Brats,’ Andrew McCarthy tracks down his former cohorts to discuss being branded ‘The Brat Pack’ in the ’80s.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>He’s 61 now, well-off and trim. He has many accomplishments as an actor but there’s this one thing he finds hard to shake: Back in 1985, he got called something.\u003c/p>\n\u003cp>During the Reagan administration, rising star Andrew McCarthy was lumped into an amorphous group of young actors who were changing Hollywood. They were called the “Brat Pack.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, it’s never nice to be called a “brat” or to lose your individuality to a pack, but McCarthy and the members of this collective — Emilio Estevez, Molly Ringwald, Demi Moore, Ally Sheedy, Judd Nelson, Rob Lowe and maybe Anthony Michael Hall — seemed to implode.\u003c/p>\n\u003cp>“That changed my life,” says McCarthy, who starred in \u003cem>Pretty in Pink\u003c/em> and \u003cem>St. Elmo’s Fire\u003c/em>. After being branded, the so-called bratty actors scattered, not wanting to work together again. The stigma, McCarthy says, was “defining.” He has PTSD, he suggests.\u003c/p>\n\u003cp>Now almost 40 years later, McCarthy hit the road to star in and direct his new Hulu documentary \u003cem>Brats\u003c/em>, trying to get a handle on the label and how some of the pack handled it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>First stop is a wary Estevez, who acknowledges that the Brat Pack term had some early benefits but was ultimately “more damage than good.”\u003c/p>\n\u003cp>“It created the perception that we were lightweights,” he adds.\u003c/p>\n\u003cfigure id=\"attachment_13959605\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png\" alt=\"A handsome middle-aged man sits at a kitchen counter, laughing warmly.\" width=\"1620\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1536x975.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Rob Lowe in a scene from new documentary, ‘Brats.’ \u003ccite>(Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are visits to Sheedy, Moore, Lowe, Jon Cryer, Tim Hutton and Lea Thompson — all who commiserate with McCarthy. (Ringwald and Nelson are notable absences, perhaps still nursing wounds.) These visits have the feeling of therapy sessions.\u003c/p>\n\u003cp>“Marty Scorsese, Steven Spielberg is not going to call up somebody who’s in the Brat Pack,” McCarthy tells Estevez, who admits to pulling out of a movie at the prospect of teaming up with McCarthy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>(Not to be rude, but the Brat Pack-adjacent Tom Cruise did a movie with Scorsese, \u003cem>The Color of Money\u003c/em>, Moore became the hottest thing in Hollywood in the ’90s and Robert Downey Jr., also Pack-adjacent, just took home an Oscar.)\u003c/p>\n\u003cp>As he pays one former colleague after another a visit at their well-appointed homes, the heat of injustice has dissipated. Moore’s estate with its tasteful wood panels, shaded pool, massive glass walls and Japanese-inspired minimalism doesn’t exactly scream, “That label from 1985 really destroyed my life.”\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/AUjGATC7tWs'\n title='//www.youtube.com/embed/AUjGATC7tWs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The doc is scored well, with songs by The Cure, Lou Reed and Steve Winwood, “Forever Young” by Alphaville and a haunting “Don’t You (Forget About Me)” cover by Zoe Fox and the Rocket Clocks.\u003c/p>\n\u003cp>But McCarthy’s visual style is too fragmented, happy to capture his scrambling camera and sound operators in the frame and changing up his shots from guerilla-style jerky iPhone images to tasteful, polished portraits. His use of old clips is excellent, incorporating not just scenes from movies but TV interview outtakes, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A more interesting thing happens in McCarthy’s road movie by the halfway mark — it becomes a sort of celebration of Brat Pack movies. Cultural observer Malcolm Gladwell talks about the generational transition in Hollywood, while Susannah Gora, who wrote \u003cem>You Couldn’t Ignore Me if You Tried\u003c/em> about the Brat Pack’s impact, notes that teens in the Midwest were singing British New Wave synth-pop tunes thanks to McCarthy.\u003c/p>\n\u003cp>Pop culture critic Ira Madison III zeroes in on the lack of diversity in Brat Pack movies, \u003cem>Less Than Zero\u003c/em> writer Bret Easton Ellis notes the influence the movies had on his work, and screenwriter Michael Oates Palmer comments that Brat Pack movies were the first to take “young people’s lives seriously.”\u003c/p>\n\u003cp>These are the building blocks of a better movie — Gladwell cutely mentions that he used parts of Cryer’s character Duckie from \u003cem>Pretty in Pink\u003c/em> as his identity in high school — but McCarthy isn’t willing to stray.\u003c/p>\n\u003cp>He comes across as a very thoughtful guy, able to quote Tennessee Williams and Eugene O’Neill, reserved, shy and wry, so often deep in his feelings. But this bratty label he cannot shake. He also wrote about it in \u003cem>Brat: An ’80s Story\u003c/em>. It is his \u003cem>Moby Dick\u003c/em>.\u003c/p>\n\u003cp>That analogy works when he finally harpoons his white whale — David Blum, who at 29 in 1985, hoping to snag some attention in the journalism world, coined the phrase “Brat Pack” — a flip play on the Rat Pack — for \u003cem>New York\u003c/em> magazine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>McCarthy sits down with Blum at the conclusion of the film — the aggrieved actor and the journalist meeting for the first time four decades after being dragged into the ’80s cultural lexicon. This is the “You can’t handle the truth” moment.\u003c/p>\n\u003cp>And yet McCarthy is so nice that while he makes his case well, he sort of also understands Blum’s position and kind of likes him, too. Will Blum finally admit that the label is scathing? “I mean, I guess in retrospect, yes. At the time, no. I was proud of the creation of the phrase,” says the writer. They end their meeting with a hug.\u003c/p>\n\u003cp>Like a Brat Pack movie.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Brats’ begins streaming on Hulu on June 13, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-movies-summer-2024-npr-critics-picks",
"title": "The 19 Movies NPR Critics Are Most Excited About This Summer",
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"headTitle": "The 19 Movies NPR Critics Are Most Excited About This Summer | KQED",
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"content": "\u003cp>At this time of year, there’s air conditioning, and then there’s movie theater air conditioning — a frigid blast forceful enough to cool down the biggest crowd on a hot summer’s day. And if that’s not enough, your neighborhood multiplex also boasts enormous ice-cold drinks to go with popcorn and candy and … oh, right … it also has movies! Comedies, action-adventures, coming-of-age tales, animation.\u003c/p>\n\u003cp>If you’re wondering which to catch, NPR critics have you covered. Here’s our take on the cream of the cinematic crop — Marvel to just plain marvelous — from now through Labor Day.\u003c/p>\n\u003cp>\u003cstrong>‘Hit Man,’ in theaters May 24, on Netflix June 7\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXwa8DKIK7g&t=10s\u003c/p>\n\u003cp>Red-hot star Glen Powell plays the titular hit man — well, a cop pretending to be a hit man — in this action rom-com. Romantic comedies are much rarer than they used to be, and the ones that do show up are often disappointing. But! Powell co-wrote the screenplay with director Richard Linklater, whose skill with love stories is well established (the Before trilogy is all the love-story credibility anybody needs, forever). A lot of Netflix movies have fizzled. Hopefully this one will not. — Linda Holmes\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Ghostlight,’ in theaters June 14\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R1TycuGX4Mw\u003c/p>\n\u003cp>The title of this warmly engaging drama refers to theatrical superstition: a light left onstage to keep the theater ghost at bay — or at least to keep it happy — when actors aren’t present. Actors are everywhere here, as family tragedy blends into Shakespearean tragedy (a grieving construction worker getting roped into a community theater \u003cem>Romeo and Juliet\u003c/em>), and the film doubles down on connections by casting a real-life father, wife and daughter as the construction worker, his wife and their daughter. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Inside Out 2,’ in theaters June 14\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LEjhY15eCx0\u003c/p>\n\u003cp>\u003cem>Inside Out\u003c/em> was one of Pixar’s best films, but sequels haven’t always been the studio’s strength. Still, it’s exciting to know that Joy (Amy Poehler) is back, as are Phyllis Smith’s Sadness and Lewis Black’s Anger. New voices and new emotions arrive as Riley enters her teenage years, and the world may not be ready for Maya Hawke as Anxiety or Ayo Edebiri as Envy (OK, I may not). But get out the tissues or whatever else you need to cope with an onslaught of feelings, because it’s coming. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘The Bikeriders,’ in theaters June 21\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PYioWaFdp70\u003c/p>\n\u003cp>A melodrama about a fictional 1960s motorcycle gang starring Austin Butler, Jodie Comer and Tom Hardy? Sure, why not! This is Jeff Nichols’ first feature in almost a decade (following 2016’s \u003cem>Loving\u003c/em> and \u003cem>Midnight Special\u003c/em>), and he has proved himself again and again as a filmmaker who excels at capturing mood and ambience, through setting as well as a great Michael Shannon performance. At the very least, this could be a thrill ride. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Fancy Dance,’ in theaters June 21, on Apple TV+ June 28\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AmPPiLaiN8g\u003c/p>\n\u003cp>It has taken far too long for Erica Tremblay’s profound feature debut to get a proper release — it premiered at Sundance back in January 2023 — but the wait is worth it. Lily Gladstone plays Jax, a woman caring for her young niece on a Native American reservation after her sister goes missing. Part crime drama and part road trip movie, it avoids emotional clichés while offering an underseen perspective and a dynamic performance from Gladstone. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Kinds of Kindness,’ in theaters June 21\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=inAuktwXbew\u003c/p>\n\u003cp>Viewers who know Yorgos Lanthimos’ recent work — \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13846027/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\">\u003cem>The Favourite\u003c/em>\u003c/a> — might find him whimsically absurd. Those of us who’ve been with him from his 2009 breakthrough, \u003cem>Dogtooth\u003c/em>, however, know him to be a deadpan satirist of the most scalding, remorseless variety. He has reteamed with \u003cem>Dogtooth\u003c/em> writer Efthimis Filippou for this anthology film featuring the same stable of actors playing different roles in three shorts. Can’t wait to see him getting back to his roots; bring on the bleak. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Thelma,’ in theaters June 21\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lyE_hYkZPPE\u003c/p>\n\u003cp>Ninety-three-year-old Thelma (June Squibb) is duped by a phone scammer in the opening reel and then sets off on a geriatric \u003cem>Mission: Impossible\u003c/em> across Los Angeles to get her money back. Along the way, she enlists the aid (and electric scooter) of an old pal (the late Richard Roundtree), runs rings around her frantic daughter (Parker Posey) and matches wits with scammer Malcolm McDowell. An understated riot that’s arguably the most Sundance-ean comedy since \u003cem>Little Miss Sunshine\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Horizon: An American Saga, Chapter 1\u003c/em> and \u003cem>Chapter 2\u003c/em>, in theaters June 28 and Aug. 16\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YYsReoZMj1k\u003c/p>\n\u003cp>Kevin Costner’s passion project (he has said he mortgaged his 10-acre oceanfront property in Santa Barbara to finance it) returns him to \u003cem>Dances With Wolves\u003c/em> territory — settlers arriving in covered wagons, expecting Indigenous communities to disappear. \u003cem>Chapter 1\u003c/em> is reportedly roughly three hours long. \u003cem>Chapter 2\u003c/em> will hit theaters seven weeks later. And depending on whether audiences show up, Costner will spend his summer either shooting the next chapter or, I guess, nursing his wounds. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘A Quiet Place: Day One,’ in theaters June 28\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gjx-iHGXk9Q\u003c/p>\n\u003cp>It’s not a spoiler anymore that \u003cem>A Quiet Place\u003c/em>‘s story made sequels complicated — but there are always prequels. This one, starring Lupita Nyong’o, rewinds all the way back to the alien invasion that got everybody to shut up in the first place. And unlike the other two films, it takes place smack in the middle of New York City, not the most natural place to attempt total silence. John Krasinski stepped back from both directing and writing the screenplay, which could be a problem — or a fresh start. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Beverly Hills Cop: Axel F,’ on Netflix July 3\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KoxhkE_U3Ww\u003c/p>\n\u003cp>Street-smart Detroit detective Axel Foley is the role that made Eddie Murphy a movie star in 1984. This Part 4 has been in development since the mid-1990s, after morphing briefly into a TV pilot that never got picked up. Joining Murphy from the earlier films will be fellow cops Judge Reinhold, John Ashton and Paul Reiser, as well as Bronson Pinchot’s star-making art gallerist, Serge. Franchise newbies include Joseph Gordon-Levitt and Kevin Bacon. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Fly Me to the Moon,’ in theaters July 12\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lW7enw6mFxs\u003c/p>\n\u003cp>“Space race rom-com” isn’t exactly well-trod territory, so this project from Greg Berlanti (\u003cem>Love, Simon\u003c/em>) could be a light, refreshing summer diversion starring a pair of ridiculously good-looking actors. Scarlett Johansson and Channing Tatum play a marketing consultant and NASA launch director who team up to stage a “backup” recording of the moon landing in case the actual moon-landing attempt fails. Presumably they fall in love, with at least one Sinatra song crooning in the background. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘National Anthem,’ in theaters July 12\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oeGCjSOHfZ8\u003c/p>\n\u003cp>This is the first feature by photographer Luke Gilford. Charlie Plummer stars as a young man in New Mexico who takes a job at a homestead of queer rodeo performers where, as often happens in films like this, he comes to learn things about himself. I haven’t yet seen it, but by all accounts it’s a quiet and lyrical movie that tells a queer story that isn’t rooted in trauma and tragedy, but in self-discovery and finding your people. It arrives at a time when those stories are much needed. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Sing Sing,’ in theaters July 12 (limited), Aug. 2 (wide)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j3dXc6P3zH8\u003c/p>\n\u003cp>One current rule: If it has \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> in it, it will be worth watching. \u003cem>Sing Sing\u003c/em> is about a man played by Domingo who is incarcerated for a crime he didn’t commit and who joins the New York prison’s theater program to produce a comedy with his fellow inmates. The movie’s publicity campaign makes some broad claims (including that it’s a “true story of resilience, humanity, and the transformative power of art”), but if it lives up to them the way its early reviews suggest, it will be special. