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"title": "Live Review: Nicki Minaj Reclaims Her Crown at Pink Friday 2 Tour Kickoff in Oakland",
"headTitle": "Live Review: Nicki Minaj Reclaims Her Crown at Pink Friday 2 Tour Kickoff in Oakland | KQED",
"content": "\u003cfigure id=\"attachment_13953285\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-scaled.jpg\" alt=\"a woman in a silvery bodysuit smiles on stage with a microphone in a big arena with pink and purple lighting behind her\" width=\"2560\" height=\"1797\" class=\"size-full wp-image-13953285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1020x716.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1536x1078.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-2048x1438.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1920x1348.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’d be right to have worried that the first show of Nicki Minaj’s Pink Friday 2 tour in Oakland on Friday might be, well, a mess.\u003c/p>\n\u003cp>Known more for controversies and \u003ca href=\"https://variety.com/2024/music/news/nicki-minaj-megan-thee-stallion-feud-timeline-1235890487/\">feuds\u003c/a> in recent years than the immense talent that once made her the world’s most feared rapper, Nicki Minaj victoriously spent two hours at her tour kickoff reminding a sold-out Oakland Arena that she still sings, raps, dances and brings the heat.\u003c/p>\n\u003cfigure id=\"attachment_13953290\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Feelin’ Myself’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was clear right from the start of the show, when Nicki rose from below the stage rapping with noticeable vigor on the throwback opener “I’m the Best” (key line: “Which world tour should I go on today?”). In one moment, all the \u003ca href=\"https://twitter.com/NICKIMINAJ/status/1751290347957911700\">Ben Shapiro tweets\u003c/a>, \u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2021/09/14/nicki-minaj-covid-19-vaccine-conspiracy/\">COVID conspiracies\u003c/a>, irredeemable \u003ca href=\"https://www.reddit.com/r/rateyourmusic/comments/1aeyxcl/nicki_minajs_bigfoot_is_now_the_second_lowest/\">diss tracks\u003c/a> and \u003ca href=\"https://www.instagram.com/p/C3jycgCO7ih/\">scattered whisper-rambles on Instagram Live\u003c/a> became distant memories. She was not here to play. \u003c/p>\n\u003cp>We are talking about a \u003ca href=\"https://www.setlist.fm/setlist/nicki-minaj/2024/oakland-arena-oakland-ca-53ad7bb5.html\">36-song setlist\u003c/a>, with smash hits and deep cuts alike. Six costume changes, robot dancers, a subway train, phone booths for her different alter egos. Lots of simulated copulation — group, duo and solo. Nicki, at age 41, coming for vengeance on workouts like “Roman’s Revenge,” and showing off her vocals on “Save Me.” And, just three months after being released, Nicki’s new songs from \u003cem>Pink Friday 2\u003c/em> — a smoldering “Big Difference,” set closer “Everybody” — coming off like classics. \u003c/p>\n\u003cfigure id=\"attachment_13953294\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s evident is Nicki is \u003cem>hungry\u003c/em> again. Maybe the competition got to her, and she upped her game. Maybe it was always in hiding. While she performed, I found myself wondering if her whole meandering, is-she-on-drugs-or-isn’t-she thing of late has been an elaborate psy-op to hide intense training and rehearsal. Whatever happened, it’s resulted in her giving 100% again. The show (“this magical historic night,” Nicki declared) recalled the first time I saw her headline the Bay Area, \u003ca href=\"https://bohemian.com/live-review-nicki-minaj-at-the-paramount-theater-oakland/\">in 2012 at the Paramount Theatre\u003c/a> — how unstoppable she seemed then, how she gave her all to the crowd. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There have been rough patches in the interim, to be sure. Bay Area fans may remember a fraught Concord Pavilion show in 2015 that suffered from beleaguered choreography and a strange detachment that seemed concerning, especially after \u003cem>The Pinkprint\u003c/em>’s multiple references to Percocet. The show ended with a \u003ca href=\"https://www.vibe.com/music/music-news/nicki-minaj-concert-brawl-video-369856/\">giant brawl in the crowd\u003c/a>; as I left I saw one guy \u003ca href=\"https://twitter.com/gmeline/status/632463878668943360\">face-down, knocked out\u003c/a>. The vibes, as they say, were off.\u003c/p>\n\u003cfigure id=\"attachment_13953293\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday night, fans got the old Nicki. And not just with older deep cuts like “Favorite” and “Win Again,” which roused diehards but caused the overall energy to dip. One of the show’s early peaks was “FTCU,” and the modern phenomenon of an arena screaming the \u003ca href=\"https://www.tiktok.com/tag/ftcu?lang=en\">30 seconds of a song that are famous on TikTok\u003c/a>.\u003c/p>\n\u003cp>The inspirational Nicki showed up too, during “The Night Is Still Young.” “I wanna tell you guys something right now,” she said. “No matter what is happening right now outside of Gag City, inside here, we are radiating positivity, success, prosperity, intelligence and wisdom” — later telling her audience, many clad in in sequined skirts, pink wigs, fuzzy hats and platform heels, “You still have time to do what you have to do! Don’t waste a minute of your life! Promise me that!” \u003c/p>\n\u003cfigure id=\"attachment_13953295\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Cowgirl’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans also got the sex-positive Nicki. After a costume change into a basketball jersey-inspired yellow dress and boxing hoodie, Nicki did her best impression of Prince’s “Darling Nikki” upon the stage floor, complete with 90-degree leg lifts and a strategically positioned microphone. Cue the Beyoncé duet “Feelin’ Myself,” followed by undulating with three leather-clad beefcakes on steel beds (“Cowgirl”) and a straight-up face sit (“RNB”). \u003c/p>\n\u003cp>Provocative? Sure. But she knows what she’s doing. Nicki is hyper-aware of the meta narratives around her every move — and I’m not sure that’s always a good thing. As a longtime fan, part of my hesitation about this tour is that she’s seemed less interested in being the world’s greatest rapper, and more interested in \u003cem>hearing people say\u003c/em> she’s the world’s greatest rapper. It’s been giving self-doubt, and made me hear her music as telegraphing “greatness” instead of embodying it.\u003c/p>\n\u003cfigure id=\"attachment_13953291\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Red Ruby da Sleeze’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if anyone’s earned the right to rest on her laurels, it’s Nicki. You can hear her carefree flamboyance in Doja Cat, her winking humor in Cardi B, her boss-bitch confidence in — yes — Megan Thee Stallion. But primarily, 24 years into her career, Nicki’s influence is in the fact we are talking about any of these talented women at all.\u003c/p>\n\u003cp>It is really, really hard to convey to younger fans the unfair reality in which we lived, for years, that allowed for one and only one female rapper at a time. Nicki blew that notion apart. With her many alter egos and endless flows, she paved a multitude of ways for women to make their mark in the industry. On Friday, she also let \u003ca href=\"https://twitter.com/BARIJUKU/status/1763827847473635820\">national treasure Monica\u003c/a> perform a simmering set of a half-dozen songs during her headlining set, rather than making her open to a half-full arena.\u003c/p>\n\u003cfigure id=\"attachment_13953292\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘FTCU’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the show, I thought of the prom scene in \u003cem>Mean Girls\u003c/em>, where Cady Heron hands out pieces of her crown to the other girls at school. That’s what Nicki did. I don’t think she really wants the crown back. She just wants people to know where it came from. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>During her joyous finale in Oakland — with favorites “Moment for Life,” “Starships” and the eternal “Super Bass” — she made a convincing closing argument for that fact. This jury’s verdict is in: Nicki’s resurrected herself. \u003c/p>\n\n",
