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"title": "This is Her, Now, in Space: J.Lo Heads to a New Galaxy for AI Love Story in ‘Atlas’",
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"content": "\u003cp>Let’s all be clear, if we weren’t already, that when it comes to Jennifer Lopez, it’s about the love story. Always the love story.\u003c/p>\n\u003cp>J.Lo the pop star, singing about rekindled love on her latest album, \u003cem>This is Me … Now\u003c/em>. J.Lo the rom-com regular, making movies about seeking love (including the extremely autobiographical film of the same name.) J.Lo the real-life celebrity goddess, in countless headlines about … what else?\u003c/p>\n\u003cp>[aside postid='arts_13957540']Love, for better or worse.\u003c/p>\n\u003cp>And so if we tell you that now, we have J.Lo in \u003cem>Atlas\u003c/em>, playing a data analyst who travels to a planet populated solely by evil AI bots preparing to extinguish humanity, well, your only question really should be, “Where’s the love story?”\u003c/p>\n\u003cp>Glad you asked! Because there is one. It may not be with a human. It may actually be with a computer program. But there is one. Because \u003cem>Atlas\u003c/em>, an often ridiculous sci-fi epic with dialogue cheesier than a Brie wheel but also an old-fashioned, human heart o’ gold, is a J.Lo movie. Through and through.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We’ll give the filmmakers some credit: \u003cem>Atlas\u003c/em>, directed by Brad Peyton (\u003cem>San Andreas\u003c/em>) is timely. And not just because Lopez has been in the news lately, but because the subject is AI — which has been in the news even more than Bennifer, believe it or not.\u003c/p>\n\u003cp>We begin our story on Earth, way off into the future, at a time where someone can say “Remember there used to be things called smartphones?” and everyone laughs. A montage of news reports informs us that things have not been going well for the human race. AI, created to advance humanity, has turned against it, killing over 1 million civilians.\u003c/p>\n\u003cp>The evil AI leader is Harlan (Simu Liu), who after turning on humanity has escaped to an unknown location far from Earth. But when an associate of his, Casca, is captured on Earth, the head of ICN, a coalition of nations fighting the AI menace, calls on Atlas Shepherd (Lopez) to help question him. Who better than the woman who’s devoted her life to the hunt for Harlan?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jokpt_LJpbw\u003c/p>\n\u003cp>We learn Atlas is not a happy person. Also, she’s addicted to coffee — quad Americanos, to be precise. And she hates — absolutely hates — AI, for reasons unknown.\u003c/p>\n\u003cp>[aside postid='arts_13957803']Anyway, Atlas deftly manages to obtain Harlan’s location from Casca, and soon finds herself begging to join a mission to his far-off planet to capture the villainous bot, with whom she shares a mysterious past connection. At first, mission commander Banks (Sterling K. Brown) objects strenuously, but quickly and rather illogically changes his mind. (Both Liu and Brown deserve much better roles than the generic, lifeless ones they’re given.)\u003c/p>\n\u003cp>Soon they’re off, to GR-39 in the Andromeda galaxy, where the ICN space rangers fall into a disastrous trap laid by Harlan. It’s here that Atlas meets the most important other person in the movie — well, not a person. It’s her AI software, who proves her crucial ally once Atlas is forced to crash land, in her mechanized battle suit, onto the planet.\u003c/p>\n\u003cp>The key issue is trust-building. Atlas, as we said, doesn’t trust AI. As the two get to know each other, the software gives himself (he has a “default” male voice) a name: Smith\u003c/p>\n\u003cp>Atlas: “Is that really necessary?” Smith: “Names create an emotional reaction.” Atlas: “You’re a computer program.”\u003c/p>\n\u003cp>The plan consists of finding Harlan, defeating his dastardly plot to destroy humanity and getting off the planet — all while hopefully staying alive. At every step, Smith informs Atlas with all the data at his disposal how precisely desperate the odds are. This results in some amusing banter as Smith, voiced by Gregory James Cohan, “learns” sarcasm and humor.\u003c/p>\n\u003cp>As for Atlas, she needs to learn how to let down her guard — or rather, her brain walls. Her mistrust of AI leads her to stubbornly refuse (at first) Smith’s entreaties to use the “neural link” — a pathway into each other’s brains — that will vastly enhance Atlas’ chances of survival, combining her analytic capacity with Smith’s data access.\u003c/p>\n\u003cp>[aside postid='arts_13958145']Harlan doesn’t appear until halfway into the movie, and we soon learn something about the tragic past he shares with Atlas. In any case, it’s Smith, not Harlan, that ultimately evokes real feeling from Atlas — and gives Lopez a chance to emote, which she does reasonably well given the mediocre dialogue. You could call it a futuristic triangle: Human, bad AI, good AI.\u003c/p>\n\u003cp>Who will win out? Our protocol, as Smith would say, doesn’t allow us to give spoilers. But you can guess one idea that emerges shining bright: It’s a four letter word that starts with “L.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Atlas’ begins streaming on Netflix on May 24, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We’ll give the filmmakers some credit: \u003cem>Atlas\u003c/em>, directed by Brad Peyton (\u003cem>San Andreas\u003c/em>) is timely. And not just because Lopez has been in the news lately, but because the subject is AI — which has been in the news even more than Bennifer, believe it or not.\u003c/p>\n\u003cp>We begin our story on Earth, way off into the future, at a time where someone can say “Remember there used to be things called smartphones?” and everyone laughs. A montage of news reports informs us that things have not been going well for the human race. AI, created to advance humanity, has turned against it, killing over 1 million civilians.\u003c/p>\n\u003cp>The evil AI leader is Harlan (Simu Liu), who after turning on humanity has escaped to an unknown location far from Earth. But when an associate of his, Casca, is captured on Earth, the head of ICN, a coalition of nations fighting the AI menace, calls on Atlas Shepherd (Lopez) to help question him. Who better than the woman who’s devoted her life to the hunt for Harlan?\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Jokpt_LJpbw'\n title='//www.youtube.com/embed/Jokpt_LJpbw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We learn Atlas is not a happy person. Also, she’s addicted to coffee — quad Americanos, to be precise. And she hates — absolutely hates — AI, for reasons unknown.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Anyway, Atlas deftly manages to obtain Harlan’s location from Casca, and soon finds herself begging to join a mission to his far-off planet to capture the villainous bot, with whom she shares a mysterious past connection. At first, mission commander Banks (Sterling K. Brown) objects strenuously, but quickly and rather illogically changes his mind. (Both Liu and Brown deserve much better roles than the generic, lifeless ones they’re given.)\u003c/p>\n\u003cp>Soon they’re off, to GR-39 in the Andromeda galaxy, where the ICN space rangers fall into a disastrous trap laid by Harlan. It’s here that Atlas meets the most important other person in the movie — well, not a person. It’s her AI software, who proves her crucial ally once Atlas is forced to crash land, in her mechanized battle suit, onto the planet.\u003c/p>\n\u003cp>The key issue is trust-building. Atlas, as we said, doesn’t trust AI. As the two get to know each other, the software gives himself (he has a “default” male voice) a name: Smith\u003c/p>\n\u003cp>Atlas: “Is that really necessary?” Smith: “Names create an emotional reaction.” Atlas: “You’re a computer program.”\u003c/p>\n\u003cp>The plan consists of finding Harlan, defeating his dastardly plot to destroy humanity and getting off the planet — all while hopefully staying alive. At every step, Smith informs Atlas with all the data at his disposal how precisely desperate the odds are. This results in some amusing banter as Smith, voiced by Gregory James Cohan, “learns” sarcasm and humor.\u003c/p>\n\u003cp>As for Atlas, she needs to learn how to let down her guard — or rather, her brain walls. Her mistrust of AI leads her to stubbornly refuse (at first) Smith’s entreaties to use the “neural link” — a pathway into each other’s brains — that will vastly enhance Atlas’ chances of survival, combining her analytic capacity with Smith’s data access.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Harlan doesn’t appear until halfway into the movie, and we soon learn something about the tragic past he shares with Atlas. In any case, it’s Smith, not Harlan, that ultimately evokes real feeling from Atlas — and gives Lopez a chance to emote, which she does reasonably well given the mediocre dialogue. You could call it a futuristic triangle: Human, bad AI, good AI.\u003c/p>\n\u003cp>Who will win out? Our protocol, as Smith would say, doesn’t allow us to give spoilers. But you can guess one idea that emerges shining bright: It’s a four letter word that starts with “L.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Atlas’ begins streaming on Netflix on May 24, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[aside postid='arts_13957998']June is around the corner, meaning summer is almost here! As we look forward to travel and staycations, plane rides and trips to the beach, we’ve asked our book critics for some advice: What upcoming fiction and nonfiction are they most looking forward to reading?\u003c/p>\n\u003cp>Their picks range from memoirs to sci-fi and fantasy to translations, love stories and everything in between. Here’s a look:\u003c/p>\n\u003chr>\n\u003ch3>June\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/daughter_custom-b786e59ae645b23b705710ab415dc3a27f150a5f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Redhook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Daughter of the Merciful Deep’ by Leslye Penelope\u003c/strong>\u003c/p>\n\u003cp>I was hooked when I first saw the gorgeous cover for \u003cem>Daughter of the Merciful Deep\u003c/em> by Leslye Penelope. But the novel’s premise put it at the top of my summer reading list. Penelope is known for unforgettable characters, world-building, beautiful writing and robust storytelling. Her latest work, inspired by actual events — the drowned Black towns of the American South — promises a magical, mythical and powerful tale of a young woman’s quest to save her town. A historical fantasy must-read. (June 4) — \u003cem>Denny Bryce\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/futurewascolor_custom-8cf072dcb45a69feb8bf38d30adb3a03422fce58.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Counterpoint LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Future Was Color’ by Patrick Nathan\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Future Was Color\u003c/em> by Patrick Nathan has everything I look for in a book: a unique and startling voice, a queer protagonist and a deep understanding of a particular time and place. George — once György — is a gay Hungarian immigrant working as a screenwriter in McCarthy-era Hollywood, occasionally fantasizing about his officemate, Jack. When a once-famous actress named Madeline invites George to stay and write at her spacious Malibu house, she won’t take no for an answer — and so George finds himself in a hedonistic milieu where pleasure, politics and strong personalities intermingle. (June 4) — \u003cem>Ilana Masad\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/mirrored_custom-278fb8c0571ce760702cf2f0b0e763480f39862b.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (S&S/Saga Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Mirrored Heavens: Between Earth & Sky, Book 3’ by Rebecca Roanhorse\u003c/strong>\u003c/p>\n\u003cp>Rebecca Roanhorse is one of my auto-read authors — and one major reason is because of her fire \u003cem>Between Earth and Sky\u003c/em> series. That trilogy comes to a stunning, fevered conclusion with \u003cem>Mirrored Heavens\u003c/em>. All of the characters you love, hate and love to hate will converge on the city of Tova. Get ready for an epic battle between ancient gods, their human avatars and the mortals caught in between. (June 4) \u003cem>— Alex Brown\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/singlikefish_custom-08ec44af144d163477bad03e23664864c096488f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Crown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Sing Like Fish: How Sound Rules Life Under Water’ by Amorina Kingdon\u003c/strong>\u003c/p>\n\u003cp>You may know about \u003ca href=\"https://www.theguardian.com/environment/2021/jul/13/loneliest-whale-in-the-world-search\">52 Blue\u003c/a>, whose vocalizations likely go unheard by some other whales; it captured worldwide sympathy and became a pop-culture metaphor. But did you know \u003cem>all\u003c/em> \u003ca href=\"https://www.bbc.com/news/science-environment-68358414\">whale song is critically disrupted by ships\u003c/a>? If that gets you wondering, keep an eye out for \u003cem>Sing Like Fish\u003c/em>, which promises to illuminate the fragile symphony of the deep. (June 4) —\u003cem> Genevieve Valentine\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/consent_custom-08d1ad496975300988db3f69077a2990ae9a4073.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Consent: A Memoir’ by Jill Ciment\u003c/strong>\u003c/p>\n\u003cp>I look forward to reading Jill Ciment’s \u003cem>Consent \u003c/em>and to the discussions it’s sure to provoke. In this follow-up memoir to \u003cem>Half a Life,\u003c/em> Ciment reconsiders what she wrote 25 years ago about her teenage affair and marriage to her art teacher, 30 years her senior. \u003cem>Half a Life \u003c/em>was written before the #MeToo movement, and before her husband died at the age of 93 after 45 years of marriage. \u003cem>Consent \u003c/em>promises a fuller picture. (June 11) — \u003cem>Heller McAlpin\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/godmother_custom-ff8270a1d4a20fda0c303d080ef095532b512f9d.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Publisher Union Square & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Do What Godmother Says’ by L.S. Stratton\u003c/strong>\u003c/p>\n\u003cp>As we continue to experience the frenzy of Harlem Renaissance celebrations, commemorations and historical resonance, \u003cem>Do What Godmother Says\u003c/em> by L.S. Stratton is the perfect addition to the litany of works set in this artistic period this year. It examines the intense and frequently degenerating relationship between patrons and artists during this intellectual and cultural movement. In this dual-timeline gothic thriller, a modern writer discovers a family heirloom painting by a Harlem Renaissance artist, which connects her family to a mysterious past. This historical novel is one I’m eager to read because it deftly exposes the layers of creative ownership, especially when race and wealth are involved. (June 11) — \u003cem>Keishel Williams\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/horrormovie_custom-585da57f9b35c75005e2591f96db69eb8900038d.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Horror Movie: A Novel’ by Paul Tremblay\u003c/strong>\u003c/p>\n\u003cp>Paul Tremblay is one of the most entertaining and innovative voices in contemporary fiction regardless of genre. \u003cem>Horror Movie\u003c/em>, a story about a cursed movie that never came out and is about to get a remake, is a love letter to horror novels and horror movies, as well as a tense narrative that will redefine the cursed film subgenre. Tremblay is one of the modern masters of horror, and this new novel promises to be packed with the author’s distinctive voice, knack for ambiguity and intrigue, and superb atmosphere. (June 11) —\u003cem> Gabino Iglesias\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/cuethesun_custom-d017b905e1f57c346bd155e2b1e00b7e8a5018b3.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Cue The Sun! The Invention of Reality TV’ by Emily Nussbaum\u003c/strong>\u003c/p>\n\u003cp>Every so often there’s a nonfiction title I covet like it’s the next installment in my favorite mystery series. This summer it’s \u003cem>Cue the Sun! \u003c/em>Based on in-depth interviews with more than 300 sources from every aspect of the production process, this book is a cultural history of the genre that ate American entertainment, from \u003cem>New Yorker\u003c/em> critic Emily Nussbaum. It combines the appeal of a page-turning thriller and the heft of serious scholarship. Juicy and thoughtful, it’s a must-read for anyone interested in television or popular culture. (June 25) — \u003cem>Carole V. Bell\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>July\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/undermining_custom-0ab0ee15894c33905bc361a0c1dd2073df28cf79.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Orbit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Undermining of Twyla and Frank’ by Megan Bannen\u003c/strong>\u003c/p>\n\u003cp>In this return to the delightfully wacky world established in one of my personal top-five romance novels of all time, \u003cem>The\u003c/em> \u003cem>Undertaking of Hart and Mercy\u003c/em>, Megan Bannen takes on the friends to lovers trope with a combination of madcap \u003cem>joie de vivre\u003c/em> and the exhausted practicality of a mom who’s had enough. Also, there are dragons! (July 2) \u003cem>— Caitlyn Paxson\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/anthropologists_custom-fafa91131dbe50c4d7e17dad7a6d5e8262282d1f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Anthropologists’ by Ayşegül Savaş\u003c/strong>\u003c/p>\n\u003cp>I am eagerly awaiting Ayşegül Savaş’ \u003cem>The Anthropologists\u003c/em>. Born in Istanbul, Savaş has lived in England, Denmark and the U.S. also and now resides in France; in this novel she takes up themes of cultural migration through focus on a young couple seeking an apartment in a foreign city. I’m intrigued to discover how Savaş gifts her characters with an anthropological lens of exploration. (July 9) — \u003cem>Barbara J. King \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/elevator_custom-dcdd9705bb7ed0ee4d0cd6c1044b7affb5f454c9.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (New Directions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Elevator in Saigon by Thuân’ translated by Nguyen An Lý\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Elevator in Saigon\u003c/em> is a literal and structural \u003cem>exquisite corpse\u003c/em>, capturing Vietnam’s eventful period from 1954 to 2004. Mimicking an elevator’s movement, the novel heightens our yearning for romance and mystery, while unflinchingly exposing such narrative shaft. Channeling Marguerite Duras and Patrick Modiano, the book also offers a dead-on tour of a society cunningly leaping from one ideological mode to the next. As if challenging Rick’s parting words to Ilsa in \u003cem>Casablanca\u003c/em>, Thuận’s sophomore novel in English implies that geopolitical debacles might have been mitigated if personal relations were held in more elevated regard than “a hill of beans.” (July 9) —\u003cem> Thúy Đinh\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/goodnighttokyo_custom-5e0f418add83234a499f5adf8225cb5a1671c022.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Europa Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Goodnight Tokyo’ by Atsuhiro Yoshida, translated by Haydn Trowell\u003c/strong>\u003c/p>\n\u003cp>Atsuhiro Yoshida’s \u003cem>Goodnight Tokyo\u003c/em> begins with a film company procurer who’s tasked with finding fresh kumquats for a production. From there, interlinked tales of Tokyo residents unspool in unpredictable directions. Characters range from a cabdriver to a star of a detective TV series who might be an actual detective. Readers will be reminded of Jim Jarmusch’s 1991 movie \u003cem>Night on Earth\u003c/em>, which also takes place in the wee hours of the morning and threads together the stories of strangers. (July 9) — \u003cem>Leland Cheuk \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/navola_custom-9ffec1a70800c395d9dfba994a9592218ea4b9ca.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Navola: A Novel’ by Paolo Bacigalupi\u003c/strong>\u003c/p>\n\u003cp>I love when a beloved author — especially one known mostly for a certain type of book — throws us a daring curveball. \u003cem>Navola\u003c/em> is exactly such a pitch. Paolo Bacigalupi, who has won pretty much every major award in the science-fiction field with his climate-conscious dystopianism, is veering hard left with his new novel. It doesn’t take place in the future, and it isn’t a cautionary tale. Instead, it’s a hefty tome of high fantasy set in a dreamed-up world akin to Renaissance Florence. Only with, you guessed it, dragons. But also high finance, political intrigue, and de’ Medici-esque opulence. Bacigalupi is one of today’s most gripping spinners of speculative fiction, and I can’t wait to dive into this surprising magical foray. (July 9) \u003cem>— Jason Heller \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/luckyones_custom-d83a34ee0f3f90aaf4c10d5cf111eea0a9af1313.