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Twisters,’ in theaters July 19\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wdok0rZdmx4\u003c/p>\n\u003cp>The most intriguing thing about this sequel to the classic, bombastic disaster movie \u003cem>Twister\u003c/em> is that it’s directed by Lee Isaac Chung, who directed \u003cem>Minari\u003c/em> — one of the least bombastic films in recent memory. Glen Powell and Daisy Edgar-Jones star in this sequel, which certainly tries in its trailer to call to mind the goofy, special-effects-heavy, not-actually-advisable-in-a-storm feeling of the original. Will it have a plot? Who knows? Does it need a plot? Probably not! — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Deadpool & Wolverine,’ in theaters July 26\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pn5fdK61o9c\u003c/p>\n\u003cp>Marvel may be releasing only one superhero movie this year, but it’s a double-header, with two regenerative dudes in spandex — one joke-spewing and disfigured, the other snarling and adamantium-clawed — teaming up to save something or other. Technically, it’s Ryan Reynolds’ movie, so he’ll be setting the tone, meaning lotsa laughs. What? — you say — Wolverine died in his last movie? Well, to that I say … multiverse … or time-shift … or who cares, if Hugh Jackman’s willing to come back. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Dìdi,’ in theaters July 26\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e6gve8GtSuU\u003c/p>\n\u003cp>Thirteen-year-old Chris begins Sean Wang’s semi-autobiographical, coming-of-age dramedy trading insults with his older sister, and he ends it choked up as she leaves home (and him) for college. In between, there are pranks, misadventures, a clumsy first romance and an ill-advised attempt to ingratiate himself with some cool high school skateboarders by claiming to be an expert filmmaker. The film, which charmed at Sundance, is a lot like its pint-size hero — cute, exasperating, promising. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Kneecap,’ in theaters Aug. 2\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QB2LsoZOQpU\u003c/p>\n\u003cp>Raw, raunchy, violent and uproarious, this origin story of the titular Irish-language hip-hop group is both a riot and a call to arms. Filled with the fury of a populace that had to fight for the right to keep its own language, the film features rappers Naoise Ó Cairealláin and Liam Óg Ó Hannaidh, as well as the mild-mannered substitute music teacher who became their DJ, JJ Ó Dochartaigh, playing themselves — entirely professionally — through sex scenes, police beatings and drug-fueled jam sessions. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Close to You,’ in theaters Aug. 16\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959596\" class=\"wp-caption aligncenter\" style=\"max-width: 966px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png\" alt=\"A shirtless young trans man leans up against a window frame and gazes outside.\" width=\"966\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png 966w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-800x444.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-768x426.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-672x372.png 672w\" sizes=\"(max-width: 966px) 100vw, 966px\">\u003cfigcaption class=\"wp-caption-text\">Elliot Page in ‘Close to You.’ \u003ccite>(Me+You Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Elliot Page, in his first movie role in six years, playing a trans man who’s wary about attending his first family reunion since his transition, this story already had hooks for audiences. Throw in reports that the film’s scenes were mostly improvised on the day of shooting, and it sounds like an emotional high-wire act. Page, who came out as trans in 2020, is also involved with another queer coming-of-age story this summer, as executive producer for the cheerleading tale \u003cem>Backspot\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Between the Temples,’ in theaters Aug. 23\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959595\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png\" alt=\"An older woman leans her head onto the shoulder of a younger man. \" width=\"1292\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-768x429.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Jason Schwartzman and Carol Kane in ‘Between the Temples.’ \u003ccite>(Sean Price Williams/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A depressed cantor (Jason Schwartzman) who can’t sing since his wife’s death gets an odd request while teaching bar/bat mitzvah classes at his synagogue. His septuagenarian grade-school music teacher (Carol Kane) recognizes he’s foundering and wants to help, so she asks him to tutor her for a late-in-life bat mitzvah. He resists, she insists, and things go predictably \u003cem>Harold and Maude\u003c/em> from there in plot terms, though Schwartzman and Kane bring their own quirks. — Bob Mondello\u003c/p>\n\n",
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"title": "The Best Movies of Summer 2024, According to NPR Critics | KQED",
"description": "Comedies, action-adventures, coming-of-age tales, animation. Now through Labor Day, there are a wealth of great movies on the way.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At this time of year, there’s air conditioning, and then there’s movie theater air conditioning — a frigid blast forceful enough to cool down the biggest crowd on a hot summer’s day. And if that’s not enough, your neighborhood multiplex also boasts enormous ice-cold drinks to go with popcorn and candy and … oh, right … it also has movies! Comedies, action-adventures, coming-of-age tales, animation.\u003c/p>\n\u003cp>If you’re wondering which to catch, NPR critics have you covered. Here’s our take on the cream of the cinematic crop — Marvel to just plain marvelous — from now through Labor Day.\u003c/p>\n\u003cp>\u003cstrong>‘Hit Man,’ in theaters May 24, on Netflix June 7\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DXwa8DKIK7g'\n title='//www.youtube.com/embed/DXwa8DKIK7g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Red-hot star Glen Powell plays the titular hit man — well, a cop pretending to be a hit man — in this action rom-com. Romantic comedies are much rarer than they used to be, and the ones that do show up are often disappointing. But! Powell co-wrote the screenplay with director Richard Linklater, whose skill with love stories is well established (the Before trilogy is all the love-story credibility anybody needs, forever). A lot of Netflix movies have fizzled. Hopefully this one will not. — Linda Holmes\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Ghostlight,’ in theaters June 14\u003c/strong>\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/R1TycuGX4Mw'\n title='//www.youtube.com/embed/R1TycuGX4Mw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The title of this warmly engaging drama refers to theatrical superstition: a light left onstage to keep the theater ghost at bay — or at least to keep it happy — when actors aren’t present. Actors are everywhere here, as family tragedy blends into Shakespearean tragedy (a grieving construction worker getting roped into a community theater \u003cem>Romeo and Juliet\u003c/em>), and the film doubles down on connections by casting a real-life father, wife and daughter as the construction worker, his wife and their daughter. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Inside Out 2,’ in theaters June 14\u003c/strong>\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/LEjhY15eCx0'\n title='//www.youtube.com/embed/LEjhY15eCx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Inside Out\u003c/em> was one of Pixar’s best films, but sequels haven’t always been the studio’s strength. Still, it’s exciting to know that Joy (Amy Poehler) is back, as are Phyllis Smith’s Sadness and Lewis Black’s Anger. New voices and new emotions arrive as Riley enters her teenage years, and the world may not be ready for Maya Hawke as Anxiety or Ayo Edebiri as Envy (OK, I may not). But get out the tissues or whatever else you need to cope with an onslaught of feelings, because it’s coming. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘The Bikeriders,’ in theaters June 21\u003c/strong>\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/PYioWaFdp70'\n title='//www.youtube.com/embed/PYioWaFdp70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A melodrama about a fictional 1960s motorcycle gang starring Austin Butler, Jodie Comer and Tom Hardy? Sure, why not! This is Jeff Nichols’ first feature in almost a decade (following 2016’s \u003cem>Loving\u003c/em> and \u003cem>Midnight Special\u003c/em>), and he has proved himself again and again as a filmmaker who excels at capturing mood and ambience, through setting as well as a great Michael Shannon performance. At the very least, this could be a thrill ride. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Fancy Dance,’ in theaters June 21, on Apple TV+ June 28\u003c/strong>\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/AmPPiLaiN8g'\n title='//www.youtube.com/embed/AmPPiLaiN8g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It has taken far too long for Erica Tremblay’s profound feature debut to get a proper release — it premiered at Sundance back in January 2023 — but the wait is worth it. Lily Gladstone plays Jax, a woman caring for her young niece on a Native American reservation after her sister goes missing. Part crime drama and part road trip movie, it avoids emotional clichés while offering an underseen perspective and a dynamic performance from Gladstone. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Kinds of Kindness,’ in theaters June 21\u003c/strong>\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/inAuktwXbew'\n title='//www.youtube.com/embed/inAuktwXbew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Viewers who know Yorgos Lanthimos’ recent work — \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13846027/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\">\u003cem>The Favourite\u003c/em>\u003c/a> — might find him whimsically absurd. Those of us who’ve been with him from his 2009 breakthrough, \u003cem>Dogtooth\u003c/em>, however, know him to be a deadpan satirist of the most scalding, remorseless variety. He has reteamed with \u003cem>Dogtooth\u003c/em> writer Efthimis Filippou for this anthology film featuring the same stable of actors playing different roles in three shorts. Can’t wait to see him getting back to his roots; bring on the bleak. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Thelma,’ in theaters June 21\u003c/strong>\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/lyE_hYkZPPE'\n title='//www.youtube.com/embed/lyE_hYkZPPE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ninety-three-year-old Thelma (June Squibb) is duped by a phone scammer in the opening reel and then sets off on a geriatric \u003cem>Mission: Impossible\u003c/em> across Los Angeles to get her money back. Along the way, she enlists the aid (and electric scooter) of an old pal (the late Richard Roundtree), runs rings around her frantic daughter (Parker Posey) and matches wits with scammer Malcolm McDowell. An understated riot that’s arguably the most Sundance-ean comedy since \u003cem>Little Miss Sunshine\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Horizon: An American Saga, Chapter 1\u003c/em> and \u003cem>Chapter 2\u003c/em>, in theaters June 28 and Aug. 16\u003c/strong>\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/YYsReoZMj1k'\n title='//www.youtube.com/embed/YYsReoZMj1k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kevin Costner’s passion project (he has said he mortgaged his 10-acre oceanfront property in Santa Barbara to finance it) returns him to \u003cem>Dances With Wolves\u003c/em> territory — settlers arriving in covered wagons, expecting Indigenous communities to disappear. \u003cem>Chapter 1\u003c/em> is reportedly roughly three hours long. \u003cem>Chapter 2\u003c/em> will hit theaters seven weeks later. And depending on whether audiences show up, Costner will spend his summer either shooting the next chapter or, I guess, nursing his wounds. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘A Quiet Place: Day One,’ in theaters June 28\u003c/strong>\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/gjx-iHGXk9Q'\n title='//www.youtube.com/embed/gjx-iHGXk9Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s not a spoiler anymore that \u003cem>A Quiet Place\u003c/em>‘s story made sequels complicated — but there are always prequels. This one, starring Lupita Nyong’o, rewinds all the way back to the alien invasion that got everybody to shut up in the first place. And unlike the other two films, it takes place smack in the middle of New York City, not the most natural place to attempt total silence. John Krasinski stepped back from both directing and writing the screenplay, which could be a problem — or a fresh start. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Beverly Hills Cop: Axel F,’ on Netflix July 3\u003c/strong>\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/KoxhkE_U3Ww'\n title='//www.youtube.com/embed/KoxhkE_U3Ww'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Street-smart Detroit detective Axel Foley is the role that made Eddie Murphy a movie star in 1984. This Part 4 has been in development since the mid-1990s, after morphing briefly into a TV pilot that never got picked up. Joining Murphy from the earlier films will be fellow cops Judge Reinhold, John Ashton and Paul Reiser, as well as Bronson Pinchot’s star-making art gallerist, Serge. Franchise newbies include Joseph Gordon-Levitt and Kevin Bacon. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Fly Me to the Moon,’ in theaters July 12\u003c/strong>\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/lW7enw6mFxs'\n title='//www.youtube.com/embed/lW7enw6mFxs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Space race rom-com” isn’t exactly well-trod territory, so this project from Greg Berlanti (\u003cem>Love, Simon\u003c/em>) could be a light, refreshing summer diversion starring a pair of ridiculously good-looking actors. Scarlett Johansson and Channing Tatum play a marketing consultant and NASA launch director who team up to stage a “backup” recording of the moon landing in case the actual moon-landing attempt fails. Presumably they fall in love, with at least one Sinatra song crooning in the background. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘National Anthem,’ in theaters July 12\u003c/strong>\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/oeGCjSOHfZ8'\n title='//www.youtube.com/embed/oeGCjSOHfZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is the first feature by photographer Luke Gilford. Charlie Plummer stars as a young man in New Mexico who takes a job at a homestead of queer rodeo performers where, as often happens in films like this, he comes to learn things about himself. I haven’t yet seen it, but by all accounts it’s a quiet and lyrical movie that tells a queer story that isn’t rooted in trauma and tragedy, but in self-discovery and finding your people. It arrives at a time when those stories are much needed. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Sing Sing,’ in theaters July 12 (limited), Aug. 2 (wide)\u003c/strong>\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/j3dXc6P3zH8'\n title='//www.youtube.com/embed/j3dXc6P3zH8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One current rule: If it has \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> in it, it will be worth watching. \u003cem>Sing Sing\u003c/em> is about a man played by Domingo who is incarcerated for a crime he didn’t commit and who joins the New York prison’s theater program to produce a comedy with his fellow inmates. The movie’s publicity campaign makes some broad claims (including that it’s a “true story of resilience, humanity, and the transformative power of art”), but if it lives up to them the way its early reviews suggest, it will be special. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Twisters,’ in theaters July 19\u003c/strong>\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/wdok0rZdmx4'\n title='//www.youtube.com/embed/wdok0rZdmx4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The most intriguing thing about this sequel to the classic, bombastic disaster movie \u003cem>Twister\u003c/em> is that it’s directed by Lee Isaac Chung, who directed \u003cem>Minari\u003c/em> — one of the least bombastic films in recent memory. Glen Powell and Daisy Edgar-Jones star in this sequel, which certainly tries in its trailer to call to mind the goofy, special-effects-heavy, not-actually-advisable-in-a-storm feeling of the original. Will it have a plot? Who knows? Does it need a plot? Probably not! — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Deadpool & Wolverine,’ in theaters July 26\u003c/strong>\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/pn5fdK61o9c'\n title='//www.youtube.com/embed/pn5fdK61o9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Marvel may be releasing only one superhero movie this year, but it’s a double-header, with two regenerative dudes in spandex — one joke-spewing and disfigured, the other snarling and adamantium-clawed — teaming up to save something or other. Technically, it’s Ryan Reynolds’ movie, so he’ll be setting the tone, meaning lotsa laughs. What? — you say — Wolverine died in his last movie? Well, to that I say … multiverse … or time-shift … or who cares, if Hugh Jackman’s willing to come back. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Dìdi,’ in theaters July 26\u003c/strong>\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/e6gve8GtSuU'\n title='//www.youtube.com/embed/e6gve8GtSuU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Thirteen-year-old Chris begins Sean Wang’s semi-autobiographical, coming-of-age dramedy trading insults with his older sister, and he ends it choked up as she leaves home (and him) for college. In between, there are pranks, misadventures, a clumsy first romance and an ill-advised attempt to ingratiate himself with some cool high school skateboarders by claiming to be an expert filmmaker. The film, which charmed at Sundance, is a lot like its pint-size hero — cute, exasperating, promising. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Kneecap,’ in theaters Aug. 2\u003c/strong>\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/QB2LsoZOQpU'\n title='//www.youtube.com/embed/QB2LsoZOQpU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Raw, raunchy, violent and uproarious, this origin story of the titular Irish-language hip-hop group is both a riot and a call to arms. Filled with the fury of a populace that had to fight for the right to keep its own language, the film features rappers Naoise Ó Cairealláin and Liam Óg Ó Hannaidh, as well as the mild-mannered substitute music teacher who became their DJ, JJ Ó Dochartaigh, playing themselves — entirely professionally — through sex scenes, police beatings and drug-fueled jam sessions. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Close to You,’ in theaters Aug. 16\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959596\" class=\"wp-caption aligncenter\" style=\"max-width: 966px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png\" alt=\"A shirtless young trans man leans up against a window frame and gazes outside.\" width=\"966\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png 966w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-800x444.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-768x426.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-672x372.png 672w\" sizes=\"(max-width: 966px) 100vw, 966px\">\u003cfigcaption class=\"wp-caption-text\">Elliot Page in ‘Close to You.’ \u003ccite>(Me+You Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Elliot Page, in his first movie role in six years, playing a trans man who’s wary about attending his first family reunion since his transition, this story already had hooks for audiences. Throw in reports that the film’s scenes were mostly improvised on the day of shooting, and it sounds like an emotional high-wire act. Page, who came out as trans in 2020, is also involved with another queer coming-of-age story this summer, as executive producer for the cheerleading tale \u003cem>Backspot\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Between the Temples,’ in theaters Aug. 23\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959595\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png\" alt=\"An older woman leans her head onto the shoulder of a younger man. \" width=\"1292\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-768x429.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Jason Schwartzman and Carol Kane in ‘Between the Temples.’ \u003ccite>(Sean Price Williams/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A depressed cantor (Jason Schwartzman) who can’t sing since his wife’s death gets an odd request while teaching bar/bat mitzvah classes at his synagogue. His septuagenarian grade-school music teacher (Carol Kane) recognizes he’s foundering and wants to help, so she asks him to tutor her for a late-in-life bat mitzvah. He resists, she insists, and things go predictably \u003cem>Harold and Maude\u003c/em> from there in plot terms, though Schwartzman and Kane bring their own quirks. — Bob Mondello\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Carol LaHines’ Chilling Novel Chronicles a Jilted Woman’s Descent Into Madness",
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"content": "\u003cfigure id=\"attachment_13959531\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959531\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.10.17-PM.png\" alt=\"A book cover depicting a photo of an attractive woman's face behind shattered glass.\" width=\"848\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.10.17-PM.png 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.10.17-PM-800x1126.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.10.17-PM-160x225.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.10.17-PM-768x1081.png 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">‘The Vixen Amber Halloway’ by Carol LaHines. \u003ccite>(Regal House Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s no accident that the narrator of Carol LaHines’s second novel, \u003cem>The Vixen Amber Halloway\u003c/em>, is a literature professor named Ophelia. That was also the name of a woman who had her heart broken and was driven to madness by the title character in Shakespeare’s \u003cem>Hamlet\u003c/em>.\u003c/p>\n\u003cp>When we first meet LaHines’s Ophelia, she is being interviewed by a prison psychologist. Ophelia’s heart has been broken, too, and it is evident that it has led her to do something terrible. Her field of study, we soon learn, was Dante Alighieri’s\u003cem> Divine Comedy\u003c/em>, a 14th century narrative poem about the horrifying wages of sin.\u003c/p>\n\u003cp>[aside postid='arts_13959414']Obsessed with her work, Ophelia had no time for dating, so she was well into her 30s when a friend fixed her up with Andy, a medical equipment salesman. Although they had little in common, they fell in love and married. But five years later, she discovered he was cheating with a young woman named Amber. At first, he denied the affair, but not long after he filed for divorce and declared his intention to marry his paramour.\u003c/p>\n\u003cp>“I have a hole in my heart the size of a shotgun wound,” Ophelia says. Quoting Dante, she adds, “Abandon all hope, ye who enter here.”\u003c/p>\n\u003cp>This is not the first time Ophelia was abandoned. When she was a child, her mother ran off with a car salesman, leaving the girl to be raised by her inconsolable, suicidal father.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Time is not linear,” she says, “but a tripwire, events we keep stumbling over again and again, nettles in the brain, thorns in the heart.”\u003c/p>\n\u003cp>So Ophelia trolls Amber on the internet, spies on her and Andy for months, and even kills their dog. The novel grows increasingly chilling as Ophelia recounts her growing obsession, her towering rage, and her descent into madness, leading her to eventually do something far worse.\u003c/p>\n\u003cp>At times, she seems sorry for what she has done, but, at others, she makes excuses.\u003c/p>\n\u003cp>“Who has not experienced the haphazard cruelties of love?” she asks. “Who has not wished, fervently desired, for the new love interest to be simply gone, erased from your life?…\u003c/p>\n\u003cp>[aside postid='arts_13959224']“What would you do in my place?”\u003c/p>\n\u003cp>LaHines’s writing borders on the lyrical when Ophelia recalls the joyful early years of her marriage, but when she confesses her sins, her voice is stilted and often emotionless.\u003c/p>\n\u003cp>In the end, her descent into delusion is complete.\u003c/p>\n\u003cp>“One day, you and I will be together,” she addresses the absent Andy. “Your hand firmly in my grasp.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Vixen Amber Halloway’ is released on June 11, 2024 via Regal House Publishing.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13959531\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959531\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.10.17-PM.png\" alt=\"A book cover depicting a photo of an attractive woman's face behind shattered glass.\" width=\"848\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.10.17-PM.png 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.10.17-PM-800x1126.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.10.17-PM-160x225.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-2.10.17-PM-768x1081.png 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">‘The Vixen Amber Halloway’ by Carol LaHines. \u003ccite>(Regal House Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s no accident that the narrator of Carol LaHines’s second novel, \u003cem>The Vixen Amber Halloway\u003c/em>, is a literature professor named Ophelia. That was also the name of a woman who had her heart broken and was driven to madness by the title character in Shakespeare’s \u003cem>Hamlet\u003c/em>.\u003c/p>\n\u003cp>When we first meet LaHines’s Ophelia, she is being interviewed by a prison psychologist. Ophelia’s heart has been broken, too, and it is evident that it has led her to do something terrible. Her field of study, we soon learn, was Dante Alighieri’s\u003cem> Divine Comedy\u003c/em>, a 14th century narrative poem about the horrifying wages of sin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Time is not linear,” she says, “but a tripwire, events we keep stumbling over again and again, nettles in the brain, thorns in the heart.”\u003c/p>\n\u003cp>So Ophelia trolls Amber on the internet, spies on her and Andy for months, and even kills their dog. The novel grows increasingly chilling as Ophelia recounts her growing obsession, her towering rage, and her descent into madness, leading her to eventually do something far worse.\u003c/p>\n\u003cp>At times, she seems sorry for what she has done, but, at others, she makes excuses.\u003c/p>\n\u003cp>“Who has not experienced the haphazard cruelties of love?” she asks. “Who has not wished, fervently desired, for the new love interest to be simply gone, erased from your life?…\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“What would you do in my place?”\u003c/p>\n\u003cp>LaHines’s writing borders on the lyrical when Ophelia recalls the joyful early years of her marriage, but when she confesses her sins, her voice is stilted and often emotionless.\u003c/p>\n\u003cp>In the end, her descent into delusion is complete.\u003c/p>\n\u003cp>“One day, you and I will be together,” she addresses the absent Andy. “Your hand firmly in my grasp.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Vixen Amber Halloway’ is released on June 11, 2024 via Regal House Publishing.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We live in an age obsessed with self-creation. Our social media-fueled culture is less about changing the world than about shaping how the world sees us.\u003c/p>\n\u003cp>Nobody did it any better than \u003ca href=\"https://www.npr.org/tags/695894666/karl-lagerfeld\" target=\"695894666\" rel=\"noopener\">Karl Lagerfeld\u003c/a>, who died in 2019 after four decades as a lion king in the fashion world. Beginning as a somewhat ridiculous outsider from Germany, Lagerfeld used his genius for self-invention to wind up designing for \u003ca href=\"https://www.npr.org/tags/533752330/fendi\" target=\"533752330\" rel=\"noopener\">Fendi\u003c/a>, resurrecting the moribund house of Chanel and creating a personal look so distinctive — white hair, dark sunglasses, fingerless gloves and crisp detachable collars — that it could serve as the emoji for Fashion Designer.\u003c/p>\n\u003cp>[aside postid='arts_13928464']His hard-won rise in ‘70s Paris is the theme of \u003cem>Becoming Karl Lagerfeld\u003c/em>, a smart, dishy, hugely entertaining new French series on Hulu. The show doesn’t pretend to offer the definitive take on an enormously complicated man. Instead, its brisk six episodes offer emblematic incidents — or perhaps pressure points — that take us surprisingly deep inside a figure who moved constantly forward, spurred on by ambition, loneliness and a keen sense of self-protection.\u003c/p>\n\u003cp>We first meet Karl in Paris through the eyes of Jacques de Bascher, a self-destructive young aristocrat played with scene-stealing charisma by the French Canadian actor Théodore Pellerin. Always looking for distractions, Jacques fixates on the uncharismatic Karl — that’s the superb German actor Daniel Brühl — who at this point is something of a brainy schlub who lives with his acerbic mother and stuffs his face with sweets when he’s angry. You know you’re watching a French series, not an American one, when, in this show’s equivalent of a meet cute, Jacques and Karl discover their affinity by quoting the daunting Austrian novelist Robert Musil.\u003c/p>\n\u003cp>Jacques dreams of being a great writer, but he fritters away his gifts in drink and drugs and sex; he yearns for love. Although Karl cares for him, he’s too relentless a work-machine to provide such consolations. Karl never stops hustling and scheming. He’s chasing a stardom to equal his one-time-friend, now-nemesis Yves Saint Laurent — that’s a terrific Arnaud Valois — who’s celebrated as a haute-couture genius with his own label while Karl toils away on ready-to-wear for the house of Chloe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dWs94_ZaDLw\u003c/p>\n\u003cp>Jacques and Karl share a long, tortuous, asexual sort of love. Their relationship becomes the through-line of Karl’s story, which includes his battles with fashion power broker Pierre Bergé, Jacques’ disastrous affair with Saint Laurent, and Karl’s struggles designing a dress for \u003ca href=\"https://www.npr.org/2017/06/19/533090309/gallery-gives-movie-star-marlene-dietrich-the-big-picture-treatment\" target=\"533090309\" rel=\"noopener\">Marlene Dietrich\u003c/a> who pointedly asks, “Do you have a style?” This was always the big question about Lagerfeld, who, like that other self-inventor, \u003ca href=\"https://www.npr.org/artists/15289962/david-bowie\" target=\"15289962\" rel=\"noopener\">David Bowie\u003c/a>, tried on many styles and used whichever one would help him get ahead at that moment.\u003c/p>\n\u003cp>In this year’s other fashion series, The New Look, Christian Dior and \u003ca href=\"https://www.npr.org/2005/05/05/4630900/the-timeless-appeal-of-coco-chanel\" target=\"4630900\" rel=\"noopener\">Coco Chanel\u003c/a> felt like animatronic creatures in a diorama. By contrast, \u003cem>Becoming Karl Lagerfeld\u003c/em> feels urgent and alive — like a present day story that happens to be set in the past. Whether it’s Jacques’ desperation, Karl’s impacted passion or shocking betrayals, the show pulses with feeling, even wringing genuine poignancy from the pop song “Take on Me.”