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"excerpt": "Forget what you've heard. In a revelatory two-hour set, Nicki Minaj proved she’s hungry again.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13953285\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-scaled.jpg\" alt=\"a woman in a silvery bodysuit smiles on stage with a microphone in a big arena with pink and purple lighting behind her\" width=\"2560\" height=\"1797\" class=\"size-full wp-image-13953285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1020x716.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-768x539.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1536x1078.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-2048x1438.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053270171-1920x1348.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You’d be right to have worried that the first show of Nicki Minaj’s Pink Friday 2 tour in Oakland on Friday might be, well, a mess.\u003c/p>\n\u003cp>Known more for controversies and \u003ca href=\"https://variety.com/2024/music/news/nicki-minaj-megan-thee-stallion-feud-timeline-1235890487/\">feuds\u003c/a> in recent years than the immense talent that once made her the world’s most feared rapper, Nicki Minaj victoriously spent two hours at her tour kickoff reminding a sold-out Oakland Arena that she still sings, raps, dances and brings the heat.\u003c/p>\n\u003cfigure id=\"attachment_13953290\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053278167-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Feelin’ Myself’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was clear right from the start of the show, when Nicki rose from below the stage rapping with noticeable vigor on the throwback opener “I’m the Best” (key line: “Which world tour should I go on today?”). In one moment, all the \u003ca href=\"https://twitter.com/NICKIMINAJ/status/1751290347957911700\">Ben Shapiro tweets\u003c/a>, \u003ca href=\"https://www.washingtonpost.com/arts-entertainment/2021/09/14/nicki-minaj-covid-19-vaccine-conspiracy/\">COVID conspiracies\u003c/a>, irredeemable \u003ca href=\"https://www.reddit.com/r/rateyourmusic/comments/1aeyxcl/nicki_minajs_bigfoot_is_now_the_second_lowest/\">diss tracks\u003c/a> and \u003ca href=\"https://www.instagram.com/p/C3jycgCO7ih/\">scattered whisper-rambles on Instagram Live\u003c/a> became distant memories. She was not here to play. \u003c/p>\n\u003cp>We are talking about a \u003ca href=\"https://www.setlist.fm/setlist/nicki-minaj/2024/oakland-arena-oakland-ca-53ad7bb5.html\">36-song setlist\u003c/a>, with smash hits and deep cuts alike. Six costume changes, robot dancers, a subway train, phone booths for her different alter egos. Lots of simulated copulation — group, duo and solo. Nicki, at age 41, coming for vengeance on workouts like “Roman’s Revenge,” and showing off her vocals on “Save Me.” And, just three months after being released, Nicki’s new songs from \u003cem>Pink Friday 2\u003c/em> — a smoldering “Big Difference,” set closer “Everybody” — coming off like classics. \u003c/p>\n\u003cfigure id=\"attachment_13953294\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279794-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s evident is Nicki is \u003cem>hungry\u003c/em> again. Maybe the competition got to her, and she upped her game. Maybe it was always in hiding. While she performed, I found myself wondering if her whole meandering, is-she-on-drugs-or-isn’t-she thing of late has been an elaborate psy-op to hide intense training and rehearsal. Whatever happened, it’s resulted in her giving 100% again. The show (“this magical historic night,” Nicki declared) recalled the first time I saw her headline the Bay Area, \u003ca href=\"https://bohemian.com/live-review-nicki-minaj-at-the-paramount-theater-oakland/\">in 2012 at the Paramount Theatre\u003c/a> — how unstoppable she seemed then, how she gave her all to the crowd. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There have been rough patches in the interim, to be sure. Bay Area fans may remember a fraught Concord Pavilion show in 2015 that suffered from beleaguered choreography and a strange detachment that seemed concerning, especially after \u003cem>The Pinkprint\u003c/em>’s multiple references to Percocet. The show ended with a \u003ca href=\"https://www.vibe.com/music/music-news/nicki-minaj-concert-brawl-video-369856/\">giant brawl in the crowd\u003c/a>; as I left I saw one guy \u003ca href=\"https://twitter.com/gmeline/status/632463878668943360\">face-down, knocked out\u003c/a>. The vibes, as they say, were off.\u003c/p>\n\u003cfigure id=\"attachment_13953293\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053279787-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Friday night, fans got the old Nicki. And not just with older deep cuts like “Favorite” and “Win Again,” which roused diehards but caused the overall energy to dip. One of the show’s early peaks was “FTCU,” and the modern phenomenon of an arena screaming the \u003ca href=\"https://www.tiktok.com/tag/ftcu?lang=en\">30 seconds of a song that are famous on TikTok\u003c/a>.\u003c/p>\n\u003cp>The inspirational Nicki showed up too, during “The Night Is Still Young.” “I wanna tell you guys something right now,” she said. “No matter what is happening right now outside of Gag City, inside here, we are radiating positivity, success, prosperity, intelligence and wisdom” — later telling her audience, many clad in in sequined skirts, pink wigs, fuzzy hats and platform heels, “You still have time to do what you have to do! Don’t waste a minute of your life! Promise me that!” \u003c/p>\n\u003cfigure id=\"attachment_13953295\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284188-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Cowgirl’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fans also got the sex-positive Nicki. After a costume change into a basketball jersey-inspired yellow dress and boxing hoodie, Nicki did her best impression of Prince’s “Darling Nikki” upon the stage floor, complete with 90-degree leg lifts and a strategically positioned microphone. Cue the Beyoncé duet “Feelin’ Myself,” followed by undulating with three leather-clad beefcakes on steel beds (“Cowgirl”) and a straight-up face sit (“RNB”). \u003c/p>\n\u003cp>Provocative? Sure. But she knows what she’s doing. Nicki is hyper-aware of the meta narratives around her every move — and I’m not sure that’s always a good thing. As a longtime fan, part of my hesitation about this tour is that she’s seemed less interested in being the world’s greatest rapper, and more interested in \u003cem>hearing people say\u003c/em> she’s the world’s greatest rapper. It’s been giving self-doubt, and made me hear her music as telegraphing “greatness” instead of embodying it.