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Crown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Lucky Ones: A Memoir’ by Zara Chowdhary\u003c/strong>\u003c/p>\n\u003cp>In 2002, two train carriages were set on fire in Gujarat, India. Within three weeks, more than 2,000 Muslims were murdered in response by Hindu mobs. By the end of the year, more than 50,000 Muslims became refugees in their own country. \u003cem>The Lucky Ones \u003c/em>is a unique memoir in English of this largest-ever \u003ca href=\"http://www.cnn.com/2011/WORLD/asiapcf/03/01/india.arson.case/index.html\">massacre in independent India\u003c/a>. It is also about a communal crisis bringing a fractured family together. A must-read in our warring world today. (July 16) — \u003cem>Jenny Bhatt\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/16/sharks_custom-b9e1d9ca19799e9b94e3376fd8cb3928daa3b31d.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Sharks Don’t Sink: Adventures of a Rogue Shark Scientist’ by Jasmin Graham\u003c/strong>\u003c/p>\n\u003cp>Author Jasmin Graham is a marine biologist specializing in smalltooth sawfish and hammerhead sharks. Who are the real sharks in this story? Graham had to face the sharp-teethed truths of academia, while creating a world of curiosity and discovery around the complex lives of sharks. To combat the racism she encountered in academia, Graham created an “ocean of her own” to become an independent scientist and a champion of social justice, a journey she unspools in this new memoir. (July 16) —\u003cem> Martha Ann Toll\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/liars1_custom-61788f1e8cc522d62ed49db9f9f6f48b020cd8bd.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Hogarth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Liars’ by Sarah Manguso\u003c/strong>\u003c/p>\n\u003cp>I have long been a fan of Sarah Manguso’s crystalline prose, from her fragmented illness memoir\u003cem> The Two Kinds of Decay \u003c/em>to her tightly constrained 2022 novel \u003cem>Very Cold People\u003c/em>. Her second novel\u003cem>,\u003c/em> \u003cem>Liars\u003c/em>, marries restraint with rage — in it, Manguso traces the full arc of a 15-year relationship between Jane, a successful writer, and John, a dilettante artist-cum-techie, in aphoristic vignettes. The result is a furious, propulsive meditation on wifehood, motherhood and artistic ambition. (July 23) —\u003cem> Kristen Martin \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/horse_custom-03be9b1d7e9c48e6deeff68af65f228511ae27be.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Harper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Horse: A Novel’ by Willy Vlautin\u003c/strong>\u003c/p>\n\u003cp>Musician and \u003cem>Lean on Pete\u003c/em> author Willy Vlautin captures the American West like few other writers. His prose is always excellent, his characters always beautifully drawn, and that promises to be the case with his next novel, about an isolated Nevada man in his 60s who is visited by a blind horse that refuses to leave. (July 30) — \u003cem>Michael Schaub\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>August\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/einstein_custom-e50a08faa4e05056ec6279194d5b40d0db8a1b74.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Einstein in Kafkaland: How Albert Fell Down the Rabbit Hole and Came Up With the Universe’ by Ken Krimstein\u003c/strong>\u003c/p>\n\u003cp>Art and science collide in Ken Krimstein’s new graphic biography\u003cem>.\u003c/em> In this book, the author of the brilliant and whimsical \u003cem>The Three Escapes of Hannah Arendt \u003c/em>similarly translates careful research into scenic, emotive comics — in this case tracking the potential effects of an adventitious meeting in Prague between two geniuses on the cusp of world-changing discoveries. (Aug. 20) —\u003cem> Tahneer Oksman \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/survivalisapromise_custom-256957d8e07e0104d0900cb0fc8b729fbf4ae29f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Survival Is a Promise: The Eternal Life of Audre Lorde’ by Alexis Pauline Gumbs\u003c/strong>\u003c/p>\n\u003cp>I’d probably be interested in a new biography of Audre Lorde if it focused on the eating habits of the brilliant thinker, poet, feminist and activist. But biographer Alexis Pauline Gumbs promises to more than exceed that bar. An award-winning poet, writer, feminist and activist in her own right, Gumbs is among the first researchers to delve into Lorde’s manuscript archives. The resulting book highlights the late author’s commitment to interrogating what it means to survive on this planet — and how Lorde’s radical understanding of ecology can guide us today. (Aug. 20)\u003cem> — Ericka Taylor \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/etcetera_custom-bea1fc18ec2ef90d7c5e32a84f79290c07f0168e.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Andrews McMeel Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Et Cetera: An Illustrated Guide to Latin Phrases’ by Maia Lee-Chin, illustrated by Marta Bertello\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To those claiming Latin is dead, I say \u003cem>res ipsa loquitur — \u003c/em>the thing speaks for itself — in \u003ca href=\"https://urldefense.com/v3/__https:/www.youtube.com/watch?v=Ey_LPYFFvl0__;!!Iwwt!S7fnrtv-9xP8yJIcvz_iIknkh59ohTNRYWNdqCxOk8CoFzscVIHtud8YlvSylNTgXvfFeFbNxVUQUDkPow%24\">children’s cartoons\u003c/a>, \u003ca href=\"https://urldefense.com/v3/__https:/www.youtube.com/watch?v=Y4Q_DCgbEz0__;!!Iwwt!S7fnrtv-9xP8yJIcvz_iIknkh59ohTNRYWNdqCxOk8CoFzscVIHtud8YlvSylNTgXvfFeFbNxVV4VxiN2Q%24\">Hollywood cartoons\u003c/a> and \u003ca href=\"https://urldefense.com/v3/__https:/classics.mit.edu/Virgil/aeneid.html__;!!Iwwt!S7fnrtv-9xP8yJIcvz_iIknkh59ohTNRYWNdqCxOk8CoFzscVIHtud8YlvSylNTgXvfFeFbNxVV5MbcrQA%24\">enduring epics\u003c/a>. As a fan of both Mr. Peabody and the Muses, the idea of combining Maia Lee-Chin’s thoughtful scholarship and Marta Bertello’s dynamic artistry is captivating. Their new book reimagines the world of Latin’s invention and tops my summer reading list. (Aug. 27) — \u003cem>Marcela Davison Avilés\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>June is around the corner, meaning summer is almost here! As we look forward to travel and staycations, plane rides and trips to the beach, we’ve asked our book critics for some advice: What upcoming fiction and nonfiction are they most looking forward to reading?\u003c/p>\n\u003cp>Their picks range from memoirs to sci-fi and fantasy to translations, love stories and everything in between. Here’s a look:\u003c/p>\n\u003chr>\n\u003ch3>June\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/daughter_custom-b786e59ae645b23b705710ab415dc3a27f150a5f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Redhook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Daughter of the Merciful Deep’ by Leslye Penelope\u003c/strong>\u003c/p>\n\u003cp>I was hooked when I first saw the gorgeous cover for \u003cem>Daughter of the Merciful Deep\u003c/em> by Leslye Penelope. But the novel’s premise put it at the top of my summer reading list. Penelope is known for unforgettable characters, world-building, beautiful writing and robust storytelling. Her latest work, inspired by actual events — the drowned Black towns of the American South — promises a magical, mythical and powerful tale of a young woman’s quest to save her town. A historical fantasy must-read. (June 4) — \u003cem>Denny Bryce\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/futurewascolor_custom-8cf072dcb45a69feb8bf38d30adb3a03422fce58.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Counterpoint LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Future Was Color’ by Patrick Nathan\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Future Was Color\u003c/em> by Patrick Nathan has everything I look for in a book: a unique and startling voice, a queer protagonist and a deep understanding of a particular time and place. George — once György — is a gay Hungarian immigrant working as a screenwriter in McCarthy-era Hollywood, occasionally fantasizing about his officemate, Jack. When a once-famous actress named Madeline invites George to stay and write at her spacious Malibu house, she won’t take no for an answer — and so George finds himself in a hedonistic milieu where pleasure, politics and strong personalities intermingle. (June 4) — \u003cem>Ilana Masad\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/mirrored_custom-278fb8c0571ce760702cf2f0b0e763480f39862b.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (S&S/Saga Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Mirrored Heavens: Between Earth & Sky, Book 3’ by Rebecca Roanhorse\u003c/strong>\u003c/p>\n\u003cp>Rebecca Roanhorse is one of my auto-read authors — and one major reason is because of her fire \u003cem>Between Earth and Sky\u003c/em> series. That trilogy comes to a stunning, fevered conclusion with \u003cem>Mirrored Heavens\u003c/em>. All of the characters you love, hate and love to hate will converge on the city of Tova. Get ready for an epic battle between ancient gods, their human avatars and the mortals caught in between. (June 4) \u003cem>— Alex Brown\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/singlikefish_custom-08ec44af144d163477bad03e23664864c096488f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Crown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Sing Like Fish: How Sound Rules Life Under Water’ by Amorina Kingdon\u003c/strong>\u003c/p>\n\u003cp>You may know about \u003ca href=\"https://www.theguardian.com/environment/2021/jul/13/loneliest-whale-in-the-world-search\">52 Blue\u003c/a>, whose vocalizations likely go unheard by some other whales; it captured worldwide sympathy and became a pop-culture metaphor. But did you know \u003cem>all\u003c/em> \u003ca href=\"https://www.bbc.com/news/science-environment-68358414\">whale song is critically disrupted by ships\u003c/a>? If that gets you wondering, keep an eye out for \u003cem>Sing Like Fish\u003c/em>, which promises to illuminate the fragile symphony of the deep. (June 4) —\u003cem> Genevieve Valentine\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/consent_custom-08d1ad496975300988db3f69077a2990ae9a4073.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Consent: A Memoir’ by Jill Ciment\u003c/strong>\u003c/p>\n\u003cp>I look forward to reading Jill Ciment’s \u003cem>Consent \u003c/em>and to the discussions it’s sure to provoke. In this follow-up memoir to \u003cem>Half a Life,\u003c/em> Ciment reconsiders what she wrote 25 years ago about her teenage affair and marriage to her art teacher, 30 years her senior. \u003cem>Half a Life \u003c/em>was written before the #MeToo movement, and before her husband died at the age of 93 after 45 years of marriage. \u003cem>Consent \u003c/em>promises a fuller picture. (June 11) — \u003cem>Heller McAlpin\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/godmother_custom-ff8270a1d4a20fda0c303d080ef095532b512f9d.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Publisher Union Square & Co.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Do What Godmother Says’ by L.S. Stratton\u003c/strong>\u003c/p>\n\u003cp>As we continue to experience the frenzy of Harlem Renaissance celebrations, commemorations and historical resonance, \u003cem>Do What Godmother Says\u003c/em> by L.S. Stratton is the perfect addition to the litany of works set in this artistic period this year. It examines the intense and frequently degenerating relationship between patrons and artists during this intellectual and cultural movement. In this dual-timeline gothic thriller, a modern writer discovers a family heirloom painting by a Harlem Renaissance artist, which connects her family to a mysterious past. This historical novel is one I’m eager to read because it deftly exposes the layers of creative ownership, especially when race and wealth are involved. (June 11) — \u003cem>Keishel Williams\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/horrormovie_custom-585da57f9b35c75005e2591f96db69eb8900038d.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Horror Movie: A Novel’ by Paul Tremblay\u003c/strong>\u003c/p>\n\u003cp>Paul Tremblay is one of the most entertaining and innovative voices in contemporary fiction regardless of genre. \u003cem>Horror Movie\u003c/em>, a story about a cursed movie that never came out and is about to get a remake, is a love letter to horror novels and horror movies, as well as a tense narrative that will redefine the cursed film subgenre. Tremblay is one of the modern masters of horror, and this new novel promises to be packed with the author’s distinctive voice, knack for ambiguity and intrigue, and superb atmosphere. (June 11) —\u003cem> Gabino Iglesias\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/cuethesun_custom-d017b905e1f57c346bd155e2b1e00b7e8a5018b3.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Cue The Sun! The Invention of Reality TV’ by Emily Nussbaum\u003c/strong>\u003c/p>\n\u003cp>Every so often there’s a nonfiction title I covet like it’s the next installment in my favorite mystery series. This summer it’s \u003cem>Cue the Sun! \u003c/em>Based on in-depth interviews with more than 300 sources from every aspect of the production process, this book is a cultural history of the genre that ate American entertainment, from \u003cem>New Yorker\u003c/em> critic Emily Nussbaum. It combines the appeal of a page-turning thriller and the heft of serious scholarship. Juicy and thoughtful, it’s a must-read for anyone interested in television or popular culture. (June 25) — \u003cem>Carole V. Bell\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>July\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/undermining_custom-0ab0ee15894c33905bc361a0c1dd2073df28cf79.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Orbit)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Undermining of Twyla and Frank’ by Megan Bannen\u003c/strong>\u003c/p>\n\u003cp>In this return to the delightfully wacky world established in one of my personal top-five romance novels of all time, \u003cem>The\u003c/em> \u003cem>Undertaking of Hart and Mercy\u003c/em>, Megan Bannen takes on the friends to lovers trope with a combination of madcap \u003cem>joie de vivre\u003c/em> and the exhausted practicality of a mom who’s had enough. Also, there are dragons! (July 2) \u003cem>— Caitlyn Paxson\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/anthropologists_custom-fafa91131dbe50c4d7e17dad7a6d5e8262282d1f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Anthropologists’ by Ayşegül Savaş\u003c/strong>\u003c/p>\n\u003cp>I am eagerly awaiting Ayşegül Savaş’ \u003cem>The Anthropologists\u003c/em>. Born in Istanbul, Savaş has lived in England, Denmark and the U.S. also and now resides in France; in this novel she takes up themes of cultural migration through focus on a young couple seeking an apartment in a foreign city. I’m intrigued to discover how Savaş gifts her characters with an anthropological lens of exploration. (July 9) — \u003cem>Barbara J. King \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/elevator_custom-dcdd9705bb7ed0ee4d0cd6c1044b7affb5f454c9.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (New Directions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Elevator in Saigon by Thuân’ translated by Nguyen An Lý\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Elevator in Saigon\u003c/em> is a literal and structural \u003cem>exquisite corpse\u003c/em>, capturing Vietnam’s eventful period from 1954 to 2004. Mimicking an elevator’s movement, the novel heightens our yearning for romance and mystery, while unflinchingly exposing such narrative shaft. Channeling Marguerite Duras and Patrick Modiano, the book also offers a dead-on tour of a society cunningly leaping from one ideological mode to the next. As if challenging Rick’s parting words to Ilsa in \u003cem>Casablanca\u003c/em>, Thuận’s sophomore novel in English implies that geopolitical debacles might have been mitigated if personal relations were held in more elevated regard than “a hill of beans.” (July 9) —\u003cem> Thúy Đinh\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/goodnighttokyo_custom-5e0f418add83234a499f5adf8225cb5a1671c022.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Europa Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Goodnight Tokyo’ by Atsuhiro Yoshida, translated by Haydn Trowell\u003c/strong>\u003c/p>\n\u003cp>Atsuhiro Yoshida’s \u003cem>Goodnight Tokyo\u003c/em> begins with a film company procurer who’s tasked with finding fresh kumquats for a production. From there, interlinked tales of Tokyo residents unspool in unpredictable directions. Characters range from a cabdriver to a star of a detective TV series who might be an actual detective. Readers will be reminded of Jim Jarmusch’s 1991 movie \u003cem>Night on Earth\u003c/em>, which also takes place in the wee hours of the morning and threads together the stories of strangers. (July 9) — \u003cem>Leland Cheuk \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/navola_custom-9ffec1a70800c395d9dfba994a9592218ea4b9ca.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Knopf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Navola: A Novel’ by Paolo Bacigalupi\u003c/strong>\u003c/p>\n\u003cp>I love when a beloved author — especially one known mostly for a certain type of book — throws us a daring curveball. \u003cem>Navola\u003c/em> is exactly such a pitch. Paolo Bacigalupi, who has won pretty much every major award in the science-fiction field with his climate-conscious dystopianism, is veering hard left with his new novel. It doesn’t take place in the future, and it isn’t a cautionary tale. Instead, it’s a hefty tome of high fantasy set in a dreamed-up world akin to Renaissance Florence. Only with, you guessed it, dragons. But also high finance, political intrigue, and de’ Medici-esque opulence. Bacigalupi is one of today’s most gripping spinners of speculative fiction, and I can’t wait to dive into this surprising magical foray. (July 9) \u003cem>— Jason Heller \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/luckyones_custom-d83a34ee0f3f90aaf4c10d5cf111eea0a9af1313.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Crown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Lucky Ones: A Memoir’ by Zara Chowdhary\u003c/strong>\u003c/p>\n\u003cp>In 2002, two train carriages were set on fire in Gujarat, India. Within three weeks, more than 2,000 Muslims were murdered in response by Hindu mobs. By the end of the year, more than 50,000 Muslims became refugees in their own country. \u003cem>The Lucky Ones \u003c/em>is a unique memoir in English of this largest-ever \u003ca href=\"http://www.cnn.com/2011/WORLD/asiapcf/03/01/india.arson.case/index.html\">massacre in independent India\u003c/a>. It is also about a communal crisis bringing a fractured family together. A must-read in our warring world today. (July 16) — \u003cem>Jenny Bhatt\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/16/sharks_custom-b9e1d9ca19799e9b94e3376fd8cb3928daa3b31d.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Pantheon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Sharks Don’t Sink: Adventures of a Rogue Shark Scientist’ by Jasmin Graham\u003c/strong>\u003c/p>\n\u003cp>Author Jasmin Graham is a marine biologist specializing in smalltooth sawfish and hammerhead sharks. Who are the real sharks in this story? Graham had to face the sharp-teethed truths of academia, while creating a world of curiosity and discovery around the complex lives of sharks. To combat the racism she encountered in academia, Graham created an “ocean of her own” to become an independent scientist and a champion of social justice, a journey she unspools in this new memoir. (July 16) —\u003cem> Martha Ann Toll\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/liars1_custom-61788f1e8cc522d62ed49db9f9f6f48b020cd8bd.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Hogarth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Liars’ by Sarah Manguso\u003c/strong>\u003c/p>\n\u003cp>I have long been a fan of Sarah Manguso’s crystalline prose, from her fragmented illness memoir\u003cem> The Two Kinds of Decay \u003c/em>to her tightly constrained 2022 novel \u003cem>Very Cold People\u003c/em>. Her second novel\u003cem>,\u003c/em> \u003cem>Liars\u003c/em>, marries restraint with rage — in it, Manguso traces the full arc of a 15-year relationship between Jane, a successful writer, and John, a dilettante artist-cum-techie, in aphoristic vignettes. The result is a furious, propulsive meditation on wifehood, motherhood and artistic ambition. (July 23) —\u003cem> Kristen Martin \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/horse_custom-03be9b1d7e9c48e6deeff68af65f228511ae27be.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Harper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘The Horse: A Novel’ by Willy Vlautin\u003c/strong>\u003c/p>\n\u003cp>Musician and \u003cem>Lean on Pete\u003c/em> author Willy Vlautin captures the American West like few other writers. His prose is always excellent, his characters always beautifully drawn, and that promises to be the case with his next novel, about an isolated Nevada man in his 60s who is visited by a blind horse that refuses to leave. (July 30) — \u003cem>Michael Schaub\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>August\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/einstein_custom-e50a08faa4e05056ec6279194d5b40d0db8a1b74.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Einstein in Kafkaland: How Albert Fell Down the Rabbit Hole and Came Up With the Universe’ by Ken Krimstein\u003c/strong>\u003c/p>\n\u003cp>Art and science collide in Ken Krimstein’s new graphic biography\u003cem>.\u003c/em> In this book, the author of the brilliant and whimsical \u003cem>The Three Escapes of Hannah Arendt \u003c/em>similarly translates careful research into scenic, emotive comics — in this case tracking the potential effects of an adventitious meeting in Prague between two geniuses on the cusp of world-changing discoveries. (Aug. 20) —\u003cem> Tahneer Oksman \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/survivalisapromise_custom-256957d8e07e0104d0900cb0fc8b729fbf4ae29f.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Farrar, Straus and Giroux)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Survival Is a Promise: The Eternal Life of Audre Lorde’ by Alexis Pauline Gumbs\u003c/strong>\u003c/p>\n\u003cp>I’d probably be interested in a new biography of Audre Lorde if it focused on the eating habits of the brilliant thinker, poet, feminist and activist. But biographer Alexis Pauline Gumbs promises to more than exceed that bar. An award-winning poet, writer, feminist and activist in her own right, Gumbs is among the first researchers to delve into Lorde’s manuscript archives. The resulting book highlights the late author’s commitment to interrogating what it means to survive on this planet — and how Lorde’s radical understanding of ecology can guide us today. (Aug. 20)\u003cem> — Ericka Taylor \u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" class=\"aligncenter\" src=\"https://media.npr.org/assets/img/2024/05/13/etcetera_custom-bea1fc18ec2ef90d7c5e32a84f79290c07f0168e.jpg?s=1200&c=75&f=jpeg\">\u003cfigcaption>\u003ccite> (Andrews McMeel Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Et Cetera: An Illustrated Guide to Latin Phrases’ by Maia Lee-Chin, illustrated by Marta Bertello\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To those claiming Latin is dead, I say \u003cem>res ipsa loquitur — \u003c/em>the thing speaks for itself — in \u003ca href=\"https://urldefense.com/v3/__https:/www.youtube.com/watch?v=Ey_LPYFFvl0__;!!Iwwt!S7fnrtv-9xP8yJIcvz_iIknkh59ohTNRYWNdqCxOk8CoFzscVIHtud8YlvSylNTgXvfFeFbNxVUQUDkPow%24\">children’s cartoons\u003c/a>, \u003ca href=\"https://urldefense.com/v3/__https:/www.youtube.com/watch?v=Y4Q_DCgbEz0__;!!Iwwt!S7fnrtv-9xP8yJIcvz_iIknkh59ohTNRYWNdqCxOk8CoFzscVIHtud8YlvSylNTgXvfFeFbNxVV4VxiN2Q%24\">Hollywood cartoons\u003c/a> and \u003ca href=\"https://urldefense.com/v3/__https:/classics.mit.edu/Virgil/aeneid.html__;!!Iwwt!S7fnrtv-9xP8yJIcvz_iIknkh59ohTNRYWNdqCxOk8CoFzscVIHtud8YlvSylNTgXvfFeFbNxVV5MbcrQA%24\">enduring epics\u003c/a>. As a fan of both Mr. Peabody and the Muses, the idea of combining Maia Lee-Chin’s thoughtful scholarship and Marta Bertello’s dynamic artistry is captivating. Their new book reimagines the world of Latin’s invention and tops my summer reading list. (Aug. 27) — \u003cem>Marcela Davison Avilés\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "kathleen-hanna-rebel-girl-book-brontez-purnell-in-conversation-city-arts-and-lectures",