\u003c/p>\n\u003cp>[aside postid='arts_13958404']Without flaunting its seriousness, the show gets you thinking about the characters — for instance, how the controlled Karl and out-of-control Jacques are complementary halves of a complete human being. And it explores the isolation, even lunacy lurking inside the quest for fame.\u003c/p>\n\u003cp>Focusing on a brief period of time, \u003cem>Becoming Karl Lagerfeld\u003c/em> never overtly tries to explain its often-contradictory hero. Instead, it lets Brühl reveal the powerful emotions that flit across Karl’s face even as he attempts to bottle them up. By the end, I felt I understood him surprisingly well and grasped how he could become a fashion legend.\u003c/p>\n\u003cp>Now is the show completely true? Did Dietrich really castigate Karl for a dress he made her? Did Karl really flee when Jacques tried to sleep with him? Who cares! The opening crawl acknowledges that much of the action is fictionalized. Besides, \u003cem>Becoming Karl Lagerfeld\u003c/em> isn’t about the Kennedy assassination or World War II. It’s about a fashion designer, one who cultivated his personal mythology and became notorious for his delight in saying reprehensible things.\u003c/p>\n\u003cp>“I have no human feelings,” Lagerfeld famously told an interviewer. What he’d like least about this show, I suspect, is that it shows he did.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Becoming Karl Lagerfeld’ begins streaming on Hulu on June 7, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>His hard-won rise in ‘70s Paris is the theme of \u003cem>Becoming Karl Lagerfeld\u003c/em>, a smart, dishy, hugely entertaining new French series on Hulu. The show doesn’t pretend to offer the definitive take on an enormously complicated man. Instead, its brisk six episodes offer emblematic incidents — or perhaps pressure points — that take us surprisingly deep inside a figure who moved constantly forward, spurred on by ambition, loneliness and a keen sense of self-protection.\u003c/p>\n\u003cp>We first meet Karl in Paris through the eyes of Jacques de Bascher, a self-destructive young aristocrat played with scene-stealing charisma by the French Canadian actor Théodore Pellerin. Always looking for distractions, Jacques fixates on the uncharismatic Karl — that’s the superb German actor Daniel Brühl — who at this point is something of a brainy schlub who lives with his acerbic mother and stuffs his face with sweets when he’s angry. You know you’re watching a French series, not an American one, when, in this show’s equivalent of a meet cute, Jacques and Karl discover their affinity by quoting the daunting Austrian novelist Robert Musil.\u003c/p>\n\u003cp>Jacques dreams of being a great writer, but he fritters away his gifts in drink and drugs and sex; he yearns for love. Although Karl cares for him, he’s too relentless a work-machine to provide such consolations. Karl never stops hustling and scheming. He’s chasing a stardom to equal his one-time-friend, now-nemesis Yves Saint Laurent — that’s a terrific Arnaud Valois — who’s celebrated as a haute-couture genius with his own label while Karl toils away on ready-to-wear for the house of Chloe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dWs94_ZaDLw'\n title='//www.youtube.com/embed/dWs94_ZaDLw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jacques and Karl share a long, tortuous, asexual sort of love. Their relationship becomes the through-line of Karl’s story, which includes his battles with fashion power broker Pierre Bergé, Jacques’ disastrous affair with Saint Laurent, and Karl’s struggles designing a dress for \u003ca href=\"https://www.npr.org/2017/06/19/533090309/gallery-gives-movie-star-marlene-dietrich-the-big-picture-treatment\" target=\"533090309\" rel=\"noopener\">Marlene Dietrich\u003c/a> who pointedly asks, “Do you have a style?” This was always the big question about Lagerfeld, who, like that other self-inventor, \u003ca href=\"https://www.npr.org/artists/15289962/david-bowie\" target=\"15289962\" rel=\"noopener\">David Bowie\u003c/a>, tried on many styles and used whichever one would help him get ahead at that moment.\u003c/p>\n\u003cp>In this year’s other fashion series, The New Look, Christian Dior and \u003ca href=\"https://www.npr.org/2005/05/05/4630900/the-timeless-appeal-of-coco-chanel\" target=\"4630900\" rel=\"noopener\">Coco Chanel\u003c/a> felt like animatronic creatures in a diorama. By contrast, \u003cem>Becoming Karl Lagerfeld\u003c/em> feels urgent and alive — like a present day story that happens to be set in the past. Whether it’s Jacques’ desperation, Karl’s impacted passion or shocking betrayals, the show pulses with feeling, even wringing genuine poignancy from the pop song “Take on Me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Without flaunting its seriousness, the show gets you thinking about the characters — for instance, how the controlled Karl and out-of-control Jacques are complementary halves of a complete human being. And it explores the isolation, even lunacy lurking inside the quest for fame.\u003c/p>\n\u003cp>Focusing on a brief period of time, \u003cem>Becoming Karl Lagerfeld\u003c/em> never overtly tries to explain its often-contradictory hero. Instead, it lets Brühl reveal the powerful emotions that flit across Karl’s face even as he attempts to bottle them up. By the end, I felt I understood him surprisingly well and grasped how he could become a fashion legend.\u003c/p>\n\u003cp>Now is the show completely true? Did Dietrich really castigate Karl for a dress he made her? Did Karl really flee when Jacques tried to sleep with him? Who cares! The opening crawl acknowledges that much of the action is fictionalized. Besides, \u003cem>Becoming Karl Lagerfeld\u003c/em> isn’t about the Kennedy assassination or World War II. It’s about a fashion designer, one who cultivated his personal mythology and became notorious for his delight in saying reprehensible things.\u003c/p>\n\u003cp>“I have no human feelings,” Lagerfeld famously told an interviewer. What he’d like least about this show, I suspect, is that it shows he did.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Becoming Karl Lagerfeld’ begins streaming on Hulu on June 7, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It seems the film industry’s reputation is in a perpetual state of lament. \u003cem>They don’t make them like they used to\u003c/em> can be and often is applied to movie stars, special effects, non-franchise screenplays, erotic thrillers, rom-coms.\u003c/p>\n\u003cp>There’s validity to these concerns, though every now and then, a new movie comes along with a strong whiff of throwback energy — deliberate yet breezy pacing, crackling banter that’s at once contemporary and timeless, and a performance that convinces you a star’s been born right here in this moment on screen. And with it comes the warm reminder that they still \u003cem>can \u003c/em>make them like they used to, and sometimes still do. Richard Linklater’s sexy, nihilistic comedy \u003cem>Hit Man\u003c/em> is one of those movies.\u003c/p>\n\u003cp>[aside postid='arts_13958891']Glen Powell is Gary Johnson, a conventionally attractive yet aggressively plain psych and philosophy professor at the University of New Orleans. He’s the type of unassuming jean shorts-wearing guy who blends easily into the background and is perfectly content being boring; he lives alone in the suburbs with two cats named Ego and Id, drives a Honda Civic, and appears to have no social life to speak of.\u003c/p>\n\u003cp>His sole quirk, if we’re going to call it that, is that he moonlights with the New Orleans Police Department, and as the movie begins, that part-time gig suddenly kicks into overdrive. When dirtbag undercover detective Jasper (Austin Amelio) is suspended for a police brutality case, Gary replaces him as the department’s go-to fake hit man, meeting with — and arresting — all varieties of disgruntled recruiters as “Ron.” It turns out Gary relishes convincing unsuspecting strangers he’s a cold-blooded assassin. He researches his would-be “clients” to tailor his persona to their hit man fantasies, using an array of elaborate costumes, wigs, and fake makeup. For one suspect, he eerily resembles Patrick Bateman.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXwa8DKIK7g\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Hit Man \u003c/em>sounds wacky in premise, but it’s loosely based on a \u003ca href=\"https://www.texasmonthly.com/true-crime/hit-man-2/\">\u003cem>Texas Monthly\u003c/em> profile\u003c/a> of a real Gary Johnson, who worked on-call for the Houston Police Department and was dubbed the “Laurence Olivier” of undercover murder-for-hire investigations. Linklater and Powell, who co-wrote the screenplay, take the bones of Johnson’s story and embellish it for cinematic effect, slipping from a slick, lightly comical procedural in the first act to an erotic cat-and-mouse game by the film’s climax.\u003c/p>\n\u003cp>Like the private detective archetype in film noir, Gary is eventually hired by a gorgeous young woman, except in this case, she’s looking to off her controlling husband. Maddy (Adria Arjona) is, of course, pouty and flirty and femme fatale-y, and gets him entangled in quite a compromising pickle.\u003c/p>\n\u003cfigure id=\"attachment_13959389\" class=\"wp-caption aligncenter\" style=\"max-width: 1466px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959389\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png\" alt=\"A woman leans back, eyes closed against a man in a lover's embrace.\" width=\"1466\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png 1466w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-800x494.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-1020x630.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-768x475.png 768w\" sizes=\"(max-width: 1466px) 100vw, 1466px\">\u003cfigcaption class=\"wp-caption-text\">Adria Arjona as Madison and Glen Powell as Gary Johnson in ’Hit Man.‘ \u003ccite>(Brian Roedel/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story stays grounded by avoiding a few present-day pop culture clichés — thankfully there are no obvious needle-drops here — and the clear, electric chemistry between Powell and Arjona, whose dynamic evokes Jack and Karen’s frenetic dalliance in \u003cem>Out of Sight\u003c/em>.\u003c/p>\n\u003cp>But above all, this is Powell’s movie. It’s almost too easy to draw direct parallels between him and Gary, but sometimes the most obvious thing is also the most correct. The actor’s been kicking around Hollywood for some time now, more recently playing an antagonist in \u003cem>Top Gun: Maverick\u003c/em> and \u003ca href=\"https://www.nytimes.com/2024/04/23/movies/anyone-but-you-sydney-sweeney-glen-powell.html\">whipping gossip blogs into a frenzy\u003c/a> with his \u003cem>Anyone But You \u003c/em>co-star Sydney Sweeney. Yet like Gary the professor, he’s been more of a side salad than an entrée, inoffensive and fine, not exactly memorable.\u003c/p>\n\u003cp>[aside postid='arts_13959268']Ron the fake-contract-killer affords Gary the chance to tap into a part of himself that’s far more fascinating, and Powell plays this uber-confident side to the hilt. When Ron utters a corny catchphrase about pie with a straight face or goes off on a smooth tangent in great detail about how he’ll “dispose” of a body, Glen Powell, capital-M Movie Star suddenly makes sense as a concept.\u003c/p>\n\u003cp>\u003cem>Hit Man\u003c/em>’s final act is the kind you either go with or get frustrated by. It’s a big swing that tests the limits of suspending disbelief. But the movie’s driving theme reflects curiosity about the human capacity for change and self-creation, a struggle to decipher where the “real” essence of you begins and/or ends. In Gary, Linklater and Powell find a character who cleverly demonstrates how anyone, especially a movie actor, can mold the persona they wish to have — with the right tools.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hit Man’ begins streaming on Netflix on June 7, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Glen Powell is Gary Johnson, a conventionally attractive yet aggressively plain psych and philosophy professor at the University of New Orleans. He’s the type of unassuming jean shorts-wearing guy who blends easily into the background and is perfectly content being boring; he lives alone in the suburbs with two cats named Ego and Id, drives a Honda Civic, and appears to have no social life to speak of.\u003c/p>\n\u003cp>His sole quirk, if we’re going to call it that, is that he moonlights with the New Orleans Police Department, and as the movie begins, that part-time gig suddenly kicks into overdrive. When dirtbag undercover detective Jasper (Austin Amelio) is suspended for a police brutality case, Gary replaces him as the department’s go-to fake hit man, meeting with — and arresting — all varieties of disgruntled recruiters as “Ron.” It turns out Gary relishes convincing unsuspecting strangers he’s a cold-blooded assassin. He researches his would-be “clients” to tailor his persona to their hit man fantasies, using an array of elaborate costumes, wigs, and fake makeup. For one suspect, he eerily resembles Patrick Bateman.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DXwa8DKIK7g'\n title='//www.youtube.com/embed/DXwa8DKIK7g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Hit Man \u003c/em>sounds wacky in premise, but it’s loosely based on a \u003ca href=\"https://www.texasmonthly.com/true-crime/hit-man-2/\">\u003cem>Texas Monthly\u003c/em> profile\u003c/a> of a real Gary Johnson, who worked on-call for the Houston Police Department and was dubbed the “Laurence Olivier” of undercover murder-for-hire investigations. Linklater and Powell, who co-wrote the screenplay, take the bones of Johnson’s story and embellish it for cinematic effect, slipping from a slick, lightly comical procedural in the first act to an erotic cat-and-mouse game by the film’s climax.\u003c/p>\n\u003cp>Like the private detective archetype in film noir, Gary is eventually hired by a gorgeous young woman, except in this case, she’s looking to off her controlling husband. Maddy (Adria Arjona) is, of course, pouty and flirty and femme fatale-y, and gets him entangled in quite a compromising pickle.\u003c/p>\n\u003cfigure id=\"attachment_13959389\" class=\"wp-caption aligncenter\" style=\"max-width: 1466px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959389\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png\" alt=\"A woman leans back, eyes closed against a man in a lover's embrace.\" width=\"1466\" height=\"906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM.png 1466w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-800x494.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-1020x630.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-06-at-12.11.33-PM-768x475.png 768w\" sizes=\"(max-width: 1466px) 100vw, 1466px\">\u003cfigcaption class=\"wp-caption-text\">Adria Arjona as Madison and Glen Powell as Gary Johnson in ’Hit Man.‘ \u003ccite>(Brian Roedel/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story stays grounded by avoiding a few present-day pop culture clichés — thankfully there are no obvious needle-drops here — and the clear, electric chemistry between Powell and Arjona, whose dynamic evokes Jack and Karen’s frenetic dalliance in \u003cem>Out of Sight\u003c/em>.