\u003c/p>\n\u003cfigure id=\"attachment_13953291\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053284690-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘Red Ruby da Sleeze’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if anyone’s earned the right to rest on her laurels, it’s Nicki. You can hear her carefree flamboyance in Doja Cat, her winking humor in Cardi B, her boss-bitch confidence in — yes — Megan Thee Stallion. But primarily, 24 years into her career, Nicki’s influence is in the fact we are talking about any of these talented women at all.\u003c/p>\n\u003cp>It is really, really hard to convey to younger fans the unfair reality in which we lived, for years, that allowed for one and only one female rapper at a time. Nicki blew that notion apart. With her many alter egos and endless flows, she paved a multitude of ways for women to make their mark in the industry. On Friday, she also let \u003ca href=\"https://twitter.com/BARIJUKU/status/1763827847473635820\">national treasure Monica\u003c/a> perform a simmering set of a half-dozen songs during her headlining set, rather than making her open to a half-full arena.\u003c/p>\n\u003cfigure id=\"attachment_13953292\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13953292\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-2053288493-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nicki Minaj performs ‘FTCU’ during the opening night of her Pink Friday 2 World Tour at the Oakland Arena on March 1, 2024. \u003ccite>(Kevin Mazur/WireImage for Live Nation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the show, I thought of the prom scene in \u003cem>Mean Girls\u003c/em>, where Cady Heron hands out pieces of her crown to the other girls at school. That’s what Nicki did. I don’t think she really wants the crown back. She just wants people to know where it came from. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During her joyous finale in Oakland — with favorites “Moment for Life,” “Starships” and the eternal “Super Bass” — she made a convincing closing argument for that fact. This jury’s verdict is in: Nicki’s resurrected herself. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "50 Years Ago, ‘Blazing Saddles’ Broke Wind — and Box Office Expectations",
"headTitle": "50 Years Ago, ‘Blazing Saddles’ Broke Wind — and Box Office Expectations | KQED",
"content": "\u003cp>Fifty years ago, \u003ca href=\"https://www.npr.org/2021/12/07/1061836388/mel-brooks-all-about-me\">Mel Brooks\u003c/a> released \u003cem>Blazing Saddles\u003c/em> to gales of laughter and a mighty roar of flatulence jokes.\u003c/p>\n\u003cp>Also to mixed reviews from harrumphing critics. \u003ca href=\"https://www.nytimes.com/1974/02/08/archives/screen-blazing-saddles-a-western-in-burlesque.html\">Typical \u003c/a>was Vincent Canby, whose New York Times review lamented the film’s “desperate, bone crushing efforts to be funny.”\u003c/p>\n\u003cp>The critics eventually came around, though it took a while. By the film’s 30th anniversary, NBC’s \u003cem>Today Show \u003c/em>was \u003ca href=\"https://www.today.com/popculture/blazing-saddles-still-has-big-laughs-wbna5263487\">acknowledging \u003c/a>that its laughs were in the service of a plot that “skewers just about every aspect of racial prejudice.”\u003c/p>\n\u003cp>[aside postid='arts_13939927']And in 2006, when NPR’s Linda Wertheimer reported that \u003cem>Blazing Saddles\u003c/em> was being added to the National Film Registry, she was clearly \u003ca href=\"https://www.npr.org/2006/12/30/6700144/blazing-saddles-makes-national-film-registry\">feigning incredulity\u003c/a>. “Who could have imagined a film featuring a bunch of cowboys sitting around the campfire, eating beans and breaking wind, to be enshrined in the Library of Congress?”\u003c/p>\n\u003cp>By then, of course, \u003cem>everyone\u003c/em> could imagine. Brooks had subsequently made a slew of genre-spoof classics (\u003cem>Young Frankenstein, Silent Movie, High Anxiety, Spaceballs, Robin Hood: Men in Tights\u003c/em>) and even riffed on history itself (\u003cem>History of the World: Part I\u003c/em>), not to mention the 2000 Year Old Man routines he created with \u003ca href=\"https://www.npr.org/2020/06/30/510434234/carl-reiner-actor-director-writer-producer-and-mensch-dies-at-98\">Carl Reiner\u003c/a>. The man was a legend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in 1974, he was significantly less well-known, having made a couple of mildly successful comedies (\u003cem>The Twelve Chairs\u003c/em> and \u003cem>The Producers\u003c/em>) and worked in\u003ca href=\"https://www.npr.org/2013/07/10/200755247/sid-caesar-who-got-laughs-without-politics-or-putdowns-dies-at-91\"> Sid Caesar\u003c/a>‘s joke-writer stable for TV. So what he was doing in this western parody got, in the words of another of that era’s funnymen, “no respect.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VKayG1TrfuE\u003c/p>\n\u003ch3>Upending Hollywood’s version of the Old West\u003c/h3>\n\u003cp>\u003cem>Blazing Saddles\u003c/em> starts out like many a Western before it: Big Sky country, a wide open prairie in the 1870s being tamed by a railroad. The foreman is white, his workers mostly African American, and he expects them to be singing as they sweat.\u003c/p>\n\u003cp>“When you were slaves you sang like birds,” he smirks. “How about a good ol’ n***** work song.”\u003c/p>\n\u003cp>Brooks worried about using the racial epithet I’ve just elided. But his co-screenwriter \u003ca href=\"https://www.npr.org/2014/12/11/369641000/richard-pryor-a-comedy-pioneer-who-was-always-whittling-on-dynamite\">Richard Pryor\u003c/a> insisted he use it — and use it often — consciously putting it the mouths of evil or unthinking characters, so that star Cleavon Little could comically mock or demolish them.\u003c/p>\n\u003cp>Which he does. Repeatedly. And hilariously.\u003c/p>\n\u003cp>[aside postid='arts_13907576']So, \u003cem>Blazing Saddles\u003c/em> is not really “like many a Western before it.” Brooks was upending Hollywood’s version of the Old West, much as \u003ca href=\"https://www.npr.org/2006/11/21/6520822/film-world-mourns-director-robert-altman\">Robert Altman\u003c/a>‘s dark, land-grab drama \u003cem>McCabe & Mrs. Miller\u003c/em> had, three years earlier. He just took a different tack. To set his comedy in motion, he had \u003ca href=\"https://www.npr.org/2008/05/30/90981454/comedic-actor-harvey-korman-dies-at-81\">Harvey Korman\u003c/a>‘s scheming politician come up with the idea of hiring a Black sheriff to scare the townsfolk of Rock Ridge away from their town, so he can buy it on the cheap before any of them learns the rail line will soon be coming through.\u003c/p>\n\u003cp>His ploy works. When Cleavon Little’s Sheriff Bart rides into view, they are indeed less than welcoming. But they are also less than bright — foiled in their plan to shoot their new sheriff, for instance, when he points his gun at his own head and takes \u003cem>himself\u003c/em> hostage.\u003c/p>\n\u003ch3>‘He’s like wet sauerkraut in my hands’\u003c/h3>\n\u003cp>Bart then teams up with \u003ca href=\"https://www.npr.org/2016/08/30/491944275/in-this-2005-interview-gene-wilder-explains-how-he-learned-to-get-laughs\">Gene Wilder\u003c/a>‘s Waco Kid, a hung-over gunslinger, at which point the film adopts the rhythms of a black/white buddy comedy. Until, that is, it turns into a spoof of \u003cem>The Blue Angel\u003c/em>, as Madeline Kahn’s seductress-for-hire Lili Von Shtupp croons a gloriously off-pitch “I’m Tired” and sets about seducing Sheriff Bart. “He’s like wet sauerkraut in my hands,” she purrs in an accent that suggests she got vocal coaching from both Marlene Dietrich and Elmer Fudd.