"title": "Kathleen Hanna Transforms Trauma Into Comedic Triumph With Brontez Purnell",
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"headTitle": "Kathleen Hanna Transforms Trauma Into Comedic Triumph With Brontez Purnell | KQED",
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"content": "\u003cp>When I was a child growing up in the 1980s, the most common thing I heard about feminists was that they were ugly, man-hating, sex-phobic shrews with no sense of humor.\u003c/p>\n\u003cp>Kathleen Hanna has long stood as a glaring repudiation of that lazy old stereotype on every level. There wasn’t a lot about \u003ca href=\"https://www.kqed.org/pop/14084/90s-nostalgia-a-look-at-how-our-lives-do-and-dont-matter\">riot grrrl\u003c/a> that was comedic, but from the moment the now-55-year-old arrived in the public eye, hers was always a biting, sarcastic wit with a healthy underbelly of goofiness. For the last 20 years, though, it would appear the Bikini Kill/Le Tigre/Julie Ruin frontwoman has only been getting more hilarious. (That much is evident in the ridiculous social media \u003ca href=\"https://www.tiktok.com/@thekathleenhanna/video/7368929147986529582\">videos Hanna has recently been posting\u003c/a> to promote the release of her \u003ca href=\"https://www.kqed.org/arts/13957749/kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl\">new autobiography, \u003c/a>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13957749/kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl\">Rebel Girl\u003c/a>.\u003c/em>)\u003c/p>\n\u003cp>[aside postid='arts_13957749']That said, even avid followers of the singer were treated to a side-splitting surprise Tuesday night in San Francisco, when Hanna sat down in conversation with Oakland musician and author \u003ca href=\"https://www.kqed.org/forum/2010101904684/brontez-purnell-on-his-memoir-in-verse-and-a-life-of-making-transgressive-art\">Brontez Purnell\u003c/a>\u003cem>, \u003c/em>as part of the \u003ca href=\"https://www.cityarts.net/\">City Arts & Lectures\u003c/a> series.\u003c/p>\n\u003cp>The way these conversational events so often go is that only one person at a time is allowed to be unfiltered and unhinged onstage. The joy of seeing Hanna and Purnell in action together is that neither one of them is willing or able to play the “straight man” role. (Pun intended.) The pair have also been friends for many years, having first exchanged mail back when Purnell was a 15-year-old Bikini Kill fan who sent Hanna a selfie he took on a disposable camera. To say these two have a good rapport at this point is a gross understatement.\u003c/p>\n\u003cp>Every member of the Sydney Goldstein Theater audience benefitted from that chemistry, treated to a magnificent zig-zag of subject matters, occasionally landing on the audience at a dizzying — and very funny — pace. Here are just some of the very strange things that came up in the course of Hanna and Purnell’s conversation:\u003c/p>\n\u003cul>\n\u003cli>The fact that Hanna’s mom refers to vaginas as “front bottoms” and to actual rear ends as “back bottoms”\u003c/li>\n\u003cli>The fact that Hanna once tried to get a role in a terrible \u003cem>Less Than Zero\u003c/em> musical, even though she had literally just started Le Tigre\u003c/li>\n\u003cli>Purnell’s repeated assertion that the future of punk rock lies in DJing\u003c/li>\n\u003cli>Hanna’s onstage cover of \u003ca href=\"https://www.youtube.com/watch?v=OqeKV2UYq1Q\">“Harden My Heart” by Quarterflash\u003c/a>, performed in the style of the musical \u003cem>Oklahoma\u003c/em>\u003c/li>\n\u003cli>Purnell and Hanna realizing in real time that they both spent their youths lusting after the same member of obscure Portland band Dead Moon\u003c/li>\n\u003cli>The pride Hanna feels about sharing a birthday (and birth hospital) with 1990s ice skating icon Tonya Harding\u003c/li>\n\u003cli>The fact that both Hanna and Purnell still obsess about folk tales in which major characters are rescued by insects (Purnell’s is \u003cem>Cupid and Psyche\u003c/em>, Hanna’s is \u003cem>Pinocchio\u003c/em>)\u003c/li>\n\u003cli>The news that Hanna’s second cousin was an Oregon drag legend known as Darcelle XV — and that she’s currently making a documentary about them\u003c/li>\n\u003cli>Purnell’s opinion that every tour Iggy Pop performs from here on out should just be referred to as “The Jim Crow Revival Fest”\u003c/li>\n\u003cli>The revelation that the 10-year-old son Hanna shares with husband Ad-Rock (of the Beastie Boys) is a fan of “fairy porn” book series \u003cem>A Court of Thorns and Roses —\u003c/em> but “at least he’s reading!”\u003c/li>\n\u003c/ul>\n\u003cp>Sure, Hanna and Purnell talked about all manner of serious things too, including the ways both have dealt with and healed from trauma. The two also touched on a “kidnapping” and one violent sexual assault that Hanna removed from the \u003cem>Rebel Girl\u003c/em> manuscript when early readers and editors told her it was too dark. (Reader be advised: The book still contains several descriptions of assault.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The difficulty of financially surviving as an artist also came up — though that, too, got funny. (“I married someone rich,” Hanna smiled without missing a beat, then sang dramatically: “I live off him!”)\u003c/p>\n\u003cp>Together, Purnell and Hanna delivered a City Arts & Lecture appointment that perfectly encapsulated the subject of the evening: an artist who has always found a way to take the most painful elements of her life and transform them into something engaging and enjoyable and useful. Hanna did that in her bands, she did that in 2013 documentary \u003cem>The Punk Singer, \u003c/em>she’s done that in her new book —\u003cem> \u003c/em>and she certainly did that last night.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://www.harpercollins.com/products/rebel-girl-kathleen-hanna?variant=41096269103138\">‘Rebel Girl’ by Kathleen Hanna (Ecco) is out now\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanna and Brontez Purnell’s conversation from City Arts & Lectures will premiere on KQED, 88.5 FM, on Sept. 1, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I was a child growing up in the 1980s, the most common thing I heard about feminists was that they were ugly, man-hating, sex-phobic shrews with no sense of humor.\u003c/p>\n\u003cp>Kathleen Hanna has long stood as a glaring repudiation of that lazy old stereotype on every level. There wasn’t a lot about \u003ca href=\"https://www.kqed.org/pop/14084/90s-nostalgia-a-look-at-how-our-lives-do-and-dont-matter\">riot grrrl\u003c/a> that was comedic, but from the moment the now-55-year-old arrived in the public eye, hers was always a biting, sarcastic wit with a healthy underbelly of goofiness. For the last 20 years, though, it would appear the Bikini Kill/Le Tigre/Julie Ruin frontwoman has only been getting more hilarious. (That much is evident in the ridiculous social media \u003ca href=\"https://www.tiktok.com/@thekathleenhanna/video/7368929147986529582\">videos Hanna has recently been posting\u003c/a> to promote the release of her \u003ca href=\"https://www.kqed.org/arts/13957749/kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl\">new autobiography, \u003c/a>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13957749/kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl\">Rebel Girl\u003c/a>.\u003c/em>)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That said, even avid followers of the singer were treated to a side-splitting surprise Tuesday night in San Francisco, when Hanna sat down in conversation with Oakland musician and author \u003ca href=\"https://www.kqed.org/forum/2010101904684/brontez-purnell-on-his-memoir-in-verse-and-a-life-of-making-transgressive-art\">Brontez Purnell\u003c/a>\u003cem>, \u003c/em>as part of the \u003ca href=\"https://www.cityarts.net/\">City Arts & Lectures\u003c/a> series.\u003c/p>\n\u003cp>The way these conversational events so often go is that only one person at a time is allowed to be unfiltered and unhinged onstage. The joy of seeing Hanna and Purnell in action together is that neither one of them is willing or able to play the “straight man” role. (Pun intended.) The pair have also been friends for many years, having first exchanged mail back when Purnell was a 15-year-old Bikini Kill fan who sent Hanna a selfie he took on a disposable camera. To say these two have a good rapport at this point is a gross understatement.\u003c/p>\n\u003cp>Every member of the Sydney Goldstein Theater audience benefitted from that chemistry, treated to a magnificent zig-zag of subject matters, occasionally landing on the audience at a dizzying — and very funny — pace. Here are just some of the very strange things that came up in the course of Hanna and Purnell’s conversation:\u003c/p>\n\u003cul>\n\u003cli>The fact that Hanna’s mom refers to vaginas as “front bottoms” and to actual rear ends as “back bottoms”\u003c/li>\n\u003cli>The fact that Hanna once tried to get a role in a terrible \u003cem>Less Than Zero\u003c/em> musical, even though she had literally just started Le Tigre\u003c/li>\n\u003cli>Purnell’s repeated assertion that the future of punk rock lies in DJing\u003c/li>\n\u003cli>Hanna’s onstage cover of \u003ca href=\"https://www.youtube.com/watch?v=OqeKV2UYq1Q\">“Harden My Heart” by Quarterflash\u003c/a>, performed in the style of the musical \u003cem>Oklahoma\u003c/em>\u003c/li>\n\u003cli>Purnell and Hanna realizing in real time that they both spent their youths lusting after the same member of obscure Portland band Dead Moon\u003c/li>\n\u003cli>The pride Hanna feels about sharing a birthday (and birth hospital) with 1990s ice skating icon Tonya Harding\u003c/li>\n\u003cli>The fact that both Hanna and Purnell still obsess about folk tales in which major characters are rescued by insects (Purnell’s is \u003cem>Cupid and Psyche\u003c/em>, Hanna’s is \u003cem>Pinocchio\u003c/em>)\u003c/li>\n\u003cli>The news that Hanna’s second cousin was an Oregon drag legend known as Darcelle XV — and that she’s currently making a documentary about them\u003c/li>\n\u003cli>Purnell’s opinion that every tour Iggy Pop performs from here on out should just be referred to as “The Jim Crow Revival Fest”\u003c/li>\n\u003cli>The revelation that the 10-year-old son Hanna shares with husband Ad-Rock (of the Beastie Boys) is a fan of “fairy porn” book series \u003cem>A Court of Thorns and Roses —\u003c/em> but “at least he’s reading!”\u003c/li>\n\u003c/ul>\n\u003cp>Sure, Hanna and Purnell talked about all manner of serious things too, including the ways both have dealt with and healed from trauma. The two also touched on a “kidnapping” and one violent sexual assault that Hanna removed from the \u003cem>Rebel Girl\u003c/em> manuscript when early readers and editors told her it was too dark. (Reader be advised: The book still contains several descriptions of assault.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The difficulty of financially surviving as an artist also came up — though that, too, got funny. (“I married someone rich,” Hanna smiled without missing a beat, then sang dramatically: “I live off him!”)\u003c/p>\n\u003cp>Together, Purnell and Hanna delivered a City Arts & Lecture appointment that perfectly encapsulated the subject of the evening: an artist who has always found a way to take the most painful elements of her life and transform them into something engaging and enjoyable and useful. Hanna did that in her bands, she did that in 2013 documentary \u003cem>The Punk Singer, \u003c/em>she’s done that in her new book —\u003cem> \u003c/em>and she certainly did that last night.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://www.harpercollins.com/products/rebel-girl-kathleen-hanna?variant=41096269103138\">‘Rebel Girl’ by Kathleen Hanna (Ecco) is out now\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hanna and Brontez Purnell’s conversation from City Arts & Lectures will premiere on KQED, 88.5 FM, on Sept. 1, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13958209\" class=\"wp-caption aligncenter\" style=\"max-width: 886px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13958209 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-7.49.42-PM.png\" alt=\"A book cover illustration of a coast line and a rocky outcrop that resembles an alligator head.\" width=\"886\" height=\"1342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-7.49.42-PM.png 886w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-7.49.42-PM-800x1212.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-7.49.42-PM-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-7.49.42-PM-768x1163.png 768w\" sizes=\"(max-width: 886px) 100vw, 886px\">\u003cfigcaption class=\"wp-caption-text\">‘You Like It Darker’ by Stephen King. \u003ccite>(Scribner via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Stephen King’s world, \u003cem>It\u003c/em> is a loaded word. It’s hard not to picture Pennywise the Clown haunting the sewers of Derry, Maine, of course, but in the horror writer’s newest collection of stories, \u003cem>You Like It Darker\u003c/em>, It ranges from a suspicious stranger on a park bench, to an extraterrestrial being bestowing a gift that helps best friends realize their potential, to telepaths whose sole job is to keep airplanes from falling out of the sky.\u003c/p>\n\u003cp>Twelve stories makes up the book, with one of the longest (90 pages), “Rattlesnakes,” reintroducing readers to Vic Trenton, who King fans will remember as the father of Tad, the boy killed by the rabid St. Bernard Cujo in King’s 1981 novel of that name. Now 72, Trenton is riding out the pandemic at a friend’s waterfront property in the Florida Keys, where he meets a widow who also lost loved ones in a terrible accident. It’s fairly creepy, featuring long-dead twins trying to haunt their way back to life, but it’s hardly the darkest here.\u003c/p>\n\u003cp>[aside postid='pop_110691']I’d give that honor to “The Fifth Step,” which in just 10 pages should scare anyone who’s been paying attention to the true crime stories splashed across the screens of this country’s tawdrier news sources. But is it “darker,” really than any of the more than 60 books King has written in his illustrious career? Probably not, but perhaps the afterword quote from the author, also featured on the back of the hardcover — “You like it darker? Fine. So do I.” — helps sell books in today’s extreme world, even for a perennial bestseller like Mr. King.\u003c/p>\n\u003cp>The best of these stories, as is true with the best of King’s work, feature horror tempered with heart. I really enjoyed “On Slide Inn Road,” featuring a grandfather who’s still pretty accurate with a baseball bat, and “The Answer Man,” which poses the question, “If you could know anything about the future, what would it be?”\u003c/p>\n\u003cp>I’d like to know how much longer we’ll have to enjoy this uniquely American icon, who at the age of 76 continues to write and publish at a furious pace. This collection’s afterword reads like a recording from King’s therapist’s couch, or a confessional on a reality TV series. He admits “the only two times I ever came close to getting it all were in two prison stories: \u003cem>The Green Mile\u003c/em> and \u003cem>Rita Hayworth and Shawshank Redemption\u003c/em>.” Here’s hoping he keeps trying, because like millions of others around the world, I’ll read every word.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘You Like It Darker’ by Stephen King (Scribner) is released on May 21, 2024.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’d give that honor to “The Fifth Step,” which in just 10 pages should scare anyone who’s been paying attention to the true crime stories splashed across the screens of this country’s tawdrier news sources. But is it “darker,” really than any of the more than 60 books King has written in his illustrious career? Probably not, but perhaps the afterword quote from the author, also featured on the back of the hardcover — “You like it darker? Fine. So do I.” — helps sell books in today’s extreme world, even for a perennial bestseller like Mr. King.\u003c/p>\n\u003cp>The best of these stories, as is true with the best of King’s work, feature horror tempered with heart. I really enjoyed “On Slide Inn Road,” featuring a grandfather who’s still pretty accurate with a baseball bat, and “The Answer Man,” which poses the question, “If you could know anything about the future, what would it be?”\u003c/p>\n\u003cp>I’d like to know how much longer we’ll have to enjoy this uniquely American icon, who at the age of 76 continues to write and publish at a furious pace. This collection’s afterword reads like a recording from King’s therapist’s couch, or a confessional on a reality TV series. He admits “the only two times I ever came close to getting it all were in two prison stories: \u003cem>The Green Mile\u003c/em> and \u003cem>Rita Hayworth and Shawshank Redemption\u003c/em>.” Here’s hoping he keeps trying, because like millions of others around the world, I’ll read every word.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘You Like It Darker’ by Stephen King (Scribner) is released on May 21, 2024.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>At the beginning of \u003cem>Furiosa: A Mad Max Saga\u003c/em>, we are introduced to a kick-ass woman who rides a horse, then a motorbike, nails a few bad guys with sharpshooting finesse and fights off a mob. But it’s not Furiosa — it’s her mom.\u003c/p>\n\u003cp>That’s one of the oddities of this latest offering in the Mad Max Cinematic Universe: Creator and director George Miller has taken the coolest role of 2015’s \u003ca href=\"https://www.kqed.org/arts/10657581/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a> and built a whole prequel around her yet has her overshadowed by everyone else.\u003c/p>\n\u003cp>[aside postid='pop_95111']The adult Furiosa — a coiled, clenched Anya Taylor-Joy — only appears after the first hour-mark — we get way too much preteen Furiosa — and she’s meek for another quarter of the film. We, frankly, wanted more. Charlize Theron as Furiosa promised a \u003cem>Top\u003c/em> \u003cem>Gun\u003c/em> swagger yet Taylor-Joy mostly does furious side eye.\u003c/p>\n\u003cp>What goes into making adult Furiosa is very unpleasant: She endures childhood kidnapping and torture, goes mute, passes herself as a boy, gets traded for gas, works her way up a madman’s hierarchy and only in the final scenes does she have real agency. We do learn how her left hand was maimed and that she was sweet on a guy. But making her mute? In her own movie?\u003c/p>\n\u003cp>Back are some familiar, scarred faces — Immortan Joe, The People Eater and a legion of half-naked War Boys. The new mega villain is Chris Hemsworth’s Dementus, who has a hunger for human blood sausage and a knack for spectacularly murdering people who Furiosa cares about.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Miller has added pretentious chapter titles like he was making a black-and-white Czech New Wave exposition on existentialism — “The Pole of Inaccessibility” and “The Stowaway” are among the sections — despite also employing a narrator.