\u003c/p>\n\u003cp>But above all, this is Powell’s movie. It’s almost too easy to draw direct parallels between him and Gary, but sometimes the most obvious thing is also the most correct. The actor’s been kicking around Hollywood for some time now, more recently playing an antagonist in \u003cem>Top Gun: Maverick\u003c/em> and \u003ca href=\"https://www.nytimes.com/2024/04/23/movies/anyone-but-you-sydney-sweeney-glen-powell.html\">whipping gossip blogs into a frenzy\u003c/a> with his \u003cem>Anyone But You \u003c/em>co-star Sydney Sweeney. Yet like Gary the professor, he’s been more of a side salad than an entrée, inoffensive and fine, not exactly memorable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ron the fake-contract-killer affords Gary the chance to tap into a part of himself that’s far more fascinating, and Powell plays this uber-confident side to the hilt. When Ron utters a corny catchphrase about pie with a straight face or goes off on a smooth tangent in great detail about how he’ll “dispose” of a body, Glen Powell, capital-M Movie Star suddenly makes sense as a concept.\u003c/p>\n\u003cp>\u003cem>Hit Man\u003c/em>’s final act is the kind you either go with or get frustrated by. It’s a big swing that tests the limits of suspending disbelief. But the movie’s driving theme reflects curiosity about the human capacity for change and self-creation, a struggle to decipher where the “real” essence of you begins and/or ends. In Gary, Linklater and Powell find a character who cleverly demonstrates how anyone, especially a movie actor, can mold the persona they wish to have — with the right tools.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hit Man’ begins streaming on Netflix on June 7, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We start — why not? — with a veggie burger.\u003c/p>\n\u003cp>Lucy (Dakota Johnson) and Jane (Sonoya Mizuno), besties in their 30s, have been so close for so long that when they meet at the diner, Jane can just recite Lucy’s regular order: Veggie burger and sweet potato fries.\u003c/p>\n\u003cp>[aside postid='arts_13958959']And so when, late into \u003cem>Am I Ok?\u003c/em>, Lucy goes rogue and orders a tomato and spinach omelet, there’s a look of subtle hurt that flits across Jane’s face. It seems silly — it was just a veggie burger — but to Jane it signifies something familiar and comforting that’s now gone.\u003c/p>\n\u003cp>There are similarly sweet, subtle touches peppered through this debut directorial effort by Tig Notaro and Stephanie Allynne — touches that land much better than the occasional attempts at broad humor that feel forced, or at least like a different movie (for example, the dialogue given to Jane’s boss, played by Sean Hayes).\u003c/p>\n\u003cp>And of course, there’s Johnson herself, the obvious focus of the lingering camera throughout, and for good reason: her always-winning authenticity, shining through in film after film even at times when the material around her feels thin.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The story here is simple and heartfelt. It’s a coming-out tale, but with the twist that the person coming out is 32, a decade (or even two) later than in most stories we see.\u003c/p>\n\u003cp>This particular story belongs to the film’s writer, Lauren Pomerantz, who came out when she was 34. Her closeness to the proceedings is evident in a few startlingly poignant moments — for example, the pain that Lucy feels when a straight woman toys with her emotions (and more). It’s one of the most moving passages in the film.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b80FbdimIHs\u003c/p>\n\u003cp>After an opening montage that establishes the female friendship at the core of the movie, we begin at the aforementioned diner, with Jane telling Lucy (over the aforementioned veggie burger) that she really needs to get together with a certain cute male friend who obviously likes her: “Just do it,” she says. Lucy can’t explain why she doesn’t want to.\u003c/p>\n\u003cp>[aside postid='arts_13958855']Meanwhile, Jane, the more professionally advanced of the two, has a major life change coming. Her boss offers her the chance to leave Los Angeles and set up a London office. Plus, her very nice boyfriend (Jermaine Fowler, not given enough to work with for too much of the film) is coming along. But for Lucy, this news is devastating — and you can tell by the unconvincing way she keeps saying “Awesome!” when Jane tells her one evening over drinks.\u003c/p>\n\u003cp>After lots of tequila, the two friends end up crying together, as close friends do (at least in the movies) in the bathroom while peeing, and then later, on a sleepover. There, Lucy finally tells Jane that she likes girls.\u003c/p>\n\u003cp>Jane is nothing if not supportive. In fact, ever ambitious, she tells Lucy she’ll be “the star of the lesbian community.” And she resolves to help her find a woman, starting with an excursion to a gay bar. However, it’s Jane who winds up kissing a woman on the dance floor. Lucy flees, embarrassed.\u003c/p>\n\u003cp>But there’s this sensuous masseuse (Kiersey Clemons) at the spa where Lucy’s a receptionist. Brittany is flirting like crazy with Lucy, who finally gets up the courage to respond. She brings Lucy out of her shell, but with ultimately disheartening results. And Lucy’s on the outs now with Jane, normally the first person she’d call with any heartache.\u003c/p>\n\u003cp>This movie may be about a pair of friends, but witnessing the supremely watchable Johnson navigate uncertainty and sadness, it’s Lucy’s life you’ll find yourself caring about most. A last-minute obstacle to Jane’s well-laid plans for her trip to London rings a bit false — or maybe it just seems wedged in as if to say, well, both women have issues.\u003c/p>\n\u003cp>[aside postid='arts_13958728']In any case, It’s been a good month for female buddy comedies. While Pamela Adlon’s comedy \u003cem>Babes\u003c/em>, went all in for the raunch inherent in childbirth, \u003cem>Am I OK?\u003c/em> goes for a sweeter, soulful vibe. It feels good that we end up where we began — back at that table in the diner, hashing stuff out. The ultimate message here may be simple, but it’s comforting: friendships may change but can still adapt, withstand and survive.\u003c/p>\n\u003cp>Even when a veggie burger yields to an omelet.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Am I OK?’ begins streaming on Max on June 6, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And so when, late into \u003cem>Am I Ok?\u003c/em>, Lucy goes rogue and orders a tomato and spinach omelet, there’s a look of subtle hurt that flits across Jane’s face. It seems silly — it was just a veggie burger — but to Jane it signifies something familiar and comforting that’s now gone.\u003c/p>\n\u003cp>There are similarly sweet, subtle touches peppered through this debut directorial effort by Tig Notaro and Stephanie Allynne — touches that land much better than the occasional attempts at broad humor that feel forced, or at least like a different movie (for example, the dialogue given to Jane’s boss, played by Sean Hayes).\u003c/p>\n\u003cp>And of course, there’s Johnson herself, the obvious focus of the lingering camera throughout, and for good reason: her always-winning authenticity, shining through in film after film even at times when the material around her feels thin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The story here is simple and heartfelt. It’s a coming-out tale, but with the twist that the person coming out is 32, a decade (or even two) later than in most stories we see.\u003c/p>\n\u003cp>This particular story belongs to the film’s writer, Lauren Pomerantz, who came out when she was 34. Her closeness to the proceedings is evident in a few startlingly poignant moments — for example, the pain that Lucy feels when a straight woman toys with her emotions (and more). It’s one of the most moving passages in the film.\u003c/p>\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/b80FbdimIHs'\n title='//www.youtube.com/embed/b80FbdimIHs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After an opening montage that establishes the female friendship at the core of the movie, we begin at the aforementioned diner, with Jane telling Lucy (over the aforementioned veggie burger) that she really needs to get together with a certain cute male friend who obviously likes her: “Just do it,” she says. Lucy can’t explain why she doesn’t want to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meanwhile, Jane, the more professionally advanced of the two, has a major life change coming. Her boss offers her the chance to leave Los Angeles and set up a London office. Plus, her very nice boyfriend (Jermaine Fowler, not given enough to work with for too much of the film) is coming along. But for Lucy, this news is devastating — and you can tell by the unconvincing way she keeps saying “Awesome!” when Jane tells her one evening over drinks.\u003c/p>\n\u003cp>After lots of tequila, the two friends end up crying together, as close friends do (at least in the movies) in the bathroom while peeing, and then later, on a sleepover. There, Lucy finally tells Jane that she likes girls.\u003c/p>\n\u003cp>Jane is nothing if not supportive. In fact, ever ambitious, she tells Lucy she’ll be “the star of the lesbian community.” And she resolves to help her find a woman, starting with an excursion to a gay bar. However, it’s Jane who winds up kissing a woman on the dance floor. Lucy flees, embarrassed.\u003c/p>\n\u003cp>But there’s this sensuous masseuse (Kiersey Clemons) at the spa where Lucy’s a receptionist. Brittany is flirting like crazy with Lucy, who finally gets up the courage to respond. She brings Lucy out of her shell, but with ultimately disheartening results. And Lucy’s on the outs now with Jane, normally the first person she’d call with any heartache.\u003c/p>\n\u003cp>This movie may be about a pair of friends, but witnessing the supremely watchable Johnson navigate uncertainty and sadness, it’s Lucy’s life you’ll find yourself caring about most. A last-minute obstacle to Jane’s well-laid plans for her trip to London rings a bit false — or maybe it just seems wedged in as if to say, well, both women have issues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In any case, It’s been a good month for female buddy comedies. While Pamela Adlon’s comedy \u003cem>Babes\u003c/em>, went all in for the raunch inherent in childbirth, \u003cem>Am I OK?\u003c/em> goes for a sweeter, soulful vibe. It feels good that we end up where we began — back at that table in the diner, hashing stuff out. The ultimate message here may be simple, but it’s comforting: friendships may change but can still adapt, withstand and survive.\u003c/p>\n\u003cp>Even when a veggie burger yields to an omelet.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Am I OK?’ begins streaming on Max on June 6, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Mysterious Life of 1960s North Beach Starlet Yvonne D’Angers",
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"content": "\u003cp>This is the story of a young woman who routinely bared her body, but never revealed much about her true identity.\u003c/p>\n\u003cp>Her name was Yvonne D’Angers — sometimes. Her birth name was rumored to be Mahviz Daneshforouz. Sometimes she went by Yvonne Donjay. Others knew her as Carmella Ettlinger when she worked as a cocktail waitress at bars around North Beach. Later, she adopted her second husband’s last name and became Yvonne Boreta. But at the peak of her fame in San Francisco, she was most affectionately referred to as “The Persian Lamb.”\u003c/p>\n\u003cp>D’Angers graduated from waitress to stage talent shortly after Carol Doda first went topless at the Condor. As North Beach venues scrambled to compete with Doda, the Off Broadway (located at 1024 Kearny) employed D’Angers — a large-breasted beauty who was rumored to be one of the reasons Doda first enhanced her chest with silicone. In 1966, at the peak of her fame, D’Angers posed for \u003cem>Playboy\u003c/em> and played Cleopatra at the month-long opening party for Caesar’s Palace in Las Vegas.\u003c/p>\n\u003cp>[aside postid='arts_13953248']D’Angers’ performances were not as strenuous as Doda’s. At the Off Broadway, she posed nude on stage while an artist named Nick Galin sketched her. She participated in topless “fashion shows.” She undressed behind a screen and then emerged for cheering audiences. Some of her performances lasted only five minutes. It mattered not. Newspaper ads for the Off Broadway promoted D’Angers as being in possession of “two of San Francisco’s three most famous landmarks.” During this same period, she was \u003ca href=\"https://www.christies.com/en/lot/lot-1591387\">photographed topless in her dressing room by Diane Arbus\u003c/a>. The image later appeared in Arbus’ posthumous monograph, published by Aperture.\u003c/p>\n\u003cp>During one 1966 interview, D’Angers spoke proudly of her job and the atmosphere at the Off Broadway. “I don’t see anything wrong with it,” she said. “I have never heard a nasty remark. I hear nothing but compliments. Lots of nice people come to this club. Businessmen, family men, married couples, office workers. They don’t bother me. I have dedicated myself to being a show business person.”\u003c/p>\n\u003cfigure id=\"attachment_13958875\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958875\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-1.36.12-PM.png\" alt=\"A blond woman in a white bikini poses, sideways on next to a headline that read 'virginity should be against the law.’\" width=\"840\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-1.36.12-PM.png 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-1.36.12-PM-800x1114.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-1.36.12-PM-160x223.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-1.36.12-PM-768x1070.png 768w\" sizes=\"(max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">D’Angers gracing the cover of ‘Midnight’ magazine in 1967. \u003ccite>(Midnight: A Parliament Publication)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>D’Angers was born in either Tehran or Paris, the second of nine children. She became a model at the age of 14, and later studied — some say architecture, others say art — at UC Berkeley. She admitted to doctoring her birth certificate “any time it was necessary,” including when she got married at the age of 16 to a man named Howard S. Ettlinger who later claimed D’Angers paid him $200 to do so.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout the 1960s and ’70s, in multiple courts across the land, D’Angers waged war with the United States Immigration and Naturalization Service as it tried desperately to deport her. D’Angers responded to this with a series of stunts. On Aug. 30, 1966, she chained herself, while clad in a hot pink catsuit, to the Golden Gate Bridge in protest, noting that she “felt like Joan of Arc.” Her antics attracted fascinated reporters who made a point to provide D’Angers’ measurements (“44-21-36!”) in almost every story.\u003c/p>\n\u003cfigure id=\"attachment_13958872\" class=\"wp-caption aligncenter\" style=\"max-width: 2499px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-scaled.jpg\" alt=\"A black and white image of a slender blonde woman in full make-up chained to a bridge railing.\" width=\"2499\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-scaled.jpg 2499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-800x819.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-1020x1045.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-768x787.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-1499x1536.jpg 1499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-1999x2048.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-1920x1967.jpg 1920w\" sizes=\"(max-width: 2499px) 100vw, 2499px\">\u003cfigcaption class=\"wp-caption-text\">On August 6, 1966, D’Angers chained herself to Golden Gate Bridge and tossed the keys into the water. The bolt cutters of a bridge worker were quickly employed to free her. \u003ccite>(Bill Young/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than two years later, D’Angers arrived at the Immigration Service building at 630 Sansome with her attorney Melvin Belli and her husband \u003ca href=\"https://www.legacy.com/us/obituaries/lvrj/name/voss-boreta-obituary?id=19784478\">Voss Boreta\u003c/a>. Trailing behind them were 21 dancers, waitresses and supporters from Off Broadway and other North Beach clubs carrying protest signs that demanded: “Save Our National Monument,” “Don’t Bust the Bust” and “Keep America Beautiful — Save Yvonne.”