\u003c/p>\n\u003cp>To satirize 1970s racial prejudice using 1870s characters, Brooks opted to become an equal-opportunity shredder of genres and conventions. A horse gets punched, as does an old lady. Even Busby Berkeley musicals come in for a brief ribbing when a brawl literally breaks the fourth wall and the cast crashes into a dance number on a nearby soundstage.\u003c/p>\n\u003cp>And of course, there’s that campfire scene: cowboys consuming pots of coffee and platefuls of baked beans, with predictable — though unusual for film — results.\u003c/p>\n\u003ch3>‘Bury it.’\u003c/h3>\n\u003cp>When studio executives first saw \u003cem>Blazing Saddles\u003c/em>, they were \u003cem>not\u003c/em> amused. One distributor \u003ca href=\"https://www.youtube.com/watch?v=uv7L6Hrlj58&t=99s\">suggested \u003c/a>they “bury it.” Others wanted rewrites. But Brooks’ \u003ca href=\"https://ew.com/article/2014/05/01/blazing-saddles-mel-brooks/\">contract gave him final cut\u003c/a>, and he flat-out refused to make changes.\u003c/p>\n\u003cp>So on Feb. 7, 1974, the studio opened the film as a test in three cities — NYC, LA, Chicago — considered the most likely to get Brooks’ Borscht Belt sense of humor. Critics were dismissive, but even the most negative reviews conceded that audiences were howling.\u003c/p>\n\u003cp>[aside postid='pop_107664']And word got around. By the time the weather had warmed, \u003cem>Blazing Saddles \u003c/em>was playing to long lines in suburban cinemas across the country.\u003c/p>\n\u003cp>It ended up the biggest box-office hit of 1974, seen by some 63 million moviegoers in North America (more than would, decades later, see \u003cem>any\u003c/em> of the \u003cem>Lord of the Rings\u003c/em> movies in U.S. theaters).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Blazing Saddles\u003c/em> became, in short, a pop culture touchstone. And 50 years later, that’s what it remains.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=50+years+ago%2C+%27Blazing+Saddles%27+broke+wind+%E2%80%94+and+box+office+expectations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years ago, \u003ca href=\"https://www.npr.org/2021/12/07/1061836388/mel-brooks-all-about-me\">Mel Brooks\u003c/a> released \u003cem>Blazing Saddles\u003c/em> to gales of laughter and a mighty roar of flatulence jokes.\u003c/p>\n\u003cp>Also to mixed reviews from harrumphing critics. \u003ca href=\"https://www.nytimes.com/1974/02/08/archives/screen-blazing-saddles-a-western-in-burlesque.html\">Typical \u003c/a>was Vincent Canby, whose New York Times review lamented the film’s “desperate, bone crushing efforts to be funny.”\u003c/p>\n\u003cp>The critics eventually came around, though it took a while. By the film’s 30th anniversary, NBC’s \u003cem>Today Show \u003c/em>was \u003ca href=\"https://www.today.com/popculture/blazing-saddles-still-has-big-laughs-wbna5263487\">acknowledging \u003c/a>that its laughs were in the service of a plot that “skewers just about every aspect of racial prejudice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And in 2006, when NPR’s Linda Wertheimer reported that \u003cem>Blazing Saddles\u003c/em> was being added to the National Film Registry, she was clearly \u003ca href=\"https://www.npr.org/2006/12/30/6700144/blazing-saddles-makes-national-film-registry\">feigning incredulity\u003c/a>. “Who could have imagined a film featuring a bunch of cowboys sitting around the campfire, eating beans and breaking wind, to be enshrined in the Library of Congress?”\u003c/p>\n\u003cp>By then, of course, \u003cem>everyone\u003c/em> could imagine. Brooks had subsequently made a slew of genre-spoof classics (\u003cem>Young Frankenstein, Silent Movie, High Anxiety, Spaceballs, Robin Hood: Men in Tights\u003c/em>) and even riffed on history itself (\u003cem>History of the World: Part I\u003c/em>), not to mention the 2000 Year Old Man routines he created with \u003ca href=\"https://www.npr.org/2020/06/30/510434234/carl-reiner-actor-director-writer-producer-and-mensch-dies-at-98\">Carl Reiner\u003c/a>. The man was a legend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in 1974, he was significantly less well-known, having made a couple of mildly successful comedies (\u003cem>The Twelve Chairs\u003c/em> and \u003cem>The Producers\u003c/em>) and worked in\u003ca href=\"https://www.npr.org/2013/07/10/200755247/sid-caesar-who-got-laughs-without-politics-or-putdowns-dies-at-91\"> Sid Caesar\u003c/a>‘s joke-writer stable for TV. So what he was doing in this western parody got, in the words of another of that era’s funnymen, “no respect.”\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/VKayG1TrfuE'\n title='//www.youtube.com/embed/VKayG1TrfuE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Upending Hollywood’s version of the Old West\u003c/h3>\n\u003cp>\u003cem>Blazing Saddles\u003c/em> starts out like many a Western before it: Big Sky country, a wide open prairie in the 1870s being tamed by a railroad. The foreman is white, his workers mostly African American, and he expects them to be singing as they sweat.\u003c/p>\n\u003cp>“When you were slaves you sang like birds,” he smirks. “How about a good ol’ n***** work song.”\u003c/p>\n\u003cp>Brooks worried about using the racial epithet I’ve just elided. But his co-screenwriter \u003ca href=\"https://www.npr.org/2014/12/11/369641000/richard-pryor-a-comedy-pioneer-who-was-always-whittling-on-dynamite\">Richard Pryor\u003c/a> insisted he use it — and use it often — consciously putting it the mouths of evil or unthinking characters, so that star Cleavon Little could comically mock or demolish them.\u003c/p>\n\u003cp>Which he does. Repeatedly. And hilariously.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So, \u003cem>Blazing Saddles\u003c/em> is not really “like many a Western before it.” Brooks was upending Hollywood’s version of the Old West, much as \u003ca href=\"https://www.npr.org/2006/11/21/6520822/film-world-mourns-director-robert-altman\">Robert Altman\u003c/a>‘s dark, land-grab drama \u003cem>McCabe & Mrs. Miller\u003c/em> had, three years earlier. He just took a different tack. To set his comedy in motion, he had \u003ca href=\"https://www.npr.org/2008/05/30/90981454/comedic-actor-harvey-korman-dies-at-81\">Harvey Korman\u003c/a>‘s scheming politician come up with the idea of hiring a Black sheriff to scare the townsfolk of Rock Ridge away from their town, so he can buy it on the cheap before any of them learns the rail line will soon be coming through.\u003c/p>\n\u003cp>His ploy works. When Cleavon Little’s Sheriff Bart rides into view, they are indeed less than welcoming. But they are also less than bright — foiled in their plan to shoot their new sheriff, for instance, when he points his gun at his own head and takes \u003cem>himself\u003c/em> hostage.\u003c/p>\n\u003ch3>‘He’s like wet sauerkraut in my hands’\u003c/h3>\n\u003cp>Bart then teams up with \u003ca href=\"https://www.npr.org/2016/08/30/491944275/in-this-2005-interview-gene-wilder-explains-how-he-learned-to-get-laughs\">Gene Wilder\u003c/a>‘s Waco Kid, a hung-over gunslinger, at which point the film adopts the rhythms of a black/white buddy comedy. Until, that is, it turns into a spoof of \u003cem>The Blue Angel\u003c/em>, as Madeline Kahn’s seductress-for-hire Lili Von Shtupp croons a gloriously off-pitch “I’m Tired” and sets about seducing Sheriff Bart. “He’s like wet sauerkraut in my hands,” she purrs in an accent that suggests she got vocal coaching from both Marlene Dietrich and Elmer Fudd.