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FVswuip0-co\u003c/p>\n\u003cp>By the time Miller is finished, he’s built an epic, gritty history in the Wasteland like \u003cem>Lord of the Rings\u003c/em> or \u003cem>Game of Thrones\u003c/em>. But was the point of this franchise a better understanding of the negotiating tactics of untrusty warlords in a hellscape? No: It was rocket-propelled grenades, motorcycles, chains, massive sandstorms and cracked skulls.\u003c/p>\n\u003cp>The best action sequence happens at the halfway point — not a good omen — with a 15-minute sequence inside, over and under a barreling silver double-tanker War Rig while it is being attacked by motorbikes, buggies and parachuting adversaries. It’s a marvel, truly, but since 2015 we’ve had cooler moments in things like \u003cem>Mission: Impossible\u003c/em> and \u003cem>Fast and Furious\u003c/em> so, sorry, mind not blown.\u003c/p>\n\u003cp>Viewers also spend time whipping through the Citadel, the Bullet Farm and Gas Town but there’s something missing, that unpredictable spark of madness, maybe. Perhaps once you’ve seen an insane guy chained to the outside of a zooming truck playing guitar solos in front of a wall of amps with fire coming out of the headstock, the shock wears off.\u003c/p>\n\u003cp>[aside postid='arts_13957803']Speaking of heavy metal, Hemsworth wears fingerless gloves, a codpiece, leather pants, a sleeveless leather vest and flowing hair, like he was a member of Mötley Crüe circa 1983. He has decided to perform his role in full psychotic camp — licking the tears of a victim, he describes them as “zesty” — and proves it by incorporating a teddy bear into his ensemble. Perhaps he should have his own stand-alone movie because he doesn’t really fit in here as the deranged comedy monster in a film with grim faces and famine.\u003c/p>\n\u003cp>A large part of the problem here is that young Furiosa is on an epic hero’s quest to go home — like \u003cem>The Odyssey\u003c/em> or any \u003cem>John Wick\u003c/em> movie — but we know from \u003cem>Fury Road\u003c/em> that the Green Place is no more. So \u003cem>Furiosa\u003c/em> then just becomes a catalogue of crazy stuff that happens to her until it morphs into her cold-blooded quest for revenge. There’s no real risk either because we know Furiosa lives to team up with Tom Hardy in 2015.\u003c/p>\n\u003cp>It feels like with this fifth Mad Max installment, Miller is trying to add operatic heft and seriousness to what started in 1979 as a fun, rip-roaring smear of nightmarish, post-apocalyptic motor oil. In that case, \u003cem>Fury Road\u003c/em> was fantastic, but \u003cem>Furiosa\u003c/em> is just fine.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Furiosa’ is released nationwide on May 24, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the beginning of \u003cem>Furiosa: A Mad Max Saga\u003c/em>, we are introduced to a kick-ass woman who rides a horse, then a motorbike, nails a few bad guys with sharpshooting finesse and fights off a mob. But it’s not Furiosa — it’s her mom.\u003c/p>\n\u003cp>That’s one of the oddities of this latest offering in the Mad Max Cinematic Universe: Creator and director George Miller has taken the coolest role of 2015’s \u003ca href=\"https://www.kqed.org/arts/10657581/a-visceral-inventive-blockbuster-roars-to-life-in-mad-max-fury-road\">\u003cem>Mad Max: Fury Road\u003c/em>\u003c/a> and built a whole prequel around her yet has her overshadowed by everyone else.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The adult Furiosa — a coiled, clenched Anya Taylor-Joy — only appears after the first hour-mark — we get way too much preteen Furiosa — and she’s meek for another quarter of the film. We, frankly, wanted more. Charlize Theron as Furiosa promised a \u003cem>Top\u003c/em> \u003cem>Gun\u003c/em> swagger yet Taylor-Joy mostly does furious side eye.\u003c/p>\n\u003cp>What goes into making adult Furiosa is very unpleasant: She endures childhood kidnapping and torture, goes mute, passes herself as a boy, gets traded for gas, works her way up a madman’s hierarchy and only in the final scenes does she have real agency. We do learn how her left hand was maimed and that she was sweet on a guy. But making her mute? In her own movie?\u003c/p>\n\u003cp>Back are some familiar, scarred faces — Immortan Joe, The People Eater and a legion of half-naked War Boys. The new mega villain is Chris Hemsworth’s Dementus, who has a hunger for human blood sausage and a knack for spectacularly murdering people who Furiosa cares about.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Miller has added pretentious chapter titles like he was making a black-and-white Czech New Wave exposition on existentialism — “The Pole of Inaccessibility” and “The Stowaway” are among the sections — despite also employing a narrator.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FVswuip0-co'\n title='//www.youtube.com/embed/FVswuip0-co'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By the time Miller is finished, he’s built an epic, gritty history in the Wasteland like \u003cem>Lord of the Rings\u003c/em> or \u003cem>Game of Thrones\u003c/em>. But was the point of this franchise a better understanding of the negotiating tactics of untrusty warlords in a hellscape? No: It was rocket-propelled grenades, motorcycles, chains, massive sandstorms and cracked skulls.\u003c/p>\n\u003cp>The best action sequence happens at the halfway point — not a good omen — with a 15-minute sequence inside, over and under a barreling silver double-tanker War Rig while it is being attacked by motorbikes, buggies and parachuting adversaries. It’s a marvel, truly, but since 2015 we’ve had cooler moments in things like \u003cem>Mission: Impossible\u003c/em> and \u003cem>Fast and Furious\u003c/em> so, sorry, mind not blown.\u003c/p>\n\u003cp>Viewers also spend time whipping through the Citadel, the Bullet Farm and Gas Town but there’s something missing, that unpredictable spark of madness, maybe. Perhaps once you’ve seen an insane guy chained to the outside of a zooming truck playing guitar solos in front of a wall of amps with fire coming out of the headstock, the shock wears off.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Speaking of heavy metal, Hemsworth wears fingerless gloves, a codpiece, leather pants, a sleeveless leather vest and flowing hair, like he was a member of Mötley Crüe circa 1983. He has decided to perform his role in full psychotic camp — licking the tears of a victim, he describes them as “zesty” — and proves it by incorporating a teddy bear into his ensemble. Perhaps he should have his own stand-alone movie because he doesn’t really fit in here as the deranged comedy monster in a film with grim faces and famine.\u003c/p>\n\u003cp>A large part of the problem here is that young Furiosa is on an epic hero’s quest to go home — like \u003cem>The Odyssey\u003c/em> or any \u003cem>John Wick\u003c/em> movie — but we know from \u003cem>Fury Road\u003c/em> that the Green Place is no more. So \u003cem>Furiosa\u003c/em> then just becomes a catalogue of crazy stuff that happens to her until it morphs into her cold-blooded quest for revenge. There’s no real risk either because we know Furiosa lives to team up with Tom Hardy in 2015.\u003c/p>\n\u003cp>It feels like with this fifth Mad Max installment, Miller is trying to add operatic heft and seriousness to what started in 1979 as a fun, rip-roaring smear of nightmarish, post-apocalyptic motor oil. In that case, \u003cem>Fury Road\u003c/em> was fantastic, but \u003cem>Furiosa\u003c/em> is just fine.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Furiosa’ is released nationwide on May 24, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Pursuit of Radical Honesty, ‘Jerrod Carmichael Reality Show’ Delivers Ambiguity",
"headTitle": "In Pursuit of Radical Honesty, ‘Jerrod Carmichael Reality Show’ Delivers Ambiguity | KQED",
"content": "\u003cp>Peruse any online thread discussing \u003cem>Jerrod Carmichael Reality Show\u003c/em>, the disquieting HBO series created by and starring the titular comedian and filmmaker, and colorful descriptors like “pretentious,” “mega narcissist,” and “self-righteous piece of [\u003cem>redacted\u003c/em>]” are bound to appear.\u003c/p>\n\u003cp>“This show seems kinda invasive,” one observer noted\u003ca href=\"https://www.reddit.com/r/JerrodCarmichael/comments/1brcpr5/jerrod_carmichael_reality_show_kinda_weird_to/\"> on Reddit\u003c/a>. “… I’m not sure what the obsession is with public humiliation … About a year ago, I was very much a fan of his honesty and what seemed to be [a] down to earth personality but it looks like it’s morphed into the narcissistic cry for help.”\u003c/p>\n\u003cp>Carmichael earned a lot of good will from his 2022 breakout standup special\u003cem>\u003ca href=\"https://www.npr.org/2022/04/11/1091748272/jerrod-carmichael-rothaniel-standup-special-hbo-comes-out\"> Rothaniel\u003c/a>\u003c/em>, in which he — among other things — came out publicly as gay and processed his mom Cynthia’s devout homophobia. It launched him into the “mainstream”; that is, a stratosphere where one wins prestigious awards, guest hosts \u003cem>Saturday Night Live\u003c/em>, and makes headlines for\u003ca href=\"https://variety.com/2024/film/news/jerrod-carmichael-regrets-dave-chappelle-criticism-trans-jokes-1235974314/\"> easily agitating\u003c/a> the ever-crotchety elder statesman Dave Chappelle.\u003c/p>\n\u003cp>[aside postid='arts_13957959']He was easy to root for because he treated the performance like a therapist’s couch, a safe space where he could break through the silence that encourages shame and deceit. It was different from, but in the lineage of,\u003ca href=\"https://www.youtube.com/watch?v=HUUCnt0Jexg\"> Richard Pryor’s recounting of his own drug addiction\u003c/a> in \u003cem>Live on the Sunset Strip\u003c/em> — confessional, blunt, and refreshingly relatable to those who’ve shared a similar experience, delivered in the way only a gifted and self-aware comedian can.\u003c/p>\n\u003cp>But \u003cem>Reality Show \u003c/em>practices an entirely different mode of candor. On camera, Carmichael cheats on his boyfriend Mike and later lies about it during their couples therapy session. He misses a friend’s wedding because he makes a pit stop to get a hot dog along the way. (He was supposed to be the best man.) He goads his parents Joe and Cynthia into having raw, painful discussions about their once-private lives and tightly held beliefs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All of this is done in service of what he sees as a greater good: radical honesty, which he in turn hopes will lead to stronger bonds with his loved ones. Yet for some, the show has morphed the perception of him from that of an artist valiantly speaking the truth to an exhaustingly selfish crusader for a very specific truth — his own. And whether or not he succeeds at repairing his fractured relationships is only partially answered by \u003cem>Reality Show\u003c/em>‘s finale, which aired Friday.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r5Jly91mvGA\u003c/p>\n\u003ch3>\u003cem>\u003cstrong>Reality Show\u003c/strong>\u003c/em>\u003cstrong> stands apart\u003c/strong>\u003c/h3>\n\u003cp>If \u003cem>Rothaniel \u003c/em>was presented as catharsis, \u003cem>Reality Show \u003c/em>arguably functions as exploitation. It’s one thing to process grief, pain, and pathos through your art; it’s utterly baffling to directly involve the sources of that pathos in your artistic process, particularly when they seem formidably resistant to even acknowledging themselves as the source.\u003c/p>\n\u003cp>This isn’t the first time. In 2019, Carmichael released two HBO documentary specials that also featured him in conversation with his family, \u003cem>Home Videos \u003c/em>and \u003cem>Sermon on the Mount. Home Videos \u003c/em>is where he first tested the waters to see how his mom would react to him coming out to her. On camera, he offhandedly dropped in an admission that he’s hooked up with men but stopped short at identifying as gay. Cynthia barely acknowledged the unexpected disclosure.\u003c/p>\n\u003cp>As Carmichael told Dave Holmes for\u003ca href=\"https://www.esquire.com/entertainment/tv/a60341676/jerrod-carmichael-reality-show-profile-2024/\"> \u003cem>Esquire\u003c/em>\u003c/a>, the silence from his parents after coming out is what pushed him to create \u003cem>Reality Show \u003c/em>in the first place: “The lack of acknowledgment is what made me go, ‘Okay, I’ll turn the volume up.’ How do I make it as extreme as possible? It’s testing the limits of their cognitive dissonance.”\u003c/p>\n\u003cp>The extremities make up a strange gumbo: One-part old-school docu-style reality TV (in a different era, this could’ve been \u003cem>True Life\u003c/em>: “My Mom’s a Homophobe”); a dash of trashy celeb-reality (think \u003cem>Being Bobby Brown\u003c/em> or \u003cem>Britney & Kevin: Chaotic\u003c/em>); and another part self-referential prestige experiment (Sarah Polley’s \u003cem>Stories We Tell\u003c/em> or \u003cem>How To with John Wilson\u003c/em>).\u003c/p>\n\u003cp>[aside postid='arts_13957624']For all its cross-cultural parallels, though, \u003cem>Reality Show \u003c/em>stands apart. To his credit, while he has near-total creative control as the creator, co-executive producer, and star, he’s willing to show himself being challenged by his own cognitive dissonance. Within the first few minutes of \u003cem>Reality Show\u003c/em>, he makes his MO plain: “Cameras make me feel more comfortable, I like this — it seems permanent, and it feels really dumb to lie.” And yet, we later watch him lie on camera about being monogamous during a couples therapy session with Mike, proving he struggles to adhere to his own ethos, at least at first. (As the season carries on, he and Mike try out non-monogamy together, and seem to find that it works for them.)\u003c/p>\n\u003cp>The reality TV genre feeds heartily upon the judgmental instincts of its viewers. It needs audiences to engage with it as gossip fodder and opinion-generator, encouraging those who tune in for the “real”-ish drama to scoff at the foolish personalities, cheer on the likable heroes, and boo the flamboyant antagonists. Carmichael clearly understands the format — unscripted in theory, though manipulated and edited to make the “real” fit more neatly into a dramatic arc — and bends it to his will. And while the crudest entries in the reality genre tend to bring up social issues and prejudices either unintentionally or superficially, with \u003cem>Reality Show\u003c/em>, Carmichael chooses to purposefully expose the issues in the name of raw, unfiltered honesty.\u003c/p>\n\u003ch3>\u003cstrong>“I think this will be good for you”\u003c/strong>\u003c/h3>\n\u003cp>In the mid-2010s, he co-created and starred in the loosely autobiographical network sitcom \u003cem>The Carmichael Show\u003c/em>. Far more subversive than its multi-camera, live studio audience format let on, it positioned him as a nihilistic provocateur who revels in frank, multi-generational conversations on an assortment of hot-button issues with his fictional family: abortion, assisted suicide, mass shootings, depression. (It’s frequently, and aptly, been referred to as a modern-day \u003cem>All in the Family\u003c/em>.)\u003c/p>\n\u003cp>A Season 2 episode focuses on Jerrod’s dad Joe (David Alan Grier) as he prepares to deliver a eulogy for his own father, who was abusive and abandoned the family long ago. Jerrod doesn’t understand why Joe would want to honor him — “Am I the only one who remembers what a deadbeat that man was?” — but Joe feels bound by the tradition of never speaking ill of the dead. Jerrod counters that if Joe is going to give the eulogy, he should at least tell the truth about who the man was: “I think it will be good for you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oAM0GQW-Q04&t=3s\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>That line could’ve been the tagline for \u003cem>Reality Show\u003c/em>, which finds Carmichael butting up against the people in his life — many of them older — who bristle at his desire to revisit painful memories from the past. In the fourth episode, Jerrod attempts to have a straightforward conversation with his real dad Joe, and pelts him with a rapid-fire series of questions about the double life Joe led for years, which included having a secret second family with another woman.\u003c/p>\n\u003cp>“Would you say you loved [the other woman]? Or was it just like, sexual, or was it — ’cause it was a long time, what – like, 40 years of a relationship? Was it hard every time? Did you feel like a bad person?”\u003c/p>\n\u003cp>[aside postid='arts_13956944']Joe, clearly uncomfortable, begins to shut down and insist that the past is the past, but Jerrod keeps pressing him. Joe snaps back: “Why are you digging into this so deep, son?”\u003c/p>\n\u003cp>\u003cem>I think it will be good for you\u003c/em>.\u003c/p>\n\u003cp>“Is this gonna be on your special?” Joe wearily asks. “This is hard for me to discuss on cameras.”\u003c/p>\n\u003cp>Doing this in front of cameras is the only way Carmichael, a late-30s millennial who came of age in the early years of oversharing — \u003cem>The Real World\u003c/em>, blogging, Facebook — knows how to have (or force, really) these conversations. It’s telling that, spliced throughout some of the episodes, \u003cem>Reality Show \u003c/em>includes footage from the Carmichael family’s home videos going back decades, some of which Jerrod himself shot as a kid with a camcorder. The grainy images root the present-day points of conflict firmly in an “authentic” past, suggesting that this project was predestined, something this artist has unintentionally been working toward for decades.\u003c/p>\n\u003cp>“Your option is \u003cem>no\u003c/em> option,” Jerrod snaps back at Joe around that campfire, “so don’t criticize the way I do it. If the cameras help me, then they f—— help. But your way is nothing\u003cstrong>, \u003c/strong>your way is silence\u003cstrong>, \u003c/strong>your way is death.”\u003c/p>\n\u003cp>Eventually, Joe is tapped out. “You’ve expressed yourself … can I go home?”\u003c/p>\n\u003cp>The camera gives Jerrod courage, a security blanket to wear while attempting to address the distance between him and Joe, yet it’s not yielding the results he’s looking for. It’s hard not to wonder if the cameras are actually hindering him in the long run, keeping him stuck on the false hope that others around him — who have thus far only proven rigid in their stances — might open up to him the way he wants them to.\u003c/p>\n\u003cfigure id=\"attachment_13958132\" class=\"wp-caption aligncenter\" style=\"max-width: 1789px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958132\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7.jpg\" alt=\"Close up on a young Black man's face and shoulders. He is glancing downwards and smiling.\" width=\"1789\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7.jpg 1789w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-800x482.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-1536x926.jpg 1536w\" sizes=\"(max-width: 1789px) 100vw, 1789px\">\u003cfigcaption class=\"wp-caption-text\">Jerrod Carmichael in ‘Jerrod Carmichael Reality Show.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>Bending his truth for his mom\u003c/strong>\u003c/h3>\n\u003cp>At the core of \u003cem>Reality Show,\u003c/em> nestled beneath the layer of a mission for radical truth, is Carmichael’s determination to radically alter worldviews. “Could my mom \u003cem>change\u003c/em>?” he ponders at one point. He surmises, “It’s reason to keep fighting.”\u003c/p>\n\u003cp>“I’m not going to sit here and lie to you,” his uber-Christian mom Cynthia insists in the finale, while repeating yet again that she’d “prefer” that he isn’t gay. (In an earlier episode, she likened homosexuality to being a murderer.) Cynthia might be the most authentic of all the figures in \u003cem>Reality Show\u003c/em>, unapologetically herself. His impasse with her has less to do with avoiding the truth than it does the fact that \u003cem>her\u003c/em> truth stands in direct opposition to \u003cem>his\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13957776']She visits Jerrod and Mike in New York City for Mother’s Day weekend, and he takes her to a queer-friendly Harlem church, where the pastor pushes back against her insistence that the Bible condemns homosexuality. Later they meet with a queer therapist for joint counseling. Neither of these experiences sees her budging from her stance: “I’d like for him not to be gay,” she tells the therapist during one-on-one time, adding matter-of-factly, “I can go further [with my acceptance], I just choose right now not to … I don’t want to.”\u003c/p>\n\u003cp>Later, when she reiterates her desire for him to find a woman to settle down with, he tries meeting her on her terms: He consents to letting her attempt to pray away the gay in front of him. She’s truly giddy; it might be the happiest she appears in the entire show. “I love you. That blessed my heart,” she says, satisfied. She’s completely unaware (or unbothered?) by how her son’s body seems to recoil out of deep discomfort.\u003c/p>\n\u003cp>In an effective bit of dramatic editing, the prayer immediately cuts to Carmichael remarking on the moment during a standup performance. “She was so happy that I let her do it. I immediately regretted it.”\u003c/p>\n\u003cfigure id=\"attachment_13958135\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958135\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM.png\" alt=\"A Black man wearing a red shirt leans forward and smiles towards a microphone. He has one arm raised next to him.