\u003c/p>\n\u003cp>[aside postid='arts_13902628']In 1965, D’Angers was also obliged to go to court to defend her right to be topless in public. This followed an arrest at the Off Broadway as she, in \u003cem>Life\u003c/em> magazine’s words, “strut[ted] down the aisle modeling a topless parody of an evening gown.” \u003cem>Life\u003c/em> quoted D’Angers as saying: “Being arrested does not bother me. San Francisco is so much like Paris. And I know that in Paris nothing will happen to a girl for doing this or more or less.”\u003c/p>\n\u003cp>She was right. D’Angers — alongside Doda and fellow topless performers, Kay Star and Euraine Heimberg — was acquitted of obscenity charges on May 8, 1965. D’Angers showed up to court wearing an electric-blue sequined dress.\u003c/p>\n\u003cp>D’Angers truly had a canny knack for getting herself out of trouble. Nowhere was this more evident than in June 1967 when she was stalked by a violent criminal from Oakland named James Reece. Reece, who had recently escaped from the Alameda County Jail and was wanted in five cities for a long list of felonies (including rape, kidnapping, burglary, assault with a deadly weapon and possession of a firearm), followed D’Angers in a stolen car one night after she left her shift at the Off Broadway.\u003c/p>\n\u003cp>“Following a high speed chase,” the \u003cem>Oakland Tribune\u003c/em> later reported, “Miss D’Angers cut into a dead end street and skidded to a stop, her four-day-old Cadillac half over a creek embankment. Reece careened into a tree and his car flipped 100 feet to the opposite bank.”\u003c/p>\n\u003cp>Reece survived the accident on the quiet Marin County road, was quickly apprehended and transferred to the San Quentin prison hospital. D’Angers was unscathed, her love of the spotlight undiluted by the terrifying incident. A year later, the aspiring actress made her big screen debut in \u003cem>Sappho Darling\u003c/em>, a lesbian exploitation flick that has since found a cult following. At the time of its release, however, the \u003cem>San Francisco Examiner\u003c/em> issued a scathing review:\u003c/p>\n\u003cp>[aside postid='arts_13958101']“[D’Angers] has been totally victimized by the glaring vulgarity of director Gunnar Steel’s sleazy little effort,” the review said. “Even her spectacular figure has been photographed disadvantageously and her voice (either her own or an inept dubbing job) sounds like a strident Betty Boop … When [a co-star] tremulously asks Miss D’Angers after a night of love: ‘Do you think I’m a lesbian?’ Yvonne smilingly recites quotations from Krafft-Ebing, Dr. Kinsey and Sigmund Freud … The scene is unintentionally hilarious.”\u003c/p>\n\u003cp>Following \u003cem>Sappho Darling\u003c/em>, D’Angers worked with Russ Meyer on \u003cem>The Seven Minutes\u003c/em> and \u003cem>Move\u003c/em>, alongside Elliot Gould and Paula Prentiss. A few years later came \u003cem>Ground Zero\u003c/em>, a thriller about a terrorist organization that plants a nuclear device on the Golden Gate Bridge.\u003c/p>\n\u003cfigure id=\"attachment_13958874\" class=\"wp-caption aligncenter\" style=\"max-width: 712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-12.55.53-PM.png\" alt=\"A VHS cover featuring a fiery Golden Gate Bridge, close up of a man's face holding a gun and a woman in a bikini.\" width=\"712\" height=\"1270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-12.55.53-PM.png 712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-12.55.53-PM-160x285.png 160w\" sizes=\"(max-width: 712px) 100vw, 712px\">\u003cfigcaption class=\"wp-caption-text\">The home video cover of 1973’s ‘Ground Zero,’ which credits D’Angers as: ‘Ivonne D’Angiers.’ \u003ccite>(Genesis Home Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time \u003cem>Ground Zero\u003c/em> came out, D’Angers was living a much quieter life. In August 1973, the \u003cem>Oakland Tribune\u003c/em> reported that she could be regularly found hanging out at her husband’s Plaka Taverna club in North Beach. “The D’Angers charm is contagious as ever,” the newspaper said, “though … she prefers to stay in the background and let husband Voss run things.” She was quoted as saying “I’m enjoying being a wife very much.”\u003c/p>\n\u003cp>D’Angers died on June 10, 2009 in Las Vegas; she moved there with Boreta in 1974, and the couple subsequently raised three children. How she managed to stay in the United States after multiple deportation orders — including two, in 1967 and 1970, from Washington, D.C.’s Immigration Appeals Board — remains a mystery.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>By the time of her death, D’Angers’ notoriety had been largely forgotten. In its obituary, the \u003cem>San Francisco Chronicle\u003c/em> referred to D’Angers only as “an accomplished painter, model and college graduate.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This is the story of a young woman who routinely bared her body, but never revealed much about her true identity.\u003c/p>\n\u003cp>Her name was Yvonne D’Angers — sometimes. Her birth name was rumored to be Mahviz Daneshforouz. Sometimes she went by Yvonne Donjay. Others knew her as Carmella Ettlinger when she worked as a cocktail waitress at bars around North Beach. Later, she adopted her second husband’s last name and became Yvonne Boreta. But at the peak of her fame in San Francisco, she was most affectionately referred to as “The Persian Lamb.”\u003c/p>\n\u003cp>D’Angers graduated from waitress to stage talent shortly after Carol Doda first went topless at the Condor. As North Beach venues scrambled to compete with Doda, the Off Broadway (located at 1024 Kearny) employed D’Angers — a large-breasted beauty who was rumored to be one of the reasons Doda first enhanced her chest with silicone. In 1966, at the peak of her fame, D’Angers posed for \u003cem>Playboy\u003c/em> and played Cleopatra at the month-long opening party for Caesar’s Palace in Las Vegas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>D’Angers’ performances were not as strenuous as Doda’s. At the Off Broadway, she posed nude on stage while an artist named Nick Galin sketched her. She participated in topless “fashion shows.” She undressed behind a screen and then emerged for cheering audiences. Some of her performances lasted only five minutes. It mattered not. Newspaper ads for the Off Broadway promoted D’Angers as being in possession of “two of San Francisco’s three most famous landmarks.” During this same period, she was \u003ca href=\"https://www.christies.com/en/lot/lot-1591387\">photographed topless in her dressing room by Diane Arbus\u003c/a>. The image later appeared in Arbus’ posthumous monograph, published by Aperture.\u003c/p>\n\u003cp>During one 1966 interview, D’Angers spoke proudly of her job and the atmosphere at the Off Broadway. “I don’t see anything wrong with it,” she said. “I have never heard a nasty remark. I hear nothing but compliments. Lots of nice people come to this club. Businessmen, family men, married couples, office workers. They don’t bother me. I have dedicated myself to being a show business person.”\u003c/p>\n\u003cfigure id=\"attachment_13958875\" class=\"wp-caption aligncenter\" style=\"max-width: 840px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958875\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-1.36.12-PM.png\" alt=\"A blond woman in a white bikini poses, sideways on next to a headline that read 'virginity should be against the law.’\" width=\"840\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-1.36.12-PM.png 840w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-1.36.12-PM-800x1114.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-1.36.12-PM-160x223.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-1.36.12-PM-768x1070.png 768w\" sizes=\"(max-width: 840px) 100vw, 840px\">\u003cfigcaption class=\"wp-caption-text\">D’Angers gracing the cover of ‘Midnight’ magazine in 1967. \u003ccite>(Midnight: A Parliament Publication)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>D’Angers was born in either Tehran or Paris, the second of nine children. She became a model at the age of 14, and later studied — some say architecture, others say art — at UC Berkeley. She admitted to doctoring her birth certificate “any time it was necessary,” including when she got married at the age of 16 to a man named Howard S. Ettlinger who later claimed D’Angers paid him $200 to do so.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout the 1960s and ’70s, in multiple courts across the land, D’Angers waged war with the United States Immigration and Naturalization Service as it tried desperately to deport her. D’Angers responded to this with a series of stunts. On Aug. 30, 1966, she chained herself, while clad in a hot pink catsuit, to the Golden Gate Bridge in protest, noting that she “felt like Joan of Arc.” Her antics attracted fascinated reporters who made a point to provide D’Angers’ measurements (“44-21-36!”) in almost every story.\u003c/p>\n\u003cfigure id=\"attachment_13958872\" class=\"wp-caption aligncenter\" style=\"max-width: 2499px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-scaled.jpg\" alt=\"A black and white image of a slender blonde woman in full make-up chained to a bridge railing.\" width=\"2499\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-scaled.jpg 2499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-800x819.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-1020x1045.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-160x164.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-768x787.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-1499x1536.jpg 1499w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-1999x2048.jpg 1999w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1206296094-1920x1967.jpg 1920w\" sizes=\"(max-width: 2499px) 100vw, 2499px\">\u003cfigcaption class=\"wp-caption-text\">On August 6, 1966, D’Angers chained herself to Golden Gate Bridge and tossed the keys into the water. The bolt cutters of a bridge worker were quickly employed to free her. \u003ccite>(Bill Young/San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than two years later, D’Angers arrived at the Immigration Service building at 630 Sansome with her attorney Melvin Belli and her husband \u003ca href=\"https://www.legacy.com/us/obituaries/lvrj/name/voss-boreta-obituary?id=19784478\">Voss Boreta\u003c/a>. Trailing behind them were 21 dancers, waitresses and supporters from Off Broadway and other North Beach clubs carrying protest signs that demanded: “Save Our National Monument,” “Don’t Bust the Bust” and “Keep America Beautiful — Save Yvonne.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 1965, D’Angers was also obliged to go to court to defend her right to be topless in public. This followed an arrest at the Off Broadway as she, in \u003cem>Life\u003c/em> magazine’s words, “strut[ted] down the aisle modeling a topless parody of an evening gown.” \u003cem>Life\u003c/em> quoted D’Angers as saying: “Being arrested does not bother me. San Francisco is so much like Paris. And I know that in Paris nothing will happen to a girl for doing this or more or less.”\u003c/p>\n\u003cp>She was right. D’Angers — alongside Doda and fellow topless performers, Kay Star and Euraine Heimberg — was acquitted of obscenity charges on May 8, 1965. D’Angers showed up to court wearing an electric-blue sequined dress.\u003c/p>\n\u003cp>D’Angers truly had a canny knack for getting herself out of trouble. Nowhere was this more evident than in June 1967 when she was stalked by a violent criminal from Oakland named James Reece. Reece, who had recently escaped from the Alameda County Jail and was wanted in five cities for a long list of felonies (including rape, kidnapping, burglary, assault with a deadly weapon and possession of a firearm), followed D’Angers in a stolen car one night after she left her shift at the Off Broadway.\u003c/p>\n\u003cp>“Following a high speed chase,” the \u003cem>Oakland Tribune\u003c/em> later reported, “Miss D’Angers cut into a dead end street and skidded to a stop, her four-day-old Cadillac half over a creek embankment. Reece careened into a tree and his car flipped 100 feet to the opposite bank.”\u003c/p>\n\u003cp>Reece survived the accident on the quiet Marin County road, was quickly apprehended and transferred to the San Quentin prison hospital. D’Angers was unscathed, her love of the spotlight undiluted by the terrifying incident. A year later, the aspiring actress made her big screen debut in \u003cem>Sappho Darling\u003c/em>, a lesbian exploitation flick that has since found a cult following. At the time of its release, however, the \u003cem>San Francisco Examiner\u003c/em> issued a scathing review:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“[D’Angers] has been totally victimized by the glaring vulgarity of director Gunnar Steel’s sleazy little effort,” the review said. “Even her spectacular figure has been photographed disadvantageously and her voice (either her own or an inept dubbing job) sounds like a strident Betty Boop … When [a co-star] tremulously asks Miss D’Angers after a night of love: ‘Do you think I’m a lesbian?’ Yvonne smilingly recites quotations from Krafft-Ebing, Dr. Kinsey and Sigmund Freud … The scene is unintentionally hilarious.”\u003c/p>\n\u003cp>Following \u003cem>Sappho Darling\u003c/em>, D’Angers worked with Russ Meyer on \u003cem>The Seven Minutes\u003c/em> and \u003cem>Move\u003c/em>, alongside Elliot Gould and Paula Prentiss. A few years later came \u003cem>Ground Zero\u003c/em>, a thriller about a terrorist organization that plants a nuclear device on the Golden Gate Bridge.\u003c/p>\n\u003cfigure id=\"attachment_13958874\" class=\"wp-caption aligncenter\" style=\"max-width: 712px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-12.55.53-PM.png\" alt=\"A VHS cover featuring a fiery Golden Gate Bridge, close up of a man's face holding a gun and a woman in a bikini.\" width=\"712\" height=\"1270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-12.55.53-PM.png 712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-30-at-12.55.53-PM-160x285.png 160w\" sizes=\"(max-width: 712px) 100vw, 712px\">\u003cfigcaption class=\"wp-caption-text\">The home video cover of 1973’s ‘Ground Zero,’ which credits D’Angers as: ‘Ivonne D’Angiers.’ \u003ccite>(Genesis Home Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time \u003cem>Ground Zero\u003c/em> came out, D’Angers was living a much quieter life. In August 1973, the \u003cem>Oakland Tribune\u003c/em> reported that she could be regularly found hanging out at her husband’s Plaka Taverna club in North Beach. “The D’Angers charm is contagious as ever,” the newspaper said, “though … she prefers to stay in the background and let husband Voss run things.” She was quoted as saying “I’m enjoying being a wife very much.”\u003c/p>\n\u003cp>D’Angers died on June 10, 2009 in Las Vegas; she moved there with Boreta in 1974, and the couple subsequently raised three children. How she managed to stay in the United States after multiple deportation orders — including two, in 1967 and 1970, from Washington, D.C.’s Immigration Appeals Board — remains a mystery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the time of her death, D’Angers’ notoriety had been largely forgotten. In its obituary, the \u003cem>San Francisco Chronicle\u003c/em> referred to D’Angers only as “an accomplished painter, model and college graduate.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What to Watch This Summer: 18 TV Shows to Look Forward To",
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"headTitle": "What to Watch This Summer: 18 TV Shows to Look Forward To | KQED",