\u003c/p>\n\u003cp>To satirize 1970s racial prejudice using 1870s characters, Brooks opted to become an equal-opportunity shredder of genres and conventions. A horse gets punched, as does an old lady. Even Busby Berkeley musicals come in for a brief ribbing when a brawl literally breaks the fourth wall and the cast crashes into a dance number on a nearby soundstage.\u003c/p>\n\u003cp>And of course, there’s that campfire scene: cowboys consuming pots of coffee and platefuls of baked beans, with predictable — though unusual for film — results.\u003c/p>\n\u003ch3>‘Bury it.’\u003c/h3>\n\u003cp>When studio executives first saw \u003cem>Blazing Saddles\u003c/em>, they were \u003cem>not\u003c/em> amused. One distributor \u003ca href=\"https://www.youtube.com/watch?v=uv7L6Hrlj58&t=99s\">suggested \u003c/a>they “bury it.” Others wanted rewrites. But Brooks’ \u003ca href=\"https://ew.com/article/2014/05/01/blazing-saddles-mel-brooks/\">contract gave him final cut\u003c/a>, and he flat-out refused to make changes.\u003c/p>\n\u003cp>So on Feb. 7, 1974, the studio opened the film as a test in three cities — NYC, LA, Chicago — considered the most likely to get Brooks’ Borscht Belt sense of humor. Critics were dismissive, but even the most negative reviews conceded that audiences were howling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And word got around. By the time the weather had warmed, \u003cem>Blazing Saddles \u003c/em>was playing to long lines in suburban cinemas across the country.\u003c/p>\n\u003cp>It ended up the biggest box-office hit of 1974, seen by some 63 million moviegoers in North America (more than would, decades later, see \u003cem>any\u003c/em> of the \u003cem>Lord of the Rings\u003c/em> movies in U.S. theaters).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Blazing Saddles\u003c/em> became, in short, a pop culture touchstone. And 50 years later, that’s what it remains.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=50+years+ago%2C+%27Blazing+Saddles%27+broke+wind+%E2%80%94+and+box+office+expectations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There is a scene in \u003cem>Problemista\u003c/em> where Craigslist becomes an actual physical entity. The listings website is personified by a large flamboyant man floating in space. Wrapped in junk and tech garbage, he whispers intensely about sex work in one breath and Ikea Billy bookcases the next. Strange though this may sound, this entity is acutely (and hilariously) familiar to any human that has ever casually browsed that website.\u003c/p>\n\u003cp>This kind of surrealist vision is not unusual in \u003cem>Problemista\u003c/em> even though the movie is grounded, at its core, in harsh realities. In the film, Alejandro (Julio Torres, who also wrote and directed it) is an aspiring toy designer from El Salvador who takes an unpaid job with Elizabeth (Tilda Swinton) after losing his U.S. visa. Alejandro is childlike, moves through the world in tiny hops like a cartoon, and is full of dark whimsy. (He wants all of the toys he designs to have “tension and intrigue.” Like Cabbage Patch Dolls contending with bitchy text messages, and snakes that leap out of cans with signs attached to them that read: “I’m sorry, I was trapped in this can and scaring you was the only way out.”)\u003c/p>\n\u003cp>[aside postid='arts_13952779']In contrast to Alejandro, Elizabeth is harsh, entitled and tightly wound in a way that’s unbearable for almost everyone in her vicinity. Still, the two strike a deal: If Alejandro helps Elizabeth put together an art show of her deceased husband’s work, she will sponsor his immigration application. All of which might make for a bleak story were it not for Torres’ penchant for embracing weirdness.\u003c/p>\n\u003cp>At one point, the quagmire of immigration law becomes a series of floating diagonal boxes that must be navigated via trapdoors and vents — a little bit like an un-winnable game of shoots and ladders. These small moments of surreality don’t just serve as an engaging way to tell \u003cem>Problemista’\u003c/em>s story, they make the circumstances of the main character more viscerally relatable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zbsk4okRUds\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to the mind-bending scenery,\u003cem> Problemista\u003c/em> is elevated by an exceptionally funny script. Many of the best lines are served up by Swinton leaning full force into her character’s casual indifference to other people’s hardships. (Her utterance of the line “There is an underbelly of closeted fishermen” is, in particular, a masterpiece of dry comedic acting, but her tone stays on point throughout.)\u003c/p>\n\u003cp>Once upon a time many years ago, I — like Alejandro — worked as a personal assistant in New York City. Like Elizabeth, my boss was an eccentric, blunt, supremely demanding woman who owned a variety of homes in expensive places. At the time, I was a broke freelancer with a variety of immigration issues, hustling to make ends meet and living, like Alejandro, in Bushwick. To say I related to this movie would be a gross understatement. By this story’s unpredictable — and surprisingly heartwarming — end, however, I realized that the themes of \u003cem>Problemista \u003c/em>are actually very universal.\u003c/p>\n\u003cp>[aside postid='arts_13953095']\u003cem>Problemista\u003c/em> is a story about the hardships that come with chasing your dreams — any dreams at all. It’s about the inhumanity of gratuitous bureaucracy and needlessly complicated technology. (FileMaker Pro is a running joke throughout). It’s about how, so often, wanting to work in an artistic profession makes one’s life more difficult, but also infinitely more joyful. Ultimately, \u003cem>Problemista \u003c/em>is about finding lessons and friendship in unusual places, slaying personal dragons and the importance of standing up for yourself.\u003c/p>\n\u003cp>If it’s not already obvious, this movie contains multitudes. (I haven’t even covered Isabella Rossellini’s delightful narration or the side storyline about cryogenesis…) And presented through Torres’ eyes, Alejandro’s difficult but dreamlike little world becomes a joy to visit — even when it’s being partially operated by Craigslist demons.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Problemista’ screens at select San Francisco theaters on March 8, and nationwide on March 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to the mind-bending scenery,\u003cem> Problemista\u003c/em> is elevated by an exceptionally funny script. Many of the best lines are served up by Swinton leaning full force into her character’s casual indifference to other people’s hardships. (Her utterance of the line “There is an underbelly of closeted fishermen” is, in particular, a masterpiece of dry comedic acting, but her tone stays on point throughout.)\u003c/p>\n\u003cp>Once upon a time many years ago, I — like Alejandro — worked as a personal assistant in New York City. Like Elizabeth, my boss was an eccentric, blunt, supremely demanding woman who owned a variety of homes in expensive places. At the time, I was a broke freelancer with a variety of immigration issues, hustling to make ends meet and living, like Alejandro, in Bushwick. To say I related to this movie would be a gross understatement. By this story’s unpredictable — and surprisingly heartwarming — end, however, I realized that the themes of \u003cem>Problemista \u003c/em>are actually very universal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Problemista\u003c/em> is a story about the hardships that come with chasing your dreams — any dreams at all. It’s about the inhumanity of gratuitous bureaucracy and needlessly complicated technology. (FileMaker Pro is a running joke throughout). It’s about how, so often, wanting to work in an artistic profession makes one’s life more difficult, but also infinitely more joyful. Ultimately, \u003cem>Problemista \u003c/em>is about finding lessons and friendship in unusual places, slaying personal dragons and the importance of standing up for yourself.