\" width=\"1290\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-1020x571.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-768x430.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Carmichael in ‘Rothaniel,’ his 2022 special. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout \u003cem>Reality Show\u003c/em>, Carmichael imagines standup snippets as if they were a more elevated version of a confessional booth, that reality TV convention where the cast members get to narrate their perspective of the story unfolding. It’s devastating watching him concede to her, to allow her this delusion. But there’s life as-it-happens and life as reflected upon later. And it’s important to note this doesn’t come out of nowhere; this has been years in the making, with long periods of absence and occasional heated exchanges, some of which were captured on camera. Through his extravagant attempts at familial reconciliation, Jerrod’s ultimately realized he has to bend his truth a little to maintain some sort of relationship with Cynthia.\u003c/p>\n\u003cp>\u003cem>I think it will be good for you.\u003c/em>\u003c/p>\n\u003cp>“You know what I realized I need is a reason to believe everything will be OK,” he adds. “I’m always looking for that. When I was young, I found it in my mother. And now, I’m finding a lot of that in [Mike].” As he says this, a montage of images flurry by: Cynthia packing her bags in her hotel room to go back home to North Carolina; a younger Cynthia smiling for the camera in a home video; Mike teaching Jerrod how to swim in a pool.\u003c/p>\n\u003ch3>A revelatory viewing experience\u003c/h3>\n\u003cp>And yet the finale also suggests a small but perceptible shift in Jerrod’s relationship with Cynthia, and proves the show is more than a masochistic, navel-gazey affair (though it’s certainly that, too). This is soap opera verité in its most anarchic state — almost certainly a terrible idea for everyone involved, but quite possibly a learning experience for those observing from the outside looking in.\u003c/p>\n\u003cp>The post-credits sequence is jarringly optimistic. The final image is of Mike and Cynthia laughing together in her kitchen in North Carolina a few months later; she even places her hand affectionately on his back for a quick moment. We have no idea if Cynthia still believes Jerrod and Mike are on equally sinful footing with murderers, though the scene implies something within her has softened.\u003c/p>\n\u003cp>[aside postid='arts_13957264']It’s unclear what we’re supposed to make of this — that maybe Jerrod’s persistence has actually helped him reconnect with his family? If so, it’s worth considering \u003cem>Reality Show \u003c/em>a success for what he’s said he wanted out of this project, even if there’s reason to be disappointed in the concessions he may have had to make to get there.\u003c/p>\n\u003cp>The impulse to question why any of this needed to happen in such a public manner doesn’t completely recede with this conclusion, though maybe it makes the show’s existence easier to digest. In any case, the ending is hardly pat — real life plays out on its own terms away from the cameras — and \u003cem>Reality Show\u003c/em>‘s frank depiction of a Black queer man attempting to push back against his family’s culture of silence moves the needle even further than \u003cem>Rothaniel \u003c/em>did. He’s provided viewers with an imperfect guide for how to have difficult but necessary conversations with the people they care about (preferably without dropping a camera crew in the mix).\u003c/p>\n\u003cp>Oddly enough, \u003cem>Reality Show \u003c/em>shares a bit in common with the most recent season of the absurdist Netflix dating series \u003cem>Love Is Blind\u003c/em>, which featured Clay, a young Black man who also dealt with unresolved trauma stemming from his own dad’s infidelities in a very public manner. The show’s silly “social experiment” — above all designed for maximum gawking and entertainment — inadvertently stumbled into a candid and relatively honest discussion about Black masculinity and generational trauma.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/17/love_is_blind_n_s6_e12_00_39_17_08rc.jpg-love_is_blind_n_s6_e12_00_39_17_08rc_custom-77d3eee5e4f32c0f5926a2d07484a391247d72ea.jpg?s=1200&c=75&f=jpeg\" alt=\"A young Black man in a smart suit walks arm-in-arm with an older Black woman who is wearing a green formal dress and yellow shoulder wrap.\" width=\"1200\" height=\"707\">\u003cfigcaption class=\"wp-caption-text\">Clay and his mom Margarita on ‘Love is Blind.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>At Clay’s doomed wedding ceremony to AD, his mom Margarita, no longer married to his dad Trevor, gave the series its truest moment thus far, when she explained to Trevor how his actions were affecting their son all these years later. “Your past and things that you witness, it’s part of your DNA. It’s part of your inside. And if you don’t get freakin’ help, you bring that s— into the next thing.”\u003c/p>\n\u003cp>Clay brought his baggage into \u003cem>Love Is Blind \u003c/em>and Jerrod brought his into \u003cem>Reality Show. \u003c/em>Disarray ensued and feelings were hurt. There’s a silver lining though: In making highly questionable decisions for all the world to see, they forced conversations that need to be had but often aren’t, and perhaps some viewers may come away feeling inspired to confront similar issues in their own lives. Even amid all the mess, some honesty managed to break through the silence.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Season 1 of ‘Jerrod Carmichael Reality Show’ is streaming now on Max.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Peruse any online thread discussing \u003cem>Jerrod Carmichael Reality Show\u003c/em>, the disquieting HBO series created by and starring the titular comedian and filmmaker, and colorful descriptors like “pretentious,” “mega narcissist,” and “self-righteous piece of [\u003cem>redacted\u003c/em>]” are bound to appear.\u003c/p>\n\u003cp>“This show seems kinda invasive,” one observer noted\u003ca href=\"https://www.reddit.com/r/JerrodCarmichael/comments/1brcpr5/jerrod_carmichael_reality_show_kinda_weird_to/\"> on Reddit\u003c/a>. “… I’m not sure what the obsession is with public humiliation … About a year ago, I was very much a fan of his honesty and what seemed to be [a] down to earth personality but it looks like it’s morphed into the narcissistic cry for help.”\u003c/p>\n\u003cp>Carmichael earned a lot of good will from his 2022 breakout standup special\u003cem>\u003ca href=\"https://www.npr.org/2022/04/11/1091748272/jerrod-carmichael-rothaniel-standup-special-hbo-comes-out\"> Rothaniel\u003c/a>\u003c/em>, in which he — among other things — came out publicly as gay and processed his mom Cynthia’s devout homophobia. It launched him into the “mainstream”; that is, a stratosphere where one wins prestigious awards, guest hosts \u003cem>Saturday Night Live\u003c/em>, and makes headlines for\u003ca href=\"https://variety.com/2024/film/news/jerrod-carmichael-regrets-dave-chappelle-criticism-trans-jokes-1235974314/\"> easily agitating\u003c/a> the ever-crotchety elder statesman Dave Chappelle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He was easy to root for because he treated the performance like a therapist’s couch, a safe space where he could break through the silence that encourages shame and deceit. It was different from, but in the lineage of,\u003ca href=\"https://www.youtube.com/watch?v=HUUCnt0Jexg\"> Richard Pryor’s recounting of his own drug addiction\u003c/a> in \u003cem>Live on the Sunset Strip\u003c/em> — confessional, blunt, and refreshingly relatable to those who’ve shared a similar experience, delivered in the way only a gifted and self-aware comedian can.\u003c/p>\n\u003cp>But \u003cem>Reality Show \u003c/em>practices an entirely different mode of candor. On camera, Carmichael cheats on his boyfriend Mike and later lies about it during their couples therapy session. He misses a friend’s wedding because he makes a pit stop to get a hot dog along the way. (He was supposed to be the best man.) He goads his parents Joe and Cynthia into having raw, painful discussions about their once-private lives and tightly held beliefs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All of this is done in service of what he sees as a greater good: radical honesty, which he in turn hopes will lead to stronger bonds with his loved ones. Yet for some, the show has morphed the perception of him from that of an artist valiantly speaking the truth to an exhaustingly selfish crusader for a very specific truth — his own. And whether or not he succeeds at repairing his fractured relationships is only partially answered by \u003cem>Reality Show\u003c/em>‘s finale, which aired Friday.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/r5Jly91mvGA'\n title='//www.youtube.com/embed/r5Jly91mvGA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cem>\u003cstrong>Reality Show\u003c/strong>\u003c/em>\u003cstrong> stands apart\u003c/strong>\u003c/h3>\n\u003cp>If \u003cem>Rothaniel \u003c/em>was presented as catharsis, \u003cem>Reality Show \u003c/em>arguably functions as exploitation. It’s one thing to process grief, pain, and pathos through your art; it’s utterly baffling to directly involve the sources of that pathos in your artistic process, particularly when they seem formidably resistant to even acknowledging themselves as the source.\u003c/p>\n\u003cp>This isn’t the first time. In 2019, Carmichael released two HBO documentary specials that also featured him in conversation with his family, \u003cem>Home Videos \u003c/em>and \u003cem>Sermon on the Mount. Home Videos \u003c/em>is where he first tested the waters to see how his mom would react to him coming out to her. On camera, he offhandedly dropped in an admission that he’s hooked up with men but stopped short at identifying as gay. Cynthia barely acknowledged the unexpected disclosure.\u003c/p>\n\u003cp>As Carmichael told Dave Holmes for\u003ca href=\"https://www.esquire.com/entertainment/tv/a60341676/jerrod-carmichael-reality-show-profile-2024/\"> \u003cem>Esquire\u003c/em>\u003c/a>, the silence from his parents after coming out is what pushed him to create \u003cem>Reality Show \u003c/em>in the first place: “The lack of acknowledgment is what made me go, ‘Okay, I’ll turn the volume up.’ How do I make it as extreme as possible? It’s testing the limits of their cognitive dissonance.”\u003c/p>\n\u003cp>The extremities make up a strange gumbo: One-part old-school docu-style reality TV (in a different era, this could’ve been \u003cem>True Life\u003c/em>: “My Mom’s a Homophobe”); a dash of trashy celeb-reality (think \u003cem>Being Bobby Brown\u003c/em> or \u003cem>Britney & Kevin: Chaotic\u003c/em>); and another part self-referential prestige experiment (Sarah Polley’s \u003cem>Stories We Tell\u003c/em> or \u003cem>How To with John Wilson\u003c/em>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For all its cross-cultural parallels, though, \u003cem>Reality Show \u003c/em>stands apart. To his credit, while he has near-total creative control as the creator, co-executive producer, and star, he’s willing to show himself being challenged by his own cognitive dissonance. Within the first few minutes of \u003cem>Reality Show\u003c/em>, he makes his MO plain: “Cameras make me feel more comfortable, I like this — it seems permanent, and it feels really dumb to lie.” And yet, we later watch him lie on camera about being monogamous during a couples therapy session with Mike, proving he struggles to adhere to his own ethos, at least at first. (As the season carries on, he and Mike try out non-monogamy together, and seem to find that it works for them.)\u003c/p>\n\u003cp>The reality TV genre feeds heartily upon the judgmental instincts of its viewers. It needs audiences to engage with it as gossip fodder and opinion-generator, encouraging those who tune in for the “real”-ish drama to scoff at the foolish personalities, cheer on the likable heroes, and boo the flamboyant antagonists. Carmichael clearly understands the format — unscripted in theory, though manipulated and edited to make the “real” fit more neatly into a dramatic arc — and bends it to his will. And while the crudest entries in the reality genre tend to bring up social issues and prejudices either unintentionally or superficially, with \u003cem>Reality Show\u003c/em>, Carmichael chooses to purposefully expose the issues in the name of raw, unfiltered honesty.\u003c/p>\n\u003ch3>\u003cstrong>“I think this will be good for you”\u003c/strong>\u003c/h3>\n\u003cp>In the mid-2010s, he co-created and starred in the loosely autobiographical network sitcom \u003cem>The Carmichael Show\u003c/em>. Far more subversive than its multi-camera, live studio audience format let on, it positioned him as a nihilistic provocateur who revels in frank, multi-generational conversations on an assortment of hot-button issues with his fictional family: abortion, assisted suicide, mass shootings, depression. (It’s frequently, and aptly, been referred to as a modern-day \u003cem>All in the Family\u003c/em>.)\u003c/p>\n\u003cp>A Season 2 episode focuses on Jerrod’s dad Joe (David Alan Grier) as he prepares to deliver a eulogy for his own father, who was abusive and abandoned the family long ago. Jerrod doesn’t understand why Joe would want to honor him — “Am I the only one who remembers what a deadbeat that man was?” — but Joe feels bound by the tradition of never speaking ill of the dead. Jerrod counters that if Joe is going to give the eulogy, he should at least tell the truth about who the man was: “I think it will be good for you.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oAM0GQW-Q04'\n title='//www.youtube.com/embed/oAM0GQW-Q04'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>That line could’ve been the tagline for \u003cem>Reality Show\u003c/em>, which finds Carmichael butting up against the people in his life — many of them older — who bristle at his desire to revisit painful memories from the past. In the fourth episode, Jerrod attempts to have a straightforward conversation with his real dad Joe, and pelts him with a rapid-fire series of questions about the double life Joe led for years, which included having a secret second family with another woman.\u003c/p>\n\u003cp>“Would you say you loved [the other woman]? Or was it just like, sexual, or was it — ’cause it was a long time, what – like, 40 years of a relationship? Was it hard every time? Did you feel like a bad person?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Joe, clearly uncomfortable, begins to shut down and insist that the past is the past, but Jerrod keeps pressing him. Joe snaps back: “Why are you digging into this so deep, son?”\u003c/p>\n\u003cp>\u003cem>I think it will be good for you\u003c/em>.\u003c/p>\n\u003cp>“Is this gonna be on your special?” Joe wearily asks. “This is hard for me to discuss on cameras.”\u003c/p>\n\u003cp>Doing this in front of cameras is the only way Carmichael, a late-30s millennial who came of age in the early years of oversharing — \u003cem>The Real World\u003c/em>, blogging, Facebook — knows how to have (or force, really) these conversations. It’s telling that, spliced throughout some of the episodes, \u003cem>Reality Show \u003c/em>includes footage from the Carmichael family’s home videos going back decades, some of which Jerrod himself shot as a kid with a camcorder. The grainy images root the present-day points of conflict firmly in an “authentic” past, suggesting that this project was predestined, something this artist has unintentionally been working toward for decades.\u003c/p>\n\u003cp>“Your option is \u003cem>no\u003c/em> option,” Jerrod snaps back at Joe around that campfire, “so don’t criticize the way I do it. If the cameras help me, then they f—— help. But your way is nothing\u003cstrong>, \u003c/strong>your way is silence\u003cstrong>, \u003c/strong>your way is death.”\u003c/p>\n\u003cp>Eventually, Joe is tapped out. “You’ve expressed yourself … can I go home?”\u003c/p>\n\u003cp>The camera gives Jerrod courage, a security blanket to wear while attempting to address the distance between him and Joe, yet it’s not yielding the results he’s looking for. It’s hard not to wonder if the cameras are actually hindering him in the long run, keeping him stuck on the false hope that others around him — who have thus far only proven rigid in their stances — might open up to him the way he wants them to.\u003c/p>\n\u003cfigure id=\"attachment_13958132\" class=\"wp-caption aligncenter\" style=\"max-width: 1789px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958132\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7.jpg\" alt=\"Close up on a young Black man's face and shoulders. He is glancing downwards and smiling.\" width=\"1789\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7.jpg 1789w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-800x482.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/jerrod-carmichael_custom-67d8224a2611e29d2511ebe6abc728591a1f07f7-1536x926.jpg 1536w\" sizes=\"(max-width: 1789px) 100vw, 1789px\">\u003cfigcaption class=\"wp-caption-text\">Jerrod Carmichael in ‘Jerrod Carmichael Reality Show.’ \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>Bending his truth for his mom\u003c/strong>\u003c/h3>\n\u003cp>At the core of \u003cem>Reality Show,\u003c/em> nestled beneath the layer of a mission for radical truth, is Carmichael’s determination to radically alter worldviews. “Could my mom \u003cem>change\u003c/em>?” he ponders at one point. He surmises, “It’s reason to keep fighting.”\u003c/p>\n\u003cp>“I’m not going to sit here and lie to you,” his uber-Christian mom Cynthia insists in the finale, while repeating yet again that she’d “prefer” that he isn’t gay. (In an earlier episode, she likened homosexuality to being a murderer.) Cynthia might be the most authentic of all the figures in \u003cem>Reality Show\u003c/em>, unapologetically herself. His impasse with her has less to do with avoiding the truth than it does the fact that \u003cem>her\u003c/em> truth stands in direct opposition to \u003cem>his\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She visits Jerrod and Mike in New York City for Mother’s Day weekend, and he takes her to a queer-friendly Harlem church, where the pastor pushes back against her insistence that the Bible condemns homosexuality. Later they meet with a queer therapist for joint counseling. Neither of these experiences sees her budging from her stance: “I’d like for him not to be gay,” she tells the therapist during one-on-one time, adding matter-of-factly, “I can go further [with my acceptance], I just choose right now not to … I don’t want to.”\u003c/p>\n\u003cp>Later, when she reiterates her desire for him to find a woman to settle down with, he tries meeting her on her terms: He consents to letting her attempt to pray away the gay in front of him. She’s truly giddy; it might be the happiest she appears in the entire show. “I love you. That blessed my heart,” she says, satisfied. She’s completely unaware (or unbothered?) by how her son’s body seems to recoil out of deep discomfort.\u003c/p>\n\u003cp>In an effective bit of dramatic editing, the prayer immediately cuts to Carmichael remarking on the moment during a standup performance. “She was so happy that I let her do it. I immediately regretted it.”\u003c/p>\n\u003cfigure id=\"attachment_13958135\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958135\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM.png\" alt=\"A Black man wearing a red shirt leans forward and smiles towards a microphone. He has one arm raised next to him.\" width=\"1290\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-800x448.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-1020x571.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-10.44.03-AM-768x430.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Carmichael in ‘Rothaniel,’ his 2022 special. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout \u003cem>Reality Show\u003c/em>, Carmichael imagines standup snippets as if they were a more elevated version of a confessional booth, that reality TV convention where the cast members get to narrate their perspective of the story unfolding. It’s devastating watching him concede to her, to allow her this delusion. But there’s life as-it-happens and life as reflected upon later. And it’s important to note this doesn’t come out of nowhere; this has been years in the making, with long periods of absence and occasional heated exchanges, some of which were captured on camera. Through his extravagant attempts at familial reconciliation, Jerrod’s ultimately realized he has to bend his truth a little to maintain some sort of relationship with Cynthia.\u003c/p>\n\u003cp>\u003cem>I think it will be good for you.\u003c/em>\u003c/p>\n\u003cp>“You know what I realized I need is a reason to believe everything will be OK,” he adds. “I’m always looking for that. When I was young, I found it in my mother. And now, I’m finding a lot of that in [Mike].” As he says this, a montage of images flurry by: Cynthia packing her bags in her hotel room to go back home to North Carolina; a younger Cynthia smiling for the camera in a home video; Mike teaching Jerrod how to swim in a pool.\u003c/p>\n\u003ch3>A revelatory viewing experience\u003c/h3>\n\u003cp>And yet the finale also suggests a small but perceptible shift in Jerrod’s relationship with Cynthia, and proves the show is more than a masochistic, navel-gazey affair (though it’s certainly that, too). This is soap opera verité in its most anarchic state — almost certainly a terrible idea for everyone involved, but quite possibly a learning experience for those observing from the outside looking in.