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"content": "\u003cp>It looks like we are in for a \u003ca href=\"https://www.npr.org/2024/05/27/1198912427/summer-2024-forecast-extreme-heat-hurricanes-wildfire\">very hot summer\u003c/a>. If you find yourself stuck inside looking for your next show, our critics can help — they’ve scanned the broadcast and streaming horizons to find the shows you should check out in June, July and August. Take a look:\u003c/p>\n\u003ch2>June\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=WPIcQNMQchQ\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Clipped\u003c/em>, June 4, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>It sounds like a dated \u003cem>Saturday Night Live\u003c/em> parody: a drama on the explosive impact of racist statements by then–Los Angeles Clippers owner Donald Sterling, leaked to the public in 2014. But the elevated cast — Laurence Fishburne as Clippers coach Doc Rivers, Ed O’Neill as Sterling and LeVar Burton as himself — hints at more. Ultimately, \u003ca href=\"https://www.npr.org/2024/05/24/nx-s1-4979750/clipped-review-donald-sterling-scandal-la-clippers-fx-hulu\">the show explores class, race, sports and modern striving\u003c/a> with surprising quality, including a meditation on how Black stars handle rage, which should get its own Emmy Award. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0Hy1q_YIAL4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Fantasmas\u003c/em>, June 7, Max\u003c/strong>\u003c/p>\n\u003cp>Created, written, starring and directed by Julio Torres (\u003ca href=\"https://www.kqed.org/arts/13952668/problemista-review-julio-torres-tilda-swinton-hasbro\">\u003cem>Problemista\u003c/em>\u003c/a>, \u003cem>Los Espookys\u003c/em>), this six-episode comedy series offers a queer (in every sense of the word) perspective on life in NYC. The plot: Torres loses an earring and goes looking for it. The execution: high weirdness, exquisitely wrought, as the loose narrative wanders through the lives of random New Yorkers whom Torres stumbles across on his quest. Smart, funny and scathing when it wants to be, \u003cem>Fantasmas \u003c/em>is bracingly and idiosyncratically itself. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_yUW-bQ3buY\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Queenie\u003c/em>, June 7, Hulu\u003c/strong>\u003c/p>\n\u003cp>There is something magnetic in watching a powerfully awkward protagonist stumble through life — especially Queenie, a 20-something Jamaican British woman caught between life as the daughter of immigrants and a painful breakup with a white boyfriend coddling vaguely racist relatives. Based on a bestselling novel, Hulu’s series offers a deeply revealing urban comedy centered on a strong Black woman in London struggling to process her past so she can build a better future. Like most of us. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZNSY3lMioHs\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Presumed Innocent\u003c/em>, June 12, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Presumed Innocent\u003c/em>, a bestselling legal thriller by Scott Turow, became a Harrison Ford movie in 1990. Now, more than 30 years later, \u003ca href=\"https://www.kqed.org/arts/13954333/jake-gyllenhaals-road-house-remake-is-surprisingly-good\">Jake Gyllenhaal\u003c/a> steps in to lead a new TV adaptation for Apple. Gyllenhaal plays Rusty Sabich, a lawyer whose obsessive affair with a woman in his office becomes an existential threat to him after she turns up murdered. His mortified wife, played here by Ruth Negga, is forced to face the possibility that he murdered his lover and the fact that he had one. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EzFXDvC-EwM\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Boys\u003c/em>, Season 4,\u003c/strong> \u003cstrong>June 13, Prime Video\u003c/strong>\u003c/p>\n\u003cp>This cartoonishly violent and sexualized series — starring corporate-designed superheroes who are secretly psychopaths — evolved over three seasons from jabbing at the Marvel/DC comic industrial complex to satirizing media and MAGA-style conservatism. The new episodes amp up the dynamic, with a new hero who comes off like Lauren Boebert in a cape, supported by a propaganda-filled TV channel and a twisted Superman-like team leader whose detachment from humanity may be the world’s biggest threat. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YN2H_sKcmGw\u003c/p>\n\u003cp>\u003cstrong>\u003cem>House of the Dragon\u003c/em>, Season 2, June 16, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>Yeah, that first season was very uneven. But it did what it had to do, introducing us to the individual chess pieces and carefully arranging them on the sides they’re playing for: Team Black (Rhaenyra and her sweet-natured, albeit illegitimate sons) vs. Team Green (Alicent and her brood of monstrous sociopaths). But with the arrival of Season 2, the war known as the Dance of the Dragons is finally underway, and the whole dang chessboard is about to get engulfed in gouts of fiery breath. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P-1V_dRubUg\u003c/p>\n\u003cp>\u003cstrong>The 77th Tony Awards, June 16, CBS, Paramount+\u003c/strong>\u003c/p>\n\u003cp>Always. Watch. The Tonys. Haven’t taken in any Broadway this year? Doesn’t matter. Where other award shows devolve into pompous self-congratulation, the Tonys broadcast is aimed squarely at us, as we sit on our couches at home. It’s a collective siren song sent out by thousands of professional, desperate, try-hard theater people with one objective: to get us to haul our butts to see a show. As such, it’s painstakingly engineered to entertain and enrapture. Always. Watch. The Tonys. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-QqOkpu9_tg\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Orphan Black: Echoes\u003c/em>, June 23, AMC, AMC+, BBC America\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Jessica Jones\u003c/em> star Krysten Ritter leads another Comic-Con-friendly franchise, a spinoff of Canadian science fiction series \u003cem>Orphan Black\u003c/em>. Ritter is one of several women with missing memories who fear they are the product of a mysterious process wielded by a secretive organization. But don’t worry — it’s set nearly 40 years after the first show’s conclusion, and most viewers won’t need to know much about the mothership series to keep up with this tale of sisterhood, science and runaway progress. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PwFty8yi1cU\u003c/p>\n\u003cp>\u003cstrong>\u003cem>My Lady Jane\u003c/em>, June 27, Prime Video\u003c/strong>\u003c/p>\n\u003cp>A breezy, girlboss alt-history take on Lady Jane Grey, who, in our world, ruled England for nine days before being imprisoned and beheaded as a traitor. In the world of the series — as in the novels it is based on — Jane lives to fight, and frolic, another day. Are there schemes and plots and twists? You betcha. It’s the sort of quippy, performatively quirky show (this version of England is teeming with magical shape-changers) that goes down like an ice-cold Pimm’s cup on a hot summer afternoon. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rUlP-BkJUFs\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Bear\u003c/em>, Season 3, June 27, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Bear \u003c/em>has already put out two exceptional seasons and is so strong now that even when Jeremy Allen White is on the sidelines, the rest of the cast hits home run after home run. As the show returns, Carmy (White) and Sydney (Ayo Edebiri) are opening their new restaurant, and Richie (Ebon Moss-Bachrach) is fresh off some tremendous training in service. It’s not easy to keep churning out season after season that’s absolutely top quality, but if anybody can, it’s this team. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003ch2>July\u003c/h2>\n\u003cfigure id=\"attachment_13959209\" class=\"wp-caption aligncenter\" style=\"max-width: 1266px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png\" alt=\"An unhappy-looking woman sits in a large room. People around her sit at scattered tables.\" width=\"1266\" height=\"858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png 1266w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-1020x691.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-768x520.png 768w\" sizes=\"(max-width: 1266px) 100vw, 1266px\">\u003cfigcaption class=\"wp-caption-text\">Rashida Jones in ’Sunny.‘ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Sunny\u003c/em>, July 10, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Rashida Jones stars as Suzie, an American expat living in Kyoto, Japan, when her husband and son go missing following a plane crash. She’s gifted a domestic robot named Sunny (Joanna Sotomura), and the two form a bond as Suzie processes her loss. The series is based on Colin O’Sullivan’s novel \u003cem>The Dark Manual\u003c/em> and looks like it has the potential to grapple with complicated questions around tech and human connection in our current era of AI paranoia. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OgEkSnH0g2g\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Tulsa King\u003c/em>, Season 2, July 14, Paramount+\u003c/strong>\u003c/p>\n\u003cp>This show’s first-season success always seemed like a happy accident — an implausible dramedy about an exiled New York mobster rebuilding his life in Oklahoma, buoyed by star Sylvester Stallone’s watchable charm and unlikely comedic skill. The new season adds another watchable actor — \u003cem>Justified \u003c/em>alum Neal McDonough — but also sees former showrunner Terence Winter (\u003cem>Boardwalk Empire\u003c/em>, \u003cem>The Sopranos\u003c/em>) step down. Let’s hope all that change adds up to more coherent stories the second time around. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959210\" class=\"wp-caption aligncenter\" style=\"max-width: 1134px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959210\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png\" alt=\"A grey-haired man sits behind a news desk gesturing with one hand.\" width=\"1134\" height=\"718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-800x507.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-1020x646.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-768x486.png 768w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003cfigcaption class=\"wp-caption-text\">Jon Stewart is back as one of the hosts of ‘The Daily Show,’ which will be on the road at the Republican National Convention in Milwaukee in July and the Democratic National Convention in Chicago in August. \u003ccite>(Comedy Central)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>The Daily Show \u003c/em>and \u003cem>The Late Show \u003c/em>at the RNC and DNC, week of July 15 (RNC) and week of Aug. 19 (DNC), CBS, Paramount+, Comedy Central\u003c/strong>\u003c/p>\n\u003cp>Two of TV’s biggest political comedy shows gate-crash the electoral process. Comedy Central’s \u003cem>The Daily Show\u003c/em>, reportedly with part-time host Jon Stewart, heads to Milwaukee for the Republican National Convention and to Chicago for the Democratic National Convention. Stephen Colbert’s \u003cem>The Late Show\u003c/em> goes live from New York for the RNC but broadcasts on the road for Democrats in Chi-Town. Pray to the comedy gods for a Colbert-Stewart tag-team ambush interview of Donald Trump and/or Joe Biden. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6xouFXMOvaU\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Those About to Die\u003c/em>, July 18, Peacock\u003c/strong>\u003c/p>\n\u003cp>It’s tough to know why the streaming service known for \u003cem>Poker Face\u003c/em> and \u003cem>Bel-Air\u003c/em> greenlit an epic, $140 million limited series about corruption and violence in ancient Rome’s gladiator contests. But it has Anthony Hopkins as a Roman emperor, \u003cem>Independence Day\u003c/em> director Roland Emmerich as a co-director and lots of allusions to entertaining the public with bloody combat. So let the games begin. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959211\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png\" alt=\"A worried looking white woman stands before a department store window, glancing to the side. A Black woman is standing the window.\" width=\"936\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-800x458.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-768x440.png 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Portman and Moses Ingram in ‘Lady in the Lake.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Lady in the Lake\u003c/em>, July 19, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Not to be confused with the Raymond Chandler story of a similar name, this miniseries is based on a novel by Laura Lippman about a homemaker turned investigative reporter who becomes preoccupied with the separate murders of a white girl and a Black woman in 1960s Baltimore. The subject matter alone is intriguing, but a cast led by Natalie Portman and Moses Ingram (\u003cem>The Queen’s Gambit\u003c/em>) seals the deal. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IKxQEIOu_Yg\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Olympic Highlights with Kevin Hart and Kenan Thompson\u003c/em>, July 26, NBC, Peacock\u003c/strong>\u003c/p>\n\u003cp>For those only marginally interested in the Olympics, Kevin Hart and Snoop Dogg made must-see TV out of side-splitting Games commentary in 2021. NBCUniversal is amping up that strategy this year, pairing Hart with \u003cem>SNL\u003c/em>‘s Kenan Thompson over an eight-episode Peacock series, while featuring \u003cem>SNL\u003c/em> alum and superfan Leslie Jones in their coverage of the Paris events. I can’t wait to see some of comedy’s sharpest talents take on the biggest — and most rigid — sports establishment of them all. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003ch2>August\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=s0LVj0yo308\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Umbrella Academy\u003c/em>, Season 4, Aug. 8, Netflix\u003c/strong>\u003c/p>\n\u003cp>All six episodes of this deeply, profoundly, ecstatically weird series’ fourth and final season drop on the same day. I’ll be there with a bowl of popcorn — and a phone open to the show’s wiki to help me reorient myself. Look, any series that features fractious superpowered siblings, branching timelines, a masked assassin played by Mary J. Blige and a kugelblitz (look it up) would be a lot to deal with, but \u003cem>The Umbrella Academy\u003c/em>’s consistently wry, absurdist tone keeps it all grounded(ish). I’ll miss it. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959213\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png\" alt=\"A Black woman with very short hair stands on a bridge, holding a cell phone to her ear.\" width=\"1118\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-800x522.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-1020x666.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-768x501.png 768w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Myha’la Herrold as Harper Stern in ‘Industry.’ \u003ccite>(Nick Strasburg/ HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Industry\u003c/em>, Season 3, Aug. 11, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>A show with this much dry and confusing finance jargon shouldn’t be this gripping; it stands as a testament to the great cast (especially Myha’la Herrold and Ken Leung) and well-paced drama that it is. When the series last left off, some primary players were in shambles because of exposed secrets, and power structures were realigned yet again. \u003cem>Succession \u003c/em>may be long over, but at least we’ve still got the chaotic ecosystem of London’s cutthroat Pierpoint investment bank. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Amazon supports NPR and pays to distribute some of our content.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Shows you should check out in June, July and August — including the return of ‘The Bear’ and ‘House of the Dragon.’",
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"title": "Best TV Shows to Stream, Summer 2024 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It looks like we are in for a \u003ca href=\"https://www.npr.org/2024/05/27/1198912427/summer-2024-forecast-extreme-heat-hurricanes-wildfire\">very hot summer\u003c/a>. If you find yourself stuck inside looking for your next show, our critics can help — they’ve scanned the broadcast and streaming horizons to find the shows you should check out in June, July and August. Take a look:\u003c/p>\n\u003ch2>June\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WPIcQNMQchQ'\n title='//www.youtube.com/embed/WPIcQNMQchQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Clipped\u003c/em>, June 4, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>It sounds like a dated \u003cem>Saturday Night Live\u003c/em> parody: a drama on the explosive impact of racist statements by then–Los Angeles Clippers owner Donald Sterling, leaked to the public in 2014. But the elevated cast — Laurence Fishburne as Clippers coach Doc Rivers, Ed O’Neill as Sterling and LeVar Burton as himself — hints at more. Ultimately, \u003ca href=\"https://www.npr.org/2024/05/24/nx-s1-4979750/clipped-review-donald-sterling-scandal-la-clippers-fx-hulu\">the show explores class, race, sports and modern striving\u003c/a> with surprising quality, including a meditation on how Black stars handle rage, which should get its own Emmy Award. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0Hy1q_YIAL4'\n title='//www.youtube.com/embed/0Hy1q_YIAL4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Fantasmas\u003c/em>, June 7, Max\u003c/strong>\u003c/p>\n\u003cp>Created, written, starring and directed by Julio Torres (\u003ca href=\"https://www.kqed.org/arts/13952668/problemista-review-julio-torres-tilda-swinton-hasbro\">\u003cem>Problemista\u003c/em>\u003c/a>, \u003cem>Los Espookys\u003c/em>), this six-episode comedy series offers a queer (in every sense of the word) perspective on life in NYC. The plot: Torres loses an earring and goes looking for it. The execution: high weirdness, exquisitely wrought, as the loose narrative wanders through the lives of random New Yorkers whom Torres stumbles across on his quest. Smart, funny and scathing when it wants to be, \u003cem>Fantasmas \u003c/em>is bracingly and idiosyncratically itself. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_yUW-bQ3buY'\n title='//www.youtube.com/embed/_yUW-bQ3buY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Queenie\u003c/em>, June 7, Hulu\u003c/strong>\u003c/p>\n\u003cp>There is something magnetic in watching a powerfully awkward protagonist stumble through life — especially Queenie, a 20-something Jamaican British woman caught between life as the daughter of immigrants and a painful breakup with a white boyfriend coddling vaguely racist relatives. Based on a bestselling novel, Hulu’s series offers a deeply revealing urban comedy centered on a strong Black woman in London struggling to process her past so she can build a better future. Like most of us. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZNSY3lMioHs'\n title='//www.youtube.com/embed/ZNSY3lMioHs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Presumed Innocent\u003c/em>, June 12, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Presumed Innocent\u003c/em>, a bestselling legal thriller by Scott Turow, became a Harrison Ford movie in 1990. Now, more than 30 years later, \u003ca href=\"https://www.kqed.org/arts/13954333/jake-gyllenhaals-road-house-remake-is-surprisingly-good\">Jake Gyllenhaal\u003c/a> steps in to lead a new TV adaptation for Apple. Gyllenhaal plays Rusty Sabich, a lawyer whose obsessive affair with a woman in his office becomes an existential threat to him after she turns up murdered. His mortified wife, played here by Ruth Negga, is forced to face the possibility that he murdered his lover and the fact that he had one. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EzFXDvC-EwM'\n title='//www.youtube.com/embed/EzFXDvC-EwM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>The Boys\u003c/em>, Season 4,\u003c/strong> \u003cstrong>June 13, Prime Video\u003c/strong>\u003c/p>\n\u003cp>This cartoonishly violent and sexualized series — starring corporate-designed superheroes who are secretly psychopaths — evolved over three seasons from jabbing at the Marvel/DC comic industrial complex to satirizing media and MAGA-style conservatism. The new episodes amp up the dynamic, with a new hero who comes off like Lauren Boebert in a cape, supported by a propaganda-filled TV channel and a twisted Superman-like team leader whose detachment from humanity may be the world’s biggest threat. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YN2H_sKcmGw'\n title='//www.youtube.com/embed/YN2H_sKcmGw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>House of the Dragon\u003c/em>, Season 2, June 16, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>Yeah, that first season was very uneven. But it did what it had to do, introducing us to the individual chess pieces and carefully arranging them on the sides they’re playing for: Team Black (Rhaenyra and her sweet-natured, albeit illegitimate sons) vs. Team Green (Alicent and her brood of monstrous sociopaths). But with the arrival of Season 2, the war known as the Dance of the Dragons is finally underway, and the whole dang chessboard is about to get engulfed in gouts of fiery breath. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/P-1V_dRubUg'\n title='//www.youtube.com/embed/P-1V_dRubUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>The 77th Tony Awards, June 16, CBS, Paramount+\u003c/strong>\u003c/p>\n\u003cp>Always. Watch. The Tonys. Haven’t taken in any Broadway this year? Doesn’t matter. Where other award shows devolve into pompous self-congratulation, the Tonys broadcast is aimed squarely at us, as we sit on our couches at home. It’s a collective siren song sent out by thousands of professional, desperate, try-hard theater people with one objective: to get us to haul our butts to see a show. As such, it’s painstakingly engineered to entertain and enrapture. Always. Watch. The Tonys. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-QqOkpu9_tg'\n title='//www.youtube.com/embed/-QqOkpu9_tg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Orphan Black: Echoes\u003c/em>, June 23, AMC, AMC+, BBC America\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Jessica Jones\u003c/em> star Krysten Ritter leads another Comic-Con-friendly franchise, a spinoff of Canadian science fiction series \u003cem>Orphan Black\u003c/em>. Ritter is one of several women with missing memories who fear they are the product of a mysterious process wielded by a secretive organization. But don’t worry — it’s set nearly 40 years after the first show’s conclusion, and most viewers won’t need to know much about the mothership series to keep up with this tale of sisterhood, science and runaway progress. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PwFty8yi1cU'\n title='//www.youtube.com/embed/PwFty8yi1cU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>My Lady Jane\u003c/em>, June 27, Prime Video\u003c/strong>\u003c/p>\n\u003cp>A breezy, girlboss alt-history take on Lady Jane Grey, who, in our world, ruled England for nine days before being imprisoned and beheaded as a traitor. In the world of the series — as in the novels it is based on — Jane lives to fight, and frolic, another day. Are there schemes and plots and twists? You betcha. It’s the sort of quippy, performatively quirky show (this version of England is teeming with magical shape-changers) that goes down like an ice-cold Pimm’s cup on a hot summer afternoon. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rUlP-BkJUFs'\n title='//www.youtube.com/embed/rUlP-BkJUFs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>The Bear\u003c/em>, Season 3, June 27, FX on Hulu\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Bear \u003c/em>has already put out two exceptional seasons and is so strong now that even when Jeremy Allen White is on the sidelines, the rest of the cast hits home run after home run. As the show returns, Carmy (White) and Sydney (Ayo Edebiri) are opening their new restaurant, and Richie (Ebon Moss-Bachrach) is fresh off some tremendous training in service. It’s not easy to keep churning out season after season that’s absolutely top quality, but if anybody can, it’s this team. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003ch2>July\u003c/h2>\n\u003cfigure id=\"attachment_13959209\" class=\"wp-caption aligncenter\" style=\"max-width: 1266px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959209\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png\" alt=\"An unhappy-looking woman sits in a large room. People around her sit at scattered tables.\" width=\"1266\" height=\"858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM.png 1266w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-1020x691.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.48.52-AM-768x520.png 768w\" sizes=\"(max-width: 1266px) 100vw, 1266px\">\u003cfigcaption class=\"wp-caption-text\">Rashida Jones in ’Sunny.‘ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Sunny\u003c/em>, July 10, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Rashida Jones stars as Suzie, an American expat living in Kyoto, Japan, when her husband and son go missing following a plane crash. She’s gifted a domestic robot named Sunny (Joanna Sotomura), and the two form a bond as Suzie processes her loss. The series is based on Colin O’Sullivan’s novel \u003cem>The Dark Manual\u003c/em> and looks like it has the potential to grapple with complicated questions around tech and human connection in our current era of AI paranoia. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OgEkSnH0g2g'\n title='//www.youtube.com/embed/OgEkSnH0g2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Tulsa King\u003c/em>, Season 2, July 14, Paramount+\u003c/strong>\u003c/p>\n\u003cp>This show’s first-season success always seemed like a happy accident — an implausible dramedy about an exiled New York mobster rebuilding his life in Oklahoma, buoyed by star Sylvester Stallone’s watchable charm and unlikely comedic skill. The new season adds another watchable actor — \u003cem>Justified \u003c/em>alum Neal McDonough — but also sees former showrunner Terence Winter (\u003cem>Boardwalk Empire\u003c/em>, \u003cem>The Sopranos\u003c/em>) step down. Let’s hope all that change adds up to more coherent stories the second time around. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959210\" class=\"wp-caption aligncenter\" style=\"max-width: 1134px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959210\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png\" alt=\"A grey-haired man sits behind a news desk gesturing with one hand.\" width=\"1134\" height=\"718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM.png 1134w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-800x507.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-1020x646.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.52.18-AM-768x486.png 768w\" sizes=\"(max-width: 1134px) 100vw, 1134px\">\u003cfigcaption class=\"wp-caption-text\">Jon Stewart is back as one of the hosts of ‘The Daily Show,’ which will be on the road at the Republican National Convention in Milwaukee in July and the Democratic National Convention in Chicago in August. \u003ccite>(Comedy Central)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>The Daily Show \u003c/em>and \u003cem>The Late Show \u003c/em>at the RNC and DNC, week of July 15 (RNC) and week of Aug. 19 (DNC), CBS, Paramount+, Comedy Central\u003c/strong>\u003c/p>\n\u003cp>Two of TV’s biggest political comedy shows gate-crash the electoral process. Comedy Central’s \u003cem>The Daily Show\u003c/em>, reportedly with part-time host Jon Stewart, heads to Milwaukee for the Republican National Convention and to Chicago for the Democratic National Convention. Stephen Colbert’s \u003cem>The Late Show\u003c/em> goes live from New York for the RNC but broadcasts on the road for Democrats in Chi-Town. Pray to the comedy gods for a Colbert-Stewart tag-team ambush interview of Donald Trump and/or Joe Biden. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6xouFXMOvaU'\n title='//www.youtube.com/embed/6xouFXMOvaU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>Those About to Die\u003c/em>, July 18, Peacock\u003c/strong>\u003c/p>\n\u003cp>It’s tough to know why the streaming service known for \u003cem>Poker Face\u003c/em> and \u003cem>Bel-Air\u003c/em> greenlit an epic, $140 million limited series about corruption and violence in ancient Rome’s gladiator contests. But it has Anthony Hopkins as a Roman emperor, \u003cem>Independence Day\u003c/em> director Roland Emmerich as a co-director and lots of allusions to entertaining the public with bloody combat. So let the games begin. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959211\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959211\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png\" alt=\"A worried looking white woman stands before a department store window, glancing to the side. A Black woman is standing the window.\" width=\"936\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM.png 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-800x458.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-10.58.11-AM-768x440.png 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Portman and Moses Ingram in ‘Lady in the Lake.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Lady in the Lake\u003c/em>, July 19, Apple TV+\u003c/strong>\u003c/p>\n\u003cp>Not to be confused with the Raymond Chandler story of a similar name, this miniseries is based on a novel by Laura Lippman about a homemaker turned investigative reporter who becomes preoccupied with the separate murders of a white girl and a Black woman in 1960s Baltimore. 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I’ll be there with a bowl of popcorn — and a phone open to the show’s wiki to help me reorient myself. Look, any series that features fractious superpowered siblings, branching timelines, a masked assassin played by Mary J. Blige and a kugelblitz (look it up) would be a lot to deal with, but \u003cem>The Umbrella Academy\u003c/em>’s consistently wry, absurdist tone keeps it all grounded(ish). I’ll miss it. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13959213\" class=\"wp-caption aligncenter\" style=\"max-width: 1118px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959213\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png\" alt=\"A Black woman with very short hair stands on a bridge, holding a cell phone to her ear.\" width=\"1118\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM.png 1118w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-800x522.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-1020x666.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-04-at-11.02.10-AM-768x501.png 768w\" sizes=\"(max-width: 1118px) 100vw, 1118px\">\u003cfigcaption class=\"wp-caption-text\">Myha’la Herrold as Harper Stern in ‘Industry.’ \u003ccite>(Nick Strasburg/ HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Industry\u003c/em>, Season 3, Aug. 11, HBO, Max\u003c/strong>\u003c/p>\n\u003cp>A show with this much dry and confusing finance jargon shouldn’t be this gripping; it stands as a testament to the great cast (especially Myha’la Herrold and Ken Leung) and well-paced drama that it is. When the series last left off, some primary players were in shambles because of exposed secrets, and power structures were realigned yet again. \u003cem>Succession \u003c/em>may be long over, but at least we’ve still got the chaotic ecosystem of London’s cutthroat Pierpoint investment bank. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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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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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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