\u003c/p>\n\u003cp>If it’s not already obvious, this movie contains multitudes. (I haven’t even covered Isabella Rossellini’s delightful narration or the side storyline about cryogenesis…) And presented through Torres’ eyes, Alejandro’s difficult but dreamlike little world becomes a joy to visit — even when it’s being partially operated by Craigslist demons.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Problemista’ screens at select San Francisco theaters on March 8, and nationwide on March 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Carrie Preston won an Emmy Award in 2013, as outstanding guest actress, for her portrayal of a seemingly scatter-brained lawyer on the CBS series \u003cem>The Good Wife\u003c/em>\u003cem>. \u003c/em>Her character, Elsbeth Tascioni, really \u003cem>was \u003c/em>a character. Her conversations tended to derail into unexpected directions. Her questions never seemed to follow any logical path, but they always had a purpose — and she was keenly, almost uncomfortably, observant.\u003c/p>\n\u003cp>Michelle and Robert King, the writing team that created \u003cem>The Good Wife\u003c/em> to showcase the talent of Julianna Margulies, quickly recognized Preston’s Elsbeth as a valuable supporting player. She appeared in six of the seven seasons of\u003cem> The Good Wife, \u003c/em>and won her Emmy there.\u003c/p>\n\u003cp>[aside postid='arts_13953000']Then she returned as the same character in \u003ca href=\"https://www.npr.org/2017/02/19/516137854/the-good-fight-offers-edgier-version-of-the-good-wife-in-series-debut\">\u003cem>The Good Fight\u003c/em>\u003c/a>\u003cem>, \u003c/em>which the Kings wrote as a sequel series starring Christine Baranski. And now, there’s a third series, this time bringing Preston front and center. It’s called \u003cem>Elsbeth\u003c/em>, and all 10 episodes have been written by co-creators Michelle and Robert King, with him directing the premiere episode.\u003c/p>\n\u003cp>So what are they up to this time? They’ve transplanted Elsbeth from Chicago to New York City, where she’s been hired to officially observe, and secretly investigate, some of the police there. In her new job, she’s given so much latitude, she even can serve as an ad-hoc murder investigator.\u003c/p>\n\u003cp>\u003cem>Elsbeth\u003c/em>, the series, is structured like \u003ca href=\"https://www.kqed.org/arts/13924192/no-lie-natasha-lyonne-is-unforgettable-in-poker-face\">\u003cem>Poker Face\u003c/em>\u003c/a>, or, even more obviously, \u003cem>Columbo\u003c/em>. I’ve previewed three episodes, and each begins with viewers seeing the murderer commit the crime … and then, and only then, does Elsbeth enter the crime scene and start putting the puzzle pieces together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1J-fCrWcF14\u003c/p>\n\u003cp>As with \u003cem>Columbo\u003c/em>, each episode features a prominent guest star as the killer of the week. For the premiere episode of \u003cem>Elsbeth \u003c/em>— no spoiler alerts here, because the murder is shown in the opening moments — Stephen Moyer from \u003ca href=\"https://www.kqed.org/arts/96643/summer_is_coming_true_blood_season_5\">\u003cem>True Blood\u003c/em>\u003c/a> is the special guest star. He plays an acting teacher and director who has found a way to dispose of his much younger former student and lover, by making it look like suicide. When Elsbeth arrives at the victim’s apartment, she ignores the dead body and heads straight for the bathroom — where she pokes around until a detective notices her and objects.\u003c/p>\n\u003cp>The police aren’t sure what to make of her, of course. \u003ca href=\"https://www.npr.org/sections/ablogsupreme/2011/07/04/137607222/wendell-pierce-everyones-favorite-fake-trombone-player\">Wendell Pierce\u003c/a>, that wonderful actor from \u003ca href=\"https://www.npr.org/2022/08/05/1115935761/20-years-later-the-wire-still-enthralls\">\u003cem>The Wire\u003c/em>\u003c/a>, plays Capt. Wagner, who is exasperated one moment, impressed the next — which is how everyone reacted to Elsbeth way back on \u003cem>The Good Wife.\u003c/em> Carra Patterson plays Kaya Blanke, an officer who soon becomes a friend as well as a colleague.\u003c/p>\n\u003cp>[aside postid='arts_13952420']But as with \u003cem>Columbo\u003c/em>, the most important dynamic is between the investigator and the killer. Elsbeth, like Columbo, is persistent and underestimated. But where Columbo kept his theories close to his vest, or his raincoat, Elsbeth almost delights in revealing her hole cards, to unsettle her prime suspect. Preston and Moyer worked together on HBO’s \u003cem>True Blood, \u003c/em>and it’s fun to see them together again here — this time as adversaries.\u003c/p>\n\u003cp>Other episodes shown to critics feature, as the murderers of the week, Jane Krakowski from \u003ca href=\"https://www.kqed.org/pop/96840/now-is-definitely-the-time-to-re-watch-30-rock\">\u003cem>30 Rock\u003c/em>\u003c/a> and Jesse Tyler Ferguson from \u003cem>Modern Family\u003c/em>\u003cem>. \u003c/em>Both of them bring a playful energy, sparring with Preston’s Elsbeth — and she really sparkles, with and without them, and carries the series with ease.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also, the show’s New York locations add even more to the flavor, and the enjoyment. All together, they make \u003cem>Elsbeth \u003c/em>an undeniable throwback to an earlier TV era. But so is P\u003cem>oker Face, \u003c/em>which I love for many of the same reasons: Great leading role; delightful guest stars; decent, clever mysteries that are solved by the end of each episode. And in an era where so much TV is so dark and depressing, \u003cem>Elsbeth \u003c/em>stands out as a sweet, happy little treat.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+the+mood+for+a+sweet%2C+off-beat+murder+mystery%3F+%27Elsbeth%27+is+on+the+case&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carrie Preston won an Emmy Award in 2013, as outstanding guest actress, for her portrayal of a seemingly scatter-brained lawyer on the CBS series \u003cem>The Good Wife\u003c/em>\u003cem>. \u003c/em>Her character, Elsbeth Tascioni, really \u003cem>was \u003c/em>a character. Her conversations tended to derail into unexpected directions. Her questions never seemed to follow any logical path, but they always had a purpose — and she was keenly, almost uncomfortably, observant.\u003c/p>\n\u003cp>Michelle and Robert King, the writing team that created \u003cem>The Good Wife\u003c/em> to showcase the talent of Julianna Margulies, quickly recognized Preston’s Elsbeth as a valuable supporting player. She appeared in six of the seven seasons of\u003cem> The Good Wife, \u003c/em>and won her Emmy there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then she returned as the same character in \u003ca href=\"https://www.npr.org/2017/02/19/516137854/the-good-fight-offers-edgier-version-of-the-good-wife-in-series-debut\">\u003cem>The Good Fight\u003c/em>\u003c/a>\u003cem>, \u003c/em>which the Kings wrote as a sequel series starring Christine Baranski. And now, there’s a third series, this time bringing Preston front and center. It’s called \u003cem>Elsbeth\u003c/em>, and all 10 episodes have been written by co-creators Michelle and Robert King, with him directing the premiere episode.\u003c/p>\n\u003cp>So what are they up to this time? They’ve transplanted Elsbeth from Chicago to New York City, where she’s been hired to officially observe, and secretly investigate, some of the police there. In her new job, she’s given so much latitude, she even can serve as an ad-hoc murder investigator.\u003c/p>\n\u003cp>\u003cem>Elsbeth\u003c/em>, the series, is structured like \u003ca href=\"https://www.kqed.org/arts/13924192/no-lie-natasha-lyonne-is-unforgettable-in-poker-face\">\u003cem>Poker Face\u003c/em>\u003c/a>, or, even more obviously, \u003cem>Columbo\u003c/em>. I’ve previewed three episodes, and each begins with viewers seeing the murderer commit the crime … and then, and only then, does Elsbeth enter the crime scene and start putting the puzzle pieces together.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1J-fCrWcF14'\n title='//www.youtube.com/embed/1J-fCrWcF14'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As with \u003cem>Columbo\u003c/em>, each episode features a prominent guest star as the killer of the week. For the premiere episode of \u003cem>Elsbeth \u003c/em>— no spoiler alerts here, because the murder is shown in the opening moments — Stephen Moyer from \u003ca href=\"https://www.kqed.org/arts/96643/summer_is_coming_true_blood_season_5\">\u003cem>True Blood\u003c/em>\u003c/a> is the special guest star. He plays an acting teacher and director who has found a way to dispose of his much younger former student and lover, by making it look like suicide. When Elsbeth arrives at the victim’s apartment, she ignores the dead body and heads straight for the bathroom — where she pokes around until a detective notices her and objects.\u003c/p>\n\u003cp>The police aren’t sure what to make of her, of course. \u003ca href=\"https://www.npr.org/sections/ablogsupreme/2011/07/04/137607222/wendell-pierce-everyones-favorite-fake-trombone-player\">Wendell Pierce\u003c/a>, that wonderful actor from \u003ca href=\"https://www.npr.org/2022/08/05/1115935761/20-years-later-the-wire-still-enthralls\">\u003cem>The Wire\u003c/em>\u003c/a>, plays Capt. Wagner, who is exasperated one moment, impressed the next — which is how everyone reacted to Elsbeth way back on \u003cem>The Good Wife.\u003c/em> Carra Patterson plays Kaya Blanke, an officer who soon becomes a friend as well as a colleague.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But as with \u003cem>Columbo\u003c/em>, the most important dynamic is between the investigator and the killer. Elsbeth, like Columbo, is persistent and underestimated. But where Columbo kept his theories close to his vest, or his raincoat, Elsbeth almost delights in revealing her hole cards, to unsettle her prime suspect. Preston and Moyer worked together on HBO’s \u003cem>True Blood, \u003c/em>and it’s fun to see them together again here — this time as adversaries.\u003c/p>\n\u003cp>Other episodes shown to critics feature, as the murderers of the week, Jane Krakowski from \u003ca href=\"https://www.kqed.org/pop/96840/now-is-definitely-the-time-to-re-watch-30-rock\">\u003cem>30 Rock\u003c/em>\u003c/a> and Jesse Tyler Ferguson from \u003cem>Modern Family\u003c/em>\u003cem>. \u003c/em>Both of them bring a playful energy, sparring with Preston’s Elsbeth — and she really sparkles, with and without them, and carries the series with ease.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also, the show’s New York locations add even more to the flavor, and the enjoyment. All together, they make \u003cem>Elsbeth \u003c/em>an undeniable throwback to an earlier TV era. But so is P\u003cem>oker Face, \u003c/em>which I love for many of the same reasons: Great leading role; delightful guest stars; decent, clever mysteries that are solved by the end of each episode. And in an era where so much TV is so dark and depressing, \u003cem>Elsbeth \u003c/em>stands out as a sweet, happy little treat.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+the+mood+for+a+sweet%2C+off-beat+murder+mystery%3F+%27Elsbeth%27+is+on+the+case&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Sex, Violence, ‘Game of Thrones’-Style Power Grabs — the New ‘Shōgun’ Has it All",
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"content": "\u003cp>The original \u003cem>Shōgun\u003c/em>, on NBC, aired in 1980, when miniseries were the hottest things on television. ABC’s \u003cem>Roots \u003c/em>had broken all ratings records just three years before — and three years later, the star of \u003cem>Shōgun\u003c/em>, Richard Chamberlain, would score another massive miniseries hit with ABC’s \u003ca href=\"https://www.npr.org/2014/03/06/286876905/for-a-sheltered-teen-thorn-birds-was-a-much-needed-eye-opener\">\u003cem>The Thorn Birds\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Even then, adapting James Clavell’s sprawling story of an English sea pilot’s adventures in Japan in the year 1600, was quite a gamble. The original version avoided subtitles, for the most part, to reflect the confusion the newly arrived pilot, John Blackthorne, felt when encountering Japanese culture and its people.\u003c/p>\n\u003cp>[aside postid='arts_13953000']Except for occasional narration by Orson Welles, who sometimes threw in some radio-style acting by interpreting what a warlord was saying, most viewers in 1980 were as clueless as the sailor in the story. Eventually, things became a bit clearer when one of the Japanese rulers, Lord Toranaga, appointed a trusted translator: Lady Mariko, to whom the pilot became increasingly, and dangerously, attracted.\u003c/p>\n\u003cp>Part of the great appeal of that miniseries was the powerful performance by Toshiro Mifune as Toranaga. Foreign film fans at the time knew him as the star of the original \u003cem>Seven Samurai. \u003c/em>But the chemistry between Chamberlain as Blackthorne, and the Japanese actor Yoko Shimada as his translator Mariko, was a big part of it, too.\u003c/p>\n\u003cp>This new, 10-part interpretation of \u003cem>Shōgun\u003c/em>, adapted for TV by the married writing team of Rachel Kondo and Justin Marks, uses subtitles throughout — a choice that makes the narrative more immediately understandable. It also focuses just as strongly, and just as effectively, on the same three central figures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lord Toranaga is played by Hiroyuki Sanada, who’s so imposing that even his silences are powerful. The translator, Lady Mariko, is played by Anna Sawai, who brings to her character even more strength, mystery and charisma than in the 1980 version. And instead of the matinee-idol-handsome Chamberlain as pilot Blackthorne, we have Cosmo Jarvis — an actor who looks more ruggedly handsome, and sounds a lot like Richard Burton. It takes a while for the three characters, and actors, to share the screen — but when they finally do, it’s entrancing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yAN5uspO_hk\u003c/p>\n\u003cp>This new \u003cem>Shōgun \u003c/em>has other strong performances as well, but they’re not the only things that make this 2024 version so successful. Special and visual effects have improved exponentially in the almost 45 years since the original \u003cem>Shōgun \u003c/em>was televised, and it shows here: Every storm at sea, every battle scene and, especially, every earthquake is rendered with excitement and credibility.\u003c/p>\n\u003cp>And finally, there’s the overarching story, which has Toranaga employing Blackthorne as his secret weapon in a deadly civil war. The power grabs among the five rulers are like the hostilities in \u003ca href=\"https://www.npr.org/series/1041961732/game-of-thrones-recaps\">\u003cem>The Game of Thrones\u003c/em>\u003c/a> — except instead of a Red Wedding, there’s a Crimson Sky.\u003c/p>\n\u003cp>[aside postid='arts_13952691']I went back and rewatched the original \u003cem>Shōgun\u003c/em> to see if it holds up. It does. But the several directors who worked on \u003cem>Shōgun \u003c/em>for FX deliver a new version that looks much more stunning. It’s sexier, more violent, and even more thought-provoking and illuminating than the original … all of which, in this context, are meant as compliments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first two episodes of \u003cem>Shōgun \u003c/em>are televised on FX opening night, and streamed the next day on Hulu, with the remaining episodes presented weekly. Don’t miss it: With this \u003cem>Shōgun\u003c/em>, as with the original, the TV miniseries is alive and well.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sex%2C+violence%2C+%27Game+of+Thrones%27-style+power+grabs+%E2%80%94+the+new+%27Sh%C5%8Dgun%27+has+it+all+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The original \u003cem>Shōgun\u003c/em>, on NBC, aired in 1980, when miniseries were the hottest things on television. ABC’s \u003cem>Roots \u003c/em>had broken all ratings records just three years before — and three years later, the star of \u003cem>Shōgun\u003c/em>, Richard Chamberlain, would score another massive miniseries hit with ABC’s \u003ca href=\"https://www.npr.org/2014/03/06/286876905/for-a-sheltered-teen-thorn-birds-was-a-much-needed-eye-opener\">\u003cem>The Thorn Birds\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Even then, adapting James Clavell’s sprawling story of an English sea pilot’s adventures in Japan in the year 1600, was quite a gamble. The original version avoided subtitles, for the most part, to reflect the confusion the newly arrived pilot, John Blackthorne, felt when encountering Japanese culture and its people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Except for occasional narration by Orson Welles, who sometimes threw in some radio-style acting by interpreting what a warlord was saying, most viewers in 1980 were as clueless as the sailor in the story. Eventually, things became a bit clearer when one of the Japanese rulers, Lord Toranaga, appointed a trusted translator: Lady Mariko, to whom the pilot became increasingly, and dangerously, attracted.\u003c/p>\n\u003cp>Part of the great appeal of that miniseries was the powerful performance by Toshiro Mifune as Toranaga. Foreign film fans at the time knew him as the star of the original \u003cem>Seven Samurai. \u003c/em>But the chemistry between Chamberlain as Blackthorne, and the Japanese actor Yoko Shimada as his translator Mariko, was a big part of it, too.\u003c/p>\n\u003cp>This new, 10-part interpretation of \u003cem>Shōgun\u003c/em>, adapted for TV by the married writing team of Rachel Kondo and Justin Marks, uses subtitles throughout — a choice that makes the narrative more immediately understandable. It also focuses just as strongly, and just as effectively, on the same three central figures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lord Toranaga is played by Hiroyuki Sanada, who’s so imposing that even his silences are powerful. The translator, Lady Mariko, is played by Anna Sawai, who brings to her character even more strength, mystery and charisma than in the 1980 version. And instead of the matinee-idol-handsome Chamberlain as pilot Blackthorne, we have Cosmo Jarvis — an actor who looks more ruggedly handsome, and sounds a lot like Richard Burton. It takes a while for the three characters, and actors, to share the screen — but when they finally do, it’s entrancing.\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/yAN5uspO_hk'\n title='//www.youtube.com/embed/yAN5uspO_hk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This new \u003cem>Shōgun \u003c/em>has other strong performances as well, but they’re not the only things that make this 2024 version so successful. Special and visual effects have improved exponentially in the almost 45 years since the original \u003cem>Shōgun \u003c/em>was televised, and it shows here: Every storm at sea, every battle scene and, especially, every earthquake is rendered with excitement and credibility.\u003c/p>\n\u003cp>And finally, there’s the overarching story, which has Toranaga employing Blackthorne as his secret weapon in a deadly civil war. The power grabs among the five rulers are like the hostilities in \u003ca href=\"https://www.npr.org/series/1041961732/game-of-thrones-recaps\">\u003cem>The Game of Thrones\u003c/em>\u003c/a> — except instead of a Red Wedding, there’s a Crimson Sky.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I went back and rewatched the original \u003cem>Shōgun\u003c/em> to see if it holds up. It does. But the several directors who worked on \u003cem>Shōgun \u003c/em>for FX deliver a new version that looks much more stunning. It’s sexier, more violent, and even more thought-provoking and illuminating than the original … all of which, in this context, are meant as compliments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first two episodes of \u003cem>Shōgun \u003c/em>are televised on FX opening night, and streamed the next day on Hulu, with the remaining episodes presented weekly. Don’t miss it: With this \u003cem>Shōgun\u003c/em>, as with the original, the TV miniseries is alive and well.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sex%2C+violence%2C+%27Game+of+Thrones%27-style+power+grabs+%E2%80%94+the+new+%27Sh%C5%8Dgun%27+has+it+all+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nestled in a Burbank office filled with comic books, framed movie posters, \u003cem>Walking Dead\u003c/em> memorabilia and a life-size replica of Han Solo frozen in Carbonite looming over his desk, Scott Gimple knows what some of you are thinking.\u003c/p>\n\u003cp>As Chief Content Officer of the \u003cem>Walking Dead \u003c/em>franchise and showrunner for its newest spinoff series, \u003cem>The Walking Dead: The Ones Who Live\u003c/em>, Gimple realizes some folks — like the critic from NPR who came to quiz him on the new show — understand several people who watched the original zombie drama have stopped keeping up with it all.\u003c/p>\n\u003cp>And even though \u003cem>The Ones Who Live\u003c/em> is centered on two of the show’s most popular characters — husband and wife team Rick Grimes and Michonne — many of us skeptics wonder: Will a new audience show up for the latest iteration of a franchise nearly 14 years old?\u003c/p>\n\u003cp>“Well, things change,” says Gimple, who has the air of a mild-mannered comics nerd. “There was a short moment in the culture [where people reacted to] Taylor Swift; they would roll their eyes and [say she’s] singing about her ex-boyfriend again. Then people kind of understood what she was doing … I’m not saying anybody’s rolling their eyes at us, but I’m saying if you’re around long enough, things go in cycles.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cN6_lMcYFKY\u003c/p>\n\u003ch3>Moving from film to TV series\u003c/h3>\n\u003cp>Though it debuted Sunday as a TV program,\u003cem> The Ones Who Live\u003c/em> was originally planned \u003ca href=\"https://www.nytimes.com/2018/11/04/arts/television/andrew-lincoln-the-walking-dead