\u003c/p>\n\u003cp>The post-credits sequence is jarringly optimistic. The final image is of Mike and Cynthia laughing together in her kitchen in North Carolina a few months later; she even places her hand affectionately on his back for a quick moment. We have no idea if Cynthia still believes Jerrod and Mike are on equally sinful footing with murderers, though the scene implies something within her has softened.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s unclear what we’re supposed to make of this — that maybe Jerrod’s persistence has actually helped him reconnect with his family? If so, it’s worth considering \u003cem>Reality Show \u003c/em>a success for what he’s said he wanted out of this project, even if there’s reason to be disappointed in the concessions he may have had to make to get there.\u003c/p>\n\u003cp>The impulse to question why any of this needed to happen in such a public manner doesn’t completely recede with this conclusion, though maybe it makes the show’s existence easier to digest. In any case, the ending is hardly pat — real life plays out on its own terms away from the cameras — and \u003cem>Reality Show\u003c/em>‘s frank depiction of a Black queer man attempting to push back against his family’s culture of silence moves the needle even further than \u003cem>Rothaniel \u003c/em>did. He’s provided viewers with an imperfect guide for how to have difficult but necessary conversations with the people they care about (preferably without dropping a camera crew in the mix).\u003c/p>\n\u003cp>Oddly enough, \u003cem>Reality Show \u003c/em>shares a bit in common with the most recent season of the absurdist Netflix dating series \u003cem>Love Is Blind\u003c/em>, which featured Clay, a young Black man who also dealt with unresolved trauma stemming from his own dad’s infidelities in a very public manner. The show’s silly “social experiment” — above all designed for maximum gawking and entertainment — inadvertently stumbled into a candid and relatively honest discussion about Black masculinity and generational trauma.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/17/love_is_blind_n_s6_e12_00_39_17_08rc.jpg-love_is_blind_n_s6_e12_00_39_17_08rc_custom-77d3eee5e4f32c0f5926a2d07484a391247d72ea.jpg?s=1200&c=75&f=jpeg\" alt=\"A young Black man in a smart suit walks arm-in-arm with an older Black woman who is wearing a green formal dress and yellow shoulder wrap.\" width=\"1200\" height=\"707\">\u003cfigcaption class=\"wp-caption-text\">Clay and his mom Margarita on ‘Love is Blind.’\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>At Clay’s doomed wedding ceremony to AD, his mom Margarita, no longer married to his dad Trevor, gave the series its truest moment thus far, when she explained to Trevor how his actions were affecting their son all these years later. “Your past and things that you witness, it’s part of your DNA. It’s part of your inside. And if you don’t get freakin’ help, you bring that s— into the next thing.”\u003c/p>\n\u003cp>Clay brought his baggage into \u003cem>Love Is Blind \u003c/em>and Jerrod brought his into \u003cem>Reality Show. \u003c/em>Disarray ensued and feelings were hurt. There’s a silver lining though: In making highly questionable decisions for all the world to see, they forced conversations that need to be had but often aren’t, and perhaps some viewers may come away feeling inspired to confront similar issues in their own lives. Even amid all the mess, some honesty managed to break through the silence.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Season 1 of ‘Jerrod Carmichael Reality Show’ is streaming now on Max.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Babes’ is a Giddy, Raunchy, Moving and (Very) Gooey Look at Childbirth and Friendship",
"headTitle": "‘Babes’ is a Giddy, Raunchy, Moving and (Very) Gooey Look at Childbirth and Friendship | KQED",
"content": "\u003cfigure id=\"attachment_13957964\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-15-at-5.38.43-PM-e1715820056416.png\" alt=\"A pregnant Black woman talks to a shorter white woman outside a restaurant.\" width=\"1920\" height=\"1139\">\u003cfigcaption class=\"wp-caption-text\">Michelle Buteau and Ilana Glazer in ‘Babes.’ \u003ccite>(Gwen Capistran/ Neon via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You know what? It’s true. They never do tell you about the placenta.\u003c/p>\n\u003cp>Let us explain. But first, let’s also point out that if you’re already queasy at the mention of “placenta,” well, \u003cem>Babes\u003c/em> — director Pamela Adlon’s brash, chaotic, hilarious and occasionally overly gooey (in so many ways) childbirth comedy — may not be your thing. Just saying.\u003c/p>\n\u003cp>Anyway! Somewhere late into \u003cem>Babes\u003c/em>, Eden (Ilana Glazer) is giving birth. We’ve seen most of this before in countless comedies: the outlandish obstacles, the tense trip to the hospital, the traffic — oh, the traffic — all melting away in that glorious moment when baby arrives and everyone starts happy-crying.\u003c/p>\n\u003cp>[aside postid='pop_96171']We get all that in \u003cem>Babes\u003c/em>, too, but then the doctor says “Start pushing” — again — and Eden asks, “What, is there another baby?” And she’s told no, it’s the placenta, aka the afterbirth. Ugh! “They don’t tell you about this part,” notes her friend, Dawn.\u003c/p>\n\u003cp>Which is funny, but also basically true. And there are lots of other pregnancy-related things people don’t mention, let alone depict in movies. Like: secretions. \u003cem>Babes\u003c/em>, written by Glazer with Josh Rabinowitz, loves bodily secretions of any kind. Not showing them, thank heavens, but talking about them. No wonder some are calling \u003cem>Babes\u003c/em> the \u003cem>Bridesmaids\u003c/em> of childbearing. Or \u003cem>Knocked Up\u003c/em> without the Seth Rogen part.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Speaking of the men in \u003cem>Babes\u003c/em>, well, the title should give you a sense of how important they are to the narrative. This is a film about two women, Eden and Dawn, lifelong buddies, and how pregnancy and childbirth change them. Side note: When we speak of goo, we’re referring both to actual goo — as referenced earlier — but also narrative goo. As in, schmaltz. No obstacle ever arises for long. Everybody basically hugs and cries it out whenever things get complicated.\u003c/p>\n\u003cp>But hey, most of this can be forgiven when a film is this well acted — especially by Glazer, a gifted comedian. Both she and Michelle Buteau as Dawn, are nothing but authentic and moving, but Glazer in particular will have you howling one minute and wiping those misty eyes the next.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rAfS15DIyEY\u003c/p>\n\u003cp>We begin early on Thanksgiving morning, at the multiplex, because Thanksgiving morning movies are a tradition for Eden and Dawn. The wrinkle here is that Dawn is pregnant with her second kid. Very pregnant. Very, very pregnant.\u003c/p>\n\u003cp>[aside postid='pop_11483']In fact, she goes into active labor as the movie starts. But instead of going to the hospital as directed by her doctor, Dawn requests a big meal at a restaurant, because you’re not allowed to eat in the hospital — leading to a high-slapstick scene at a posh eatery that includes Eden examining, amid bites, whether Dawn is dilated (we told you these are very good friends).\u003c/p>\n\u003cp>Eventually we’re at the hospital, where Dawn crawls down the corridors in pain, and we learn about more gross things that happen during childbirth (the movie does not crawl toward grossness — it runs headlong into it). We also meet Dawn’s husband, Marty (Hasan Minhaj). Marty is supportive and patient — to the point of utter implausibility.\u003c/p>\n\u003cp>Eden heads out to buy everyone sushi. In one of many Manhattan vs. Queens jokes, she buys it at a fancy place in Manhattan (she herself has remained in Queens, while Dawn has moved to the Upper West Side) and the bill comes to nearly $500. Unfortunately this IS plausible. It leads to a wonderful sequence where, on three or four subway trains back to Queens (we’re on a holiday schedule), Eden shares this sushi spread with a cute actor (Stephan James) she meets, dressed in a burgundy tux, who’s just left a film shoot where he played “Sexy Black Waiter.”\u003c/p>\n\u003cp>A one-night stand ensues. And then, Eden discovers she’s pregnant. This will radically shift the balance of her relationship with Dawn — and we don’t need to update you on any other relationships, because THIS is the one that matters.\u003c/p>\n\u003cp>There’s much here that rings true. Adlon, Glazer and Rabinowitz know how to get across the intensity of female buddyship, with the added complexity — not often explored in comedies — that these relationships can hurt, at bad times, perhaps even more than romantic ones.\u003c/p>\n\u003cp>[aside postid='arts_13872209']Though there are occasional lapses in narrative logic, on a deeper level the filmmakers clearly know of what they speak. At a recent screening, Adlon and her stars related a few personal childbirth anecdotes in a pre-show talk, and sure enough, at least three of these anecdotes could be found in the movie. (The funniest, though not in the film, came from moderator Julia Louis-Dreyfus — involving a starstruck nurse exclaiming “Elaine!” at a very embarrassing moment.)\u003c/p>\n\u003cp>Breast pumps. Raging pregnancy hormones that make even produce look sexy. A male obstetrician (John Carroll Lynch, funny) who overshares. A birth plan with, why not, a “prom” theme. All these elements, wacky or not, come together in a charming mishmash that adds something ultimately very important to the childbirth comedy genre: the message that childbirth is profound, yes, and full of wonder. But also, like life, it can be funny — and a bit of a mess.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Babes’ is released nationwide on May 17, 2024.\u003c/em>\u003c/p>\n\n",
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"description": "A great addition to the childbirth comedy genre, courtesy of Ilana Glazer as a woman who gets pregnant after a one-night stand.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13957964\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957964\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-15-at-5.38.43-PM-e1715820056416.png\" alt=\"A pregnant Black woman talks to a shorter white woman outside a restaurant.\" width=\"1920\" height=\"1139\">\u003cfigcaption class=\"wp-caption-text\">Michelle Buteau and Ilana Glazer in ‘Babes.’ \u003ccite>(Gwen Capistran/ Neon via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You know what? It’s true. They never do tell you about the placenta.\u003c/p>\n\u003cp>Let us explain. But first, let’s also point out that if you’re already queasy at the mention of “placenta,” well, \u003cem>Babes\u003c/em> — director Pamela Adlon’s brash, chaotic, hilarious and occasionally overly gooey (in so many ways) childbirth comedy — may not be your thing. Just saying.\u003c/p>\n\u003cp>Anyway! Somewhere late into \u003cem>Babes\u003c/em>, Eden (Ilana Glazer) is giving birth. We’ve seen most of this before in countless comedies: the outlandish obstacles, the tense trip to the hospital, the traffic — oh, the traffic — all melting away in that glorious moment when baby arrives and everyone starts happy-crying.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We get all that in \u003cem>Babes\u003c/em>, too, but then the doctor says “Start pushing” — again — and Eden asks, “What, is there another baby?” And she’s told no, it’s the placenta, aka the afterbirth. Ugh! “They don’t tell you about this part,” notes her friend, Dawn.\u003c/p>\n\u003cp>Which is funny, but also basically true. And there are lots of other pregnancy-related things people don’t mention, let alone depict in movies. Like: secretions. \u003cem>Babes\u003c/em>, written by Glazer with Josh Rabinowitz, loves bodily secretions of any kind. Not showing them, thank heavens, but talking about them. No wonder some are calling \u003cem>Babes\u003c/em> the \u003cem>Bridesmaids\u003c/em> of childbearing. Or \u003cem>Knocked Up\u003c/em> without the Seth Rogen part.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Speaking of the men in \u003cem>Babes\u003c/em>, well, the title should give you a sense of how important they are to the narrative. This is a film about two women, Eden and Dawn, lifelong buddies, and how pregnancy and childbirth change them. Side note: When we speak of goo, we’re referring both to actual goo — as referenced earlier — but also narrative goo. As in, schmaltz. No obstacle ever arises for long. Everybody basically hugs and cries it out whenever things get complicated.\u003c/p>\n\u003cp>But hey, most of this can be forgiven when a film is this well acted — especially by Glazer, a gifted comedian. Both she and Michelle Buteau as Dawn, are nothing but authentic and moving, but Glazer in particular will have you howling one minute and wiping those misty eyes the next.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rAfS15DIyEY'\n title='//www.youtube.com/embed/rAfS15DIyEY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We begin early on Thanksgiving morning, at the multiplex, because Thanksgiving morning movies are a tradition for Eden and Dawn. The wrinkle here is that Dawn is pregnant with her second kid. Very pregnant. Very, very pregnant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In fact, she goes into active labor as the movie starts. But instead of going to the hospital as directed by her doctor, Dawn requests a big meal at a restaurant, because you’re not allowed to eat in the hospital — leading to a high-slapstick scene at a posh eatery that includes Eden examining, amid bites, whether Dawn is dilated (we told you these are very good friends).\u003c/p>\n\u003cp>Eventually we’re at the hospital, where Dawn crawls down the corridors in pain, and we learn about more gross things that happen during childbirth (the movie does not crawl toward grossness — it runs headlong into it). We also meet Dawn’s husband, Marty (Hasan Minhaj). Marty is supportive and patient — to the point of utter implausibility.\u003c/p>\n\u003cp>Eden heads out to buy everyone sushi. In one of many Manhattan vs. Queens jokes, she buys it at a fancy place in Manhattan (she herself has remained in Queens, while Dawn has moved to the Upper West Side) and the bill comes to nearly $500. Unfortunately this IS plausible. It leads to a wonderful sequence where, on three or four subway trains back to Queens (we’re on a holiday schedule), Eden shares this sushi spread with a cute actor (Stephan James) she meets, dressed in a burgundy tux, who’s just left a film shoot where he played “Sexy Black Waiter.”\u003c/p>\n\u003cp>A one-night stand ensues. And then, Eden discovers she’s pregnant. This will radically shift the balance of her relationship with Dawn — and we don’t need to update you on any other relationships, because THIS is the one that matters.\u003c/p>\n\u003cp>There’s much here that rings true. Adlon, Glazer and Rabinowitz know how to get across the intensity of female buddyship, with the added complexity — not often explored in comedies — that these relationships can hurt, at bad times, perhaps even more than romantic ones.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though there are occasional lapses in narrative logic, on a deeper level the filmmakers clearly know of what they speak. At a recent screening, Adlon and her stars related a few personal childbirth anecdotes in a pre-show talk, and sure enough, at least three of these anecdotes could be found in the movie. (The funniest, though not in the film, came from moderator Julia Louis-Dreyfus — involving a starstruck nurse exclaiming “Elaine!” at a very embarrassing moment.)\u003c/p>\n\u003cp>Breast pumps. Raging pregnancy hormones that make even produce look sexy. A male obstetrician (John Carroll Lynch, funny) who overshares. A birth plan with, why not, a “prom” theme. All these elements, wacky or not, come together in a charming mishmash that adds something ultimately very important to the childbirth comedy genre: the message that childbirth is profound, yes, and full of wonder. But also, like life, it can be funny — and a bit of a mess.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Babes’ is released nationwide on May 17, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Throughout the 1990s, there was a slightly bonkers British television show on which members of the public would dress up like famous singers and perform songs as them. \u003ca href=\"https://www.youtube.com/watch?v=O2Xc7nlNYRs\">\u003cem>Stars in Their Eyes\u003c/em>\u003c/a> — essentially, elevated karaoke for a national audience — was full of talented people, performing in full costume, doing impressive impressions.\u003c/p>\n\u003cp>Watching \u003cem>Back to Black\u003c/em> made me think of \u003cem>Stars in Their Eyes \u003c/em>repeatedly.\u003c/p>\n\u003cp>[aside postid='pop_17172']The \u003ca href=\"https://www.kqed.org/arts/13940429/back-to-black-amy-winehouse-biopic-commentary\">new Amy Winehouse biopic\u003c/a> is — like that weird TV show — full of excellent impersonations and on-point recreations of iconic outfits and performances. But it never actually looks beneath the surface. Charting the charismatic songwriter’s rise from scrappy working-class London beginnings to international superstardom, the film is rarely anything more than a thinly drawn approximation of her life.\u003c/p>\n\u003cp>We’ve got Amy Winehouse (Marisa Abela) aggressively yelling about how much she loves jazz and breaking into song at family gatherings. We’ve got her lover, Blake Fielder-Civil (Jack O’Connell), being a cheeky chappy, betting on horses and drinking pints in the pub. Then of course there’s Amy’s dad, Mitch Winehouse (Eddie Marsan), being a salt-of-the-earth supporter of his daughter who occasionally drops some Cockney rhyming slang into a sentence, lest we forget where he’s from.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rYzIOBwyhIU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The actors do the absolute most with the material at hand — kudos to the entire cast — but a self-conscious script holds them back at every turn. There’s just not enough meat to work with.\u003c/p>\n\u003cp>Part of the problem is that the Amy and Blake we see here are ripped almost entirely from the tabloids of the mid-to-late-aughts. Opportunities are missed at every turn. For example, the movie focuses repeatedly on how plagued by paparazzi photographers Amy was at home in London. Rather than use this as a chance to talk about the psychological toll that attention took on the vulnerable young woman — or even how famous women of this era were treated by those armies of photographers — paparazzi scenes are instead used to recreate some of the worst exploitation those cameras ever captured.\u003c/p>\n\u003cp>[aside postid='pop_112753']Also problematic: the version of Mitch we get in \u003cem>Back to Black\u003c/em> is the most placid, supportive, big-softy version of Amy’s father possible. The Winehouse estate approved this movie\u003cem> \u003c/em>and — despite director Sam Taylor-Johnson’s assertions that the family did not dictate the content of the movie — you can’t help but wonder if its endorsement had an impact. Anyone who has watched Oscar-winning 2015 documentary \u003cem>Amy\u003c/em> knows that the father-daughter dynamics in the Winehouse family were complicated and at times very uncomfortable. The version we get in \u003cem>Back to Black\u003c/em> sometimes feels like little more than a Mitch Winehouse PR campaign.\u003c/p>\n\u003cp>The film does offer a few redeeming elements, starting with the relationship between Amy and her beloved grandmother Cynthia (Lesley Manville). The chemistry between Manville and Abela, while a little forced in their earliest scenes, winds up being the most arresting of the movie, and their pairing ultimately produces the most realistically heart-wrenching moments in\u003cem> Back to Black\u003c/em>. If only the filmmakers had leaned further into this relationship, the viewer might actually have learned something new about Amy’s inner life, motivations and anxieties. (Even her lifelong struggle with bulimia is treated as an afterthought here.)\u003c/p>\n\u003cp>In the end, \u003cem>Back to Black\u003c/em> feels like a movie for people who don’t actually care about Amy Winehouse. It frequently comes off like an animated rendition of the public perception of the singer that existed before the release of the \u003cem>Amy\u003c/em> documentary.\u003c/p>\n\u003cp>That documentary gave her a multitude of layers beneath the exaggerated beehive and eyeliner. \u003cem>Back to Black\u003c/em> seems to want to take us back to a simpler time, drawing only a brief overview of Amy’s key life events and recorded output, and offering existing fans little more than a bleak little trip down (far too recent) memory lane.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Back to Black’ is released nationwide on May 17, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Throughout the 1990s, there was a slightly bonkers British television show on which members of the public would dress up like famous singers and perform songs as them. \u003ca href=\"https://www.youtube.com/watch?v=O2Xc7nlNYRs\">\u003cem>Stars in Their Eyes\u003c/em>\u003c/a> — essentially, elevated karaoke for a national audience — was full of talented people, performing in full costume, doing impressive impressions.\u003c/p>\n\u003cp>Watching \u003cem>Back to Black\u003c/em> made me think of \u003cem>Stars in Their Eyes \u003c/em>repeatedly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13940429/back-to-black-amy-winehouse-biopic-commentary\">new Amy Winehouse biopic\u003c/a> is — like that weird TV show — full of excellent impersonations and on-point recreations of iconic outfits and performances. But it never actually looks beneath the surface. Charting the charismatic songwriter’s rise from scrappy working-class London beginnings to international superstardom, the film is rarely anything more than a thinly drawn approximation of her life.\u003c/p>\n\u003cp>We’ve got Amy Winehouse (Marisa Abela) aggressively yelling about how much she loves jazz and breaking into song at family gatherings. We’ve got her lover, Blake Fielder-Civil (Jack O’Connell), being a cheeky chappy, betting on horses and drinking pints in the pub. Then of course there’s Amy’s dad, Mitch Winehouse (Eddie Marsan), being a salt-of-the-earth supporter of his daughter who occasionally drops some Cockney rhyming slang into a sentence, lest we forget where he’s from.\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/rYzIOBwyhIU'\n title='//www.youtube.com/embed/rYzIOBwyhIU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The actors do the absolute most with the material at hand — kudos to the entire cast — but a self-conscious script holds them back at every turn. There’s just not enough meat to work with.\u003c/p>\n\u003cp>Part of the problem is that the Amy and Blake we see here are ripped almost entirely from the tabloids of the mid-to-late-aughts. Opportunities are missed at every turn. For example, the movie focuses repeatedly on how plagued by paparazzi photographers Amy was at home in London. Rather than use this as a chance to talk about the psychological toll that attention took on the vulnerable young woman — or even how famous women of this era were treated by those armies of photographers — paparazzi scenes are instead used to recreate some of the worst exploitation those cameras ever captured.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also problematic: the version of Mitch we get in \u003cem>Back to Black\u003c/em> is the most placid, supportive, big-softy version of Amy’s father possible. The Winehouse estate approved this movie\u003cem> \u003c/em>and — despite director Sam Taylor-Johnson’s assertions that the family did not dictate the content of the movie — you can’t help but wonder if its endorsement had an impact. Anyone who has watched Oscar-winning 2015 documentary \u003cem>Amy\u003c/em> knows that the father-daughter dynamics in the Winehouse family were complicated and at times very uncomfortable. The version we get in \u003cem>Back to Black\u003c/em> sometimes feels like little more than a Mitch Winehouse PR campaign.\u003c/p>\n\u003cp>The film does offer a few redeeming elements, starting with the relationship between Amy and her beloved grandmother Cynthia (Lesley Manville). The chemistry between Manville and Abela, while a little forced in their earliest scenes, winds up being the most arresting of the movie, and their pairing ultimately produces the most realistically heart-wrenching moments in\u003cem> Back to Black\u003c/em>. If only the filmmakers had leaned further into this relationship, the viewer might actually have learned something new about Amy’s inner life, motivations and anxieties. (Even her lifelong struggle with bulimia is treated as an afterthought here.)\u003c/p>\n\u003cp>In the end, \u003cem>Back to Black\u003c/em> feels like a movie for people who don’t actually care about Amy Winehouse. It frequently comes off like an animated rendition of the public perception of the singer that existed before the release of the \u003cem>Amy\u003c/em> documentary.\u003c/p>\n\u003cp>That documentary gave her a multitude of layers beneath the exaggerated beehive and eyeliner. \u003cem>Back to Black\u003c/em> seems to want to take us back to a simpler time, drawing only a brief overview of Amy’s key life events and recorded output, and offering existing fans little more than a bleak little trip down (far too recent) memory lane.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Back to Black’ is released nationwide on May 17, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cfigure id=\"attachment_13957815\" class=\"wp-caption aligncenter\" style=\"max-width: 664px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957815\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c.jpg\" alt=\"A blue book cover with pixelated lettering like an old-fashioned computer.\" width=\"664\" height=\"948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c.jpg 664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c-160x228.jpg 160w\" sizes=\"(max-width: 664px) 100vw, 664px\">\u003cfigcaption class=\"wp-caption-text\">‘My First Book’ by Honor Levy. \u003ccite>(Penguin Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What are the kids thinking these days? That seems be to the question behind the publication of \u003cem>My First Book\u003c/em>, the buzzy debut story collection by Honor Levy.\u003c/p>\n\u003cp>The 26-year-old writer was the subject of \u003ca href=\"https://www.thecut.com/article/honor-levy-my-first-book-dimes-square-interview.html\">a viral profile in \u003cem>The Cut\u003c/em>\u003c/a> earlier this month, in which she described the praise she received for \u003ca href=\"https://www.newyorker.com/books/flash-fiction/good-boys\">her story “Good Boys”\u003c/a> on \u003cem>The New Yorker\u003c/em> website as “not undeserved” and demurred when asked whether she’s the voice of her generation. Social media discourse and the inevitable backlash aside, Levy’s first book is an amusing, if uneven, take on growing up white, privileged and Gen Z, the first generation to completely be born after the existence of the internet.\u003c/p>\n\u003cp>[aside postid='arts_13957749']Readers won’t find meticulously plotted story arcs, fleshed-out characters, emotional epiphanies, or any other earmarks of conventional literary fiction. Most of Levy’s stories run fewer than 12 pages and feel like very long flash fiction, written in a voice dense with the chaotic patois of the internet. In her strongest stories, Levy channels the blitzkrieg of contradictory micro-observations we absorb from social media, video games, and doomscrolling to create the absurd, incomprehensible cacophony that anyone born after 1997 had to grow up enduring. These stories seem to ask: How can anyone expect a well-adjusted adult to rise from all this noise?\u003c/p>\n\u003cp>In “Internet Girl,” the main character is 11 and very online, and Levy’s portrayal of her narrator’s interiority is both compellingly satirical and frighteningly plausible. She writes:\u003c/p>\n\u003cblockquote>\u003cp>It’s 2008, and my dad gets laid off and everything is happening all at once. All at once, there are two girls and one cup and planes hitting towers and a webcam looking at me and me smiling into it and a man and a boy and a love and a stranger on the other end. All at once, there are a million videos to watch and a million more to make. All at once it’s all at once. It’s beginning and ending all at once all the time. I’m twenty-one. I’m eleven. I’m on the internet. I’m twenty-one.\u003c/p>\u003c/blockquote>\n\u003cp>Another strong piece is “Love Story,” the collection’s opener, which is about a boy and a girl having an online relationship that seems to consist entirely of texting and sending pics of their bodies to each other. Levy poignantly captures the girl’s vulnerability. “Little girl lost can’t even find herself,” Levy writes. “Pictures of her naked body are out there everywhere, in the cloud floating, and under the sea, coursing through cables in the dark. It’s so dark.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Levy smartly skewers late capitalism in “Halloween Forever,” about a young woman trying to survive a surreal and drug-filled Halloween night in Brooklyn. She meets a “boy from Stanford dressed as a cowboy,” who, when sufficiently coked-up, muses about the romance of the Wild West and how “The West was freedom … just like the internet originally was!” The narrator is skeptical:\u003c/p>\n\u003cblockquote>\u003cp>Freedom is the stuff of dreams and nightmares only and our free market doesn’t make us free people, but the cowboy doesn’t care. Silicon Valley must have burrowed itself deep into his brain underneath that hat. He is probably afraid of blood, or social media, or something stupid. My drink is seventeen dollars.\u003c/p>\u003c/blockquote>\n\u003cp>As the collection progresses, the unique blend of the satirical and the poignant gives way to a more essayistic approach to storytelling. In “Cancel Me,” which is about cancel culture, the characters — a young woman and two “Ivy League boys with kitten-sharp teeth and Accutane-skin,” all of whom have experienced cancellation for murky reasons — gradually fade into a series of observations about wokeness that aren’t much different or more insightful than what one might find on X or Reddit.\u003c/p>\n\u003cp>[aside postid='arts_13957276']“Z Was For Zoomer,” which runs more than 50 pages, seems to be a continuation of “Cancel Me,” except the two male “edgelords” — someone on an internet forum who deliberately posts about controversial or taboo topics to appear edgy — are named Gideon and Ivan instead of Jack and Roger. Just as in “Cancel Me,” the narrator’s relationship with the men is never defined and doesn’t progress. Character-driven narrative takes a back seat to dashed-off, inch-deep lines like “Identity is a Swedish prison, comfortable but you still can’t leave.”\u003c/p>\n\u003cp>It should also be mentioned that these stories won’t pass the most permissive of racial Bechdel tests. The number of non-white references in this 200-page book won’t go past one hand, unless you count the few references to anime and the rapper formerly known as Kanye West. The milieu of Honor Levy’s fiction is undeniably white and privileged, but her best stories exaggerate that milieu to great satirical effect. Perhaps her second book will contain more of them.\u003c/p>\n\u003cp>\u003cem>Leland Cheuk is an award-winning author of three books of fiction, including the latest “No Good Very Bad Asian.’ His writing has appeared in ‘The Washington Post,’ ‘The Boston Globe,’ ‘San Francisco Chronicle,’ and ‘Salon,’ among other outlets.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘My First Book’ by Honor Levy (Penguin Press) is out on May 14, 2014.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cfigure id=\"attachment_13957815\" class=\"wp-caption aligncenter\" style=\"max-width: 664px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957815\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c.jpg\" alt=\"A blue book cover with pixelated lettering like an old-fashioned computer.\" width=\"664\" height=\"948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c.jpg 664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/untitled-design-65-_custom-909b15798ce00e75e98663799b30b07ff3b82b6c-160x228.jpg 160w\" sizes=\"(max-width: 664px) 100vw, 664px\">\u003cfigcaption class=\"wp-caption-text\">‘My First Book’ by Honor Levy. \u003ccite>(Penguin Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What are the kids thinking these days? That seems be to the question behind the publication of \u003cem>My First Book\u003c/em>, the buzzy debut story collection by Honor Levy.\u003c/p>\n\u003cp>The 26-year-old writer was the subject of \u003ca href=\"https://www.thecut.com/article/honor-levy-my-first-book-dimes-square-interview.html\">a viral profile in \u003cem>The Cut\u003c/em>\u003c/a> earlier this month, in which she described the praise she received for \u003ca href=\"https://www.newyorker.com/books/flash-fiction/good-boys\">her story “Good Boys”\u003c/a> on \u003cem>The New Yorker\u003c/em> website as “not undeserved” and demurred when asked whether she’s the voice of her generation. Social media discourse and the inevitable backlash aside, Levy’s first book is an amusing, if uneven, take on growing up white, privileged and Gen Z, the first generation to completely be born after the existence of the internet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Readers won’t find meticulously plotted story arcs, fleshed-out characters, emotional epiphanies, or any other earmarks of conventional literary fiction. Most of Levy’s stories run fewer than 12 pages and feel like very long flash fiction, written in a voice dense with the chaotic patois of the internet. In her strongest stories, Levy channels the blitzkrieg of contradictory micro-observations we absorb from social media, video games, and doomscrolling to create the absurd, incomprehensible cacophony that anyone born after 1997 had to grow up enduring. These stories seem to ask: How can anyone expect a well-adjusted adult to rise from all this noise?\u003c/p>\n\u003cp>In “Internet Girl,” the main character is 11 and very online, and Levy’s portrayal of her narrator’s interiority is both compellingly satirical and frighteningly plausible. She writes:\u003c/p>\n\u003cblockquote>\u003cp>It’s 2008, and my dad gets laid off and everything is happening all at once. All at once, there are two girls and one cup and planes hitting towers and a webcam looking at me and me smiling into it and a man and a boy and a love and a stranger on the other end. All at once, there are a million videos to watch and a million more to make. All at once it’s all at once. It’s beginning and ending all at once all the time. I’m twenty-one. I’m eleven. I’m on the internet. I’m twenty-one.\u003c/p>\u003c/blockquote>\n\u003cp>Another strong piece is “Love Story,” the collection’s opener, which is about a boy and a girl having an online relationship that seems to consist entirely of texting and sending pics of their bodies to each other. Levy poignantly captures the girl’s vulnerability. “Little girl lost can’t even find herself,” Levy writes. “Pictures of her naked body are out there everywhere, in the cloud floating, and under the sea, coursing through cables in the dark. It’s so dark.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Levy smartly skewers late capitalism in “Halloween Forever,” about a young woman trying to survive a surreal and drug-filled Halloween night in Brooklyn. She meets a “boy from Stanford dressed as a cowboy,” who, when sufficiently coked-up, muses about the romance of the Wild West and how “The West was freedom … just like the internet originally was!” The narrator is skeptical:\u003c/p>\n\u003cblockquote>\u003cp>Freedom is the stuff of dreams and nightmares only and our free market doesn’t make us free people, but the cowboy doesn’t care. Silicon Valley must have burrowed itself deep into his brain underneath that hat. He is probably afraid of blood, or social media, or something stupid. My drink is seventeen dollars.\u003c/p>\u003c/blockquote>\n\u003cp>As the collection progresses, the unique blend of the satirical and the poignant gives way to a more essayistic approach to storytelling. In “Cancel Me,” which is about cancel culture, the characters — a young woman and two “Ivy League boys with kitten-sharp teeth and Accutane-skin,” all of whom have experienced cancellation for murky reasons — gradually fade into a series of observations about wokeness that aren’t much different or more insightful than what one might find on X or Reddit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Z Was For Zoomer,” which runs more than 50 pages, seems to be a continuation of “Cancel Me,” except the two male “edgelords” — someone on an internet forum who deliberately posts about controversial or taboo topics to appear edgy — are named Gideon and Ivan instead of Jack and Roger. Just as in “Cancel Me,” the narrator’s relationship with the men is never defined and doesn’t progress. Character-driven narrative takes a back seat to dashed-off, inch-deep lines like “Identity is a Swedish prison, comfortable but you still can’t leave.”\u003c/p>\n\u003cp>It should also be mentioned that these stories won’t pass the most permissive of racial Bechdel tests. The number of non-white references in this 200-page book won’t go past one hand, unless you count the few references to anime and the rapper formerly known as Kanye West. The milieu of Honor Levy’s fiction is undeniably white and privileged, but her best stories exaggerate that milieu to great satirical effect. Perhaps her second book will contain more of them.\u003c/p>\n\u003cp>\u003cem>Leland Cheuk is an award-winning author of three books of fiction, including the latest “No Good Very Bad Asian.’ His writing has appeared in ‘The Washington Post,’ ‘The Boston Globe,’ ‘San Francisco Chronicle,’ and ‘Salon,’ among other outlets.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘My First Book’ by Honor Levy (Penguin Press) is out on May 14, 2014.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "kathleen-hanna-interview-bikini-kill-le-tigre-rebel-girl",
"title": "Kathleen Hanna on Life as a ‘Rebel Girl,’ and the Joy of Expressing Anger in Public",
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"headTitle": "Kathleen Hanna on Life as a ‘Rebel Girl,’ and the Joy of Expressing Anger in Public | KQED",
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"content": "\u003cfigure class=\"wp-block-image size-large\">\u003cfigcaption>\u003c/figcaption>\u003c/figure>\n\u003cp>Activist, musician and punk pioneer Kathleen Hanna has always been a force. With her band \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">Bikini Kill\u003c/a>, she pioneered the “riot grrrl” movement in the 1990s, challenging the misogyny of both the punk scene and society at large.\u003c/p>\n\u003cp>“When I moved to Olympia, [Wash.], there were all these kids who were making music and putting out records on small indie labels,” Hanna says. “And they sort of defined punk not as a genre or a … loud, angry, aggressive sound, but as an idea … that we don’t have to wait for corporations to tell us what is good music or art or writing. We can make it ourselves.”\u003c/p>\n\u003cp>[aside postid='pop_10272']And so she did. Along with Tobi Vail, Billy Karren and Kathi Wilcox, Hanna formed the feminist punk band Bikini Kill. The band urged women and girls in the audience to move up to the front of the stage, write political zines and talk openly about sexual violence. Emboldened by the music, fans would come to Hanna to talk about their own experiences.\u003c/p>\n\u003cp>On tour, Hanna and her bandmates faced abuse and disrespect from male fans and club workers. A one point, a sound man threatened to stab her when she was touring with another one of her bands, Le Tigre.\u003c/p>\n\u003cp>“This was our workplace, and every single night was a different set of threatened angry men … who would treat us with such utter disrespect,” she says. “One of the things that has been getting me by is this phrase: ‘In punk rock, there is no HR.’ ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In her new memoir, \u003cem>Rebel Girl\u003c/em>, Hanna looks back on her childhood and her experiences in the punk scene. She also writes about finding out that an undiagnosed case of Lyme disease was the reason she couldn’t physically perform anymore.\u003c/p>\n\u003cp>Since her diagnosis and treatment, Hanna’s back to to performing again with Bikini Kill and her other bands, Le Tigre and \u003ca href=\"https://www.npr.org/artists/487027362/the-julie-ruin\">The Julie Ruin\u003c/a>. She says there’s still a lot of anger in the shows, but there’s also “so much more joy.”\u003c/p>\n\u003cp>“The songs really go from joy to sadness to rage very quickly. And I’m finding nuances in them that I didn’t know were there,” she says. “It feels joyous to explore our anger in public.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/13/rebelgirlbookcover---photo-by-leeta-harding_cover-by-ecco-1-1-_custom-0ef859eb029e015065ad9cadc6266a733c1ccc37.jpeg?s=1200&c=75&f=jpeg\" alt=\"A book cover featuring a photo of a young woman wearing her hair in a pony tail.\" width=\"1200\" height=\"1802\">\u003cfigcaption class=\"wp-caption-text\">‘Rebel Girl’ by Kathleen Hanna.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>\u003cstrong>On the early days of the riot grrrl feminist punk movement\u003c/strong>\u003c/p>\n\u003cp>[There were] girls in the riot grrrl meetings who were just crying because it was the first time they’d been in an all-female atmosphere, and they were just like, “Whoa, this feels really weird. I’m confused.” And then like, “Wait, why have I never made this a priority before?” And just that feeling of a room changing. Just sitting at a crappy plastic Office Max table with a bunch of young women who have been relegated to the back of the room at punk shows for so long, finally saying, “I’ve always wanted to start a band,” or “Hey, does anybody know how to play guitar? I’d like to learn.” That’s an amazing feeling. That really kind of changes the room into this beautiful place of possibilities.\u003c/p>\n\u003cp>\u003cstrong>On writing the 1993\u003c/strong> \u003cstrong>riot grrrl anthem, “Rebel Girl” \u003c/strong>\u003c/p>\n\u003cp>We wrote that one in the basement of this house called The Embassy. It was a punk house, and punk houses a lot of times have names. And this one was called The Embassy because it was pretty close to Embassy Row in D.C. And I just remember how sweaty it was and it was very small. And I’ll always remember writing that song because it was one of those times where I was writing it as we were playing it. So they started coming up with the music, and as it became more full-formed, I started hearing the first couple lines in my head and I just stepped to the mic, and then they just kind of fell out. I stepped back and started thinking, ‘OK, what’s the chorus going to be?’ … And then I walked back to the mic and I just sang and ‘Rebel girl, rebel girl, you are the queen of my world’ came out. And it just kind of happened. It felt like the scene of punk women that I was hanging out with, and that I was becoming friends with, really wrote that song and I just like grabbed it from the air, or something.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/13/joanjettbikinikill_wide-ed61f729f30fd7890e9b85581c3640e127cff2e3.jpeg?s=1200&c=75&f=jpeg\" alt=\"A girl with a black bob hair cut wearing a leather jacket stands surrounded by three young women and one young man.\" width=\"1200\" height=\"675\">\u003cfigcaption class=\"wp-caption-text\">Hanna (fourth from left) poses with Joan Jett (center) and fellow Bikini Kill members Tobi Vail, Billy Karren and Kathi Wilcox in New York City in 1992.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>\u003cstrong>On how she made her concerts a safe space for women and girls \u003c/strong>\u003c/p>\n\u003cp>We did stuff like hand out lyric sheets that had the lyrics on them so that other girls and women would know these are the lyrics and what the subject matter was, because a lot of times you couldn’t understand what I was saying through the crappy PAs I was singing through, and sometimes even talking in between songs, you couldn’t understand what I was saying. And so that was one way that [we] gave them a souvenir to take home, to read through and think about and maybe disagree with so that they start their own bands or it encourages them to write their own poetry or write their own zines.\u003c/p>\n\u003cp>[aside postid='arts_13863821']We also had zines that talked about a lot of different political issues of the day that we sold at our shows. We prioritized having girls and women come up to the front, because a lot of the shows we were playing back then, it was straight, cisgender white guys predominating and taking up all the space of the room. And we really selfishly wanted to build the community so we had more girl bands to play with. And how is that going to happen if they’re all stuck in the back? … So I started inviting the girls to the front. ‘Hey, do you guys want to come to the front?’ And then it kind of became a thing. … It was like, what if we just rearrange this room a little bit? What’s going to happen? And what happened was a lot of men were really mad and hated us. But it was also an interesting experiment.\u003c/p>\n\u003cp>\u003cstrong>On a drunken night with \u003ca href=\"https://www.kqed.org/pop/11767/did-our-idol-worship-drive-kurt-cobain-to-suicide\">Kurt Cobain\u003c/a> when she graffitied a phrase that inspired the title of \u003c/strong>\u003cstrong>Nirvana\u003c/strong>\u003cstrong>‘s first big hit \u003c/strong>\u003c/p>\n\u003cp>I took out a Sharpie marker, and I just wrote like, ‘Kurt Smells Like Teen Spirit’ because me and Tobi [Vail] had been at a grocery store and seen this new deodorant [that said] ‘Smells like teen spirit,’ and we were like, ‘That’s hilarious. What does teen spirit smell like? … Sharpie marker and poster board? It smells like Mod Podge? What does it smell like?’ So we were just goofing on that. So [it] was in my head. And when I was wasted, it just came out and I wrote, like, 10 other things on his wall — and he was a renter, so that was kind of a bad move on my part. Not very kind or thoughtful. And then he called me on the phone many, many months later and was like, ‘Can I use that in a song?’ I didn’t even know it was going to be the title for a song. And I was like, ‘Yeah, sure, that’s great.’\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Thea Chaloner and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the web.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure class=\"wp-block-image size-large\">\u003cfigcaption>\u003c/figcaption>\u003c/figure>\n\u003cp>Activist, musician and punk pioneer Kathleen Hanna has always been a force. With her band \u003ca href=\"https://www.kqed.org/arts/13915779/mosswood-meltdown-2022-bikini-kill-kim-gordon\">Bikini Kill\u003c/a>, she pioneered the “riot grrrl” movement in the 1990s, challenging the misogyny of both the punk scene and society at large.\u003c/p>\n\u003cp>“When I moved to Olympia, [Wash.], there were all these kids who were making music and putting out records on small indie labels,” Hanna says. “And they sort of defined punk not as a genre or a … loud, angry, aggressive sound, but as an idea … that we don’t have to wait for corporations to tell us what is good music or art or writing. We can make it ourselves.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And so she did. Along with Tobi Vail, Billy Karren and Kathi Wilcox, Hanna formed the feminist punk band Bikini Kill. The band urged women and girls in the audience to move up to the front of the stage, write political zines and talk openly about sexual violence. Emboldened by the music, fans would come to Hanna to talk about their own experiences.\u003c/p>\n\u003cp>On tour, Hanna and her bandmates faced abuse and disrespect from male fans and club workers. A one point, a sound man threatened to stab her when she was touring with another one of her bands, Le Tigre.\u003c/p>\n\u003cp>“This was our workplace, and every single night was a different set of threatened angry men … who would treat us with such utter disrespect,” she says. “One of the things that has been getting me by is this phrase: ‘In punk rock, there is no HR.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In her new memoir, \u003cem>Rebel Girl\u003c/em>, Hanna looks back on her childhood and her experiences in the punk scene. She also writes about finding out that an undiagnosed case of Lyme disease was the reason she couldn’t physically perform anymore.\u003c/p>\n\u003cp>Since her diagnosis and treatment, Hanna’s back to to performing again with Bikini Kill and her other bands, Le Tigre and \u003ca href=\"https://www.npr.org/artists/487027362/the-julie-ruin\">The Julie Ruin\u003c/a>. She says there’s still a lot of anger in the shows, but there’s also “so much more joy.”\u003c/p>\n\u003cp>“The songs really go from joy to sadness to rage very quickly. And I’m finding nuances in them that I didn’t know were there,” she says. “It feels joyous to explore our anger in public.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/13/rebelgirlbookcover---photo-by-leeta-harding_cover-by-ecco-1-1-_custom-0ef859eb029e015065ad9cadc6266a733c1ccc37.jpeg?s=1200&c=75&f=jpeg\" alt=\"A book cover featuring a photo of a young woman wearing her hair in a pony tail.\" width=\"1200\" height=\"1802\">\u003cfigcaption class=\"wp-caption-text\">‘Rebel Girl’ by Kathleen Hanna.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>\u003cstrong>On the early days of the riot grrrl feminist punk movement\u003c/strong>\u003c/p>\n\u003cp>[There were] girls in the riot grrrl meetings who were just crying because it was the first time they’d been in an all-female atmosphere, and they were just like, “Whoa, this feels really weird. I’m confused.” And then like, “Wait, why have I never made this a priority before?” And just that feeling of a room changing. Just sitting at a crappy plastic Office Max table with a bunch of young women who have been relegated to the back of the room at punk shows for so long, finally saying, “I’ve always wanted to start a band,” or “Hey, does anybody know how to play guitar? I’d like to learn.” That’s an amazing feeling. That really kind of changes the room into this beautiful place of possibilities.\u003c/p>\n\u003cp>\u003cstrong>On writing the 1993\u003c/strong> \u003cstrong>riot grrrl anthem, “Rebel Girl” \u003c/strong>\u003c/p>\n\u003cp>We wrote that one in the basement of this house called The Embassy. It was a punk house, and punk houses a lot of times have names. And this one was called The Embassy because it was pretty close to Embassy Row in D.C. And I just remember how sweaty it was and it was very small. And I’ll always remember writing that song because it was one of those times where I was writing it as we were playing it. So they started coming up with the music, and as it became more full-formed, I started hearing the first couple lines in my head and I just stepped to the mic, and then they just kind of fell out. I stepped back and started thinking, ‘OK, what’s the chorus going to be?’ … And then I walked back to the mic and I just sang and ‘Rebel girl, rebel girl, you are the queen of my world’ came out. And it just kind of happened. It felt like the scene of punk women that I was hanging out with, and that I was becoming friends with, really wrote that song and I just like grabbed it from the air, or something.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\n\u003cfigure class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://media.npr.org/assets/img/2024/05/13/joanjettbikinikill_wide-ed61f729f30fd7890e9b85581c3640e127cff2e3.jpeg?s=1200&c=75&f=jpeg\" alt=\"A girl with a black bob hair cut wearing a leather jacket stands surrounded by three young women and one young man.\" width=\"1200\" height=\"675\">\u003cfigcaption class=\"wp-caption-text\">Hanna (fourth from left) poses with Joan Jett (center) and fellow Bikini Kill members Tobi Vail, Billy Karren and Kathi Wilcox in New York City in 1992.\u003c/figcaption>\u003c/figure>\n\u003c/figure>\n\u003cp>\u003cstrong>On how she made her concerts a safe space for women and girls \u003c/strong>\u003c/p>\n\u003cp>We did stuff like hand out lyric sheets that had the lyrics on them so that other girls and women would know these are the lyrics and what the subject matter was, because a lot of times you couldn’t understand what I was saying through the crappy PAs I was singing through, and sometimes even talking in between songs, you couldn’t understand what I was saying. And so that was one way that [we] gave them a souvenir to take home, to read through and think about and maybe disagree with so that they start their own bands or it encourages them to write their own poetry or write their own zines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We also had zines that talked about a lot of different political issues of the day that we sold at our shows. We prioritized having girls and women come up to the front, because a lot of the shows we were playing back then, it was straight, cisgender white guys predominating and taking up all the space of the room. And we really selfishly wanted to build the community so we had more girl bands to play with. And how is that going to happen if they’re all stuck in the back? … So I started inviting the girls to the front. ‘Hey, do you guys want to come to the front?’ And then it kind of became a thing. … It was like, what if we just rearrange this room a little bit? What’s going to happen? And what happened was a lot of men were really mad and hated us. But it was also an interesting experiment.\u003c/p>\n\u003cp>\u003cstrong>On a drunken night with \u003ca href=\"https://www.kqed.org/pop/11767/did-our-idol-worship-drive-kurt-cobain-to-suicide\">Kurt Cobain\u003c/a> when she graffitied a phrase that inspired the title of \u003c/strong>\u003cstrong>Nirvana\u003c/strong>\u003cstrong>‘s first big hit \u003c/strong>\u003c/p>\n\u003cp>I took out a Sharpie marker, and I just wrote like, ‘Kurt Smells Like Teen Spirit’ because me and Tobi [Vail] had been at a grocery store and seen this new deodorant [that said] ‘Smells like teen spirit,’ and we were like, ‘That’s hilarious. What does teen spirit smell like? … Sharpie marker and poster board? It smells like Mod Podge? What does it smell like?’ So we were just goofing on that. So [it] was in my head. And when I was wasted, it just came out and I wrote, like, 10 other things on his wall — and he was a renter, so that was kind of a bad move on my part. Not very kind or thoughtful. And then he called me on the phone many, many months later and was like, ‘Can I use that in a song?’ I didn’t even know it was going to be the title for a song. And I was like, ‘Yeah, sure, that’s great.’\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>New Mexico is standing in for California in a new film as Jamie Lee Curtis’ production company and others tell the story of a bus driver and a school teacher who rescued students during the deadliest and most destructive wildfire in California’s history.\u003c/p>\n\u003cp>The 2018 blaze killed 85 people and nearly erased the community of Paradise in the Sierra Nevada foothills. Some residents have returned to help make something new, while others are still haunted by their memories.\u003c/p>\n\u003cp>Curtis was among those marking the five-year anniversary in November when she posted on social media about the people of Paradise having suffered an unimaginable inferno and talked about the bravery of residents and the heroes who suited up and responded.\u003c/p>\n\u003cp>[aside postid='arts_13957540']She said at the time she was proud to be producing a film based on the stories in Lizzie Johnson’s novel: \u003cem>Paradise: One Town’s Struggle to Survive an American Wildfire\u003c/em>.\u003c/p>\n\u003cp>\u003cem>The Lost Bus\u003c/em> was a project that started in 2022. Now, filming is underway in and around Santa Fe and Española and in Ruidoso, a mountainous area of southern New Mexico that also has seen its share of wildfires — including a deadly fire in 2022 that was sparked by a downed power line.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From California to New Mexico and other parts of the West, wildfires have become more volatile amid drier and hotter conditions that have been exacerbated by the effects of climate change. So far this year, more than 2,812 square miles (7,283 square kilometers) have burned — more than double the 10-year average, according to the National Interagency Fire Center.\u003c/p>\n\u003cfigure id=\"attachment_13957739\" class=\"wp-caption aligncenter\" style=\"max-width: 1586px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13957739\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM.png\" alt=\"A blue house in a rural environments is surrounded by plumes of Grey and black smoke.\" width=\"1586\" height=\"922\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM.png 1586w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-800x465.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-1020x593.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-768x446.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-13-at-3.54.18-PM-1536x893.png 1536w\" sizes=\"(max-width: 1586px) 100vw, 1586px\">\u003cfigcaption class=\"wp-caption-text\">Towering smoke plumes overshadowed Paradise as the Camp Fire raced through in 2018. More than 18,000 acres burned in a matter of hours. \u003ccite>(Josh Edelson/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film will star Matthew McConaughey and America Ferrera under the direction of Paul Greengrass. Emmy Award winner Brad Ingelsby, Greg Goodman and Jason Blum’s production company Blumhouse will join Curtis’ Comet Pictures in producing the film.\u003c/p>\n\u003cp>\u003cem>The Lost Bus\u003c/em> will focus on bus driver Kevin McKay and teacher Mary Ludwig, who helped navigate a bus full of children through the deadly wildfire.\u003c/p>\n\u003cp>In an interview in 2018, Marc Kessler, a science teacher at a Paradise Unified School District middle school, told The Associated Press he arrived at work early that Thursday morning and saw smoke plumes that soon grew uncomfortably near.\u003c/p>\n\u003cp>[aside postid='news_11793155']Teachers, aides and bus drivers loaded more than 100 students into cars and school buses as the fast-moving wildfire approached, Kessler said. They drove hours through smoke and flames to safely reunite the children with their families.\u003c/p>\n\u003cp>In McKay’s case, he responded to an emergency call and picked up 22 students from Ponderosa Elementary School as the flames approached. Ludwig and fellow teacher Abbie Davis helped to comfort the children.\u003c/p>\n\u003cp>Curtis in a 2022 interview with Deadline said as a lifelong California resident, she watched with profound sadness as the ferocious fire consumed Paradise. She had said she wanted to be able to turn the stories in Johnson’s novel into a film that would explore the human elements, tragedies and bravery that stemmed from the wildfire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The production will employ 480 New Mexico crew members and 2,100 extras, according to the New Mexico Film Office.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Teachers, aides and bus drivers loaded more than 100 students into cars and school buses as the fast-moving wildfire approached, Kessler said. They drove hours through smoke and flames to safely reunite the children with their families.\u003c/p>\n\u003cp>In McKay’s case, he responded to an emergency call and picked up 22 students from Ponderosa Elementary School as the flames approached. Ludwig and fellow teacher Abbie Davis helped to comfort the children.\u003c/p>\n\u003cp>Curtis in a 2022 interview with Deadline said as a lifelong California resident, she watched with profound sadness as the ferocious fire consumed Paradise. She had said she wanted to be able to turn the stories in Johnson’s novel into a film that would explore the human elements, tragedies and bravery that stemmed from the wildfire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The production will employ 480 New Mexico crew members and 2,100 extras, according to the New Mexico Film Office.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A new generation can learn how to paint happy trees and to make happy accidents with a TV series teaching the Bob Ross-method of painting using some of the prolific artist’s work that have never been seen before.\u003c/p>\n\u003cp>Before Ross died in 1995 from cancer, he had completed seven paintings to use in season 32 of \u003cem>The Joy of Painting\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13902109']“He was so sick, but he was still working on his next series because he wanted to be able to keep going,” said Joan Kowalski, president of Bob Ross Inc. Her parents, Annette and Walt Kowalski, co-founded the company with Ross.\u003c/p>\n\u003cp>Those works were stored away for almost three decades. Certified Bob Ross instructor Nicholas Hankins has studied those seven paintings and paints them from scratch on camera in \u003cem>The Joy of Painting with Nicholas Hankins: Bob Ross’ Unfinished Season\u003c/em>, which started airing this spring in some markets on American Public Television. \u003ca href=\"https://www.pbs.org/show/the-joy-of-painting-with-nicholas-hankins-bob-ross-unfinished-season/\">Some episodes are available on PBS’ website\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Aoxot0CxTYQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The opportunity to “take these paintings and do what Bob ultimately wanted done with them, (to) have them out in the world making people happy is gratifying” said Hankins recently over Zoom. He teaches at the Bob Ross Art Workshop and Gallery about 15 miles from Daytona Beach, Florida, and oversees instructor certification. Hankins also uses six of his own paintings in this new \u003cem>Joy of Painting\u003c/em>, which was filmed and produced at WDSC-TV Daytona State College.\u003c/p>\n\u003cp>[aside postid='pop_34351']“I think that Bob would be incredibly proud of how we’re doing this,” said Kowalski. “There aren’t really many things that come our way where we have to wonder, what should we do? Bob was very specific in how he wanted this whole thing to go into the future.”\u003c/p>\n\u003cp>Hankins is a familiar face to Ross devotees. His own teaching videos posted to the Bob Ross YouTube channel drew upwards of 300,000 views before the idea of TV was ever mentioned.\u003c/p>\n\u003cp>Kowalski is fascinated by the online response to Hankin’s videos. “People notice that Nick is not at all trying to be Bob, and he’s delivering naturally as himself and yet there’s still that same sort of feeling you get watching Bob.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TY4b4JlbNis\u003c/p>\n\u003cp>A surge of interest in all things Bob Ross came out of the pandemic, when people were staying home and looking for ways to pass time. Now, with so many distractions, it can seem like there aren’t enough hours in a day to unwind and rest. If viewers don’t tune in for a painting lesson, Hankins hopes his 30-minute \u003cem>Joy of Painting\u003c/em> episodes helps people to relax in the same spirit as the originals.\u003c/p>\n\u003cp>[aside postid='arts_13867846']“I hope I can carry that part of the legacy on,” he said. “I want to genuinely create an environment where people are going to come in, take half an hour and just turn off the world. Right now is a time we need it.”\u003c/p>\n\u003cp>Kowalski says people used to sheepishly tell Ross “all the time” that they would fall asleep to his episodes, but he didn’t mind. “He said, ‘I love hearing that you’ve never watched a full episode of me.’”\u003c/p>\n\u003cp>If you want to paint along, Hankins said you need basic materials like oil colors, an easel, canvas, and brushes. “But if they’re just watching all they need is a tall glass of iced tea. ”That was Bob’s thing,” he said, “get some iced tea and kick back and watch.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Joy of Painting with Nicholas Hankins: Bob Ross’ Unfinished Season’ is airing now on American Public Television. Some episodes are available to \u003ca href=\"https://www.pbs.org/show/the-joy-of-painting-with-nicholas-hankins-bob-ross-unfinished-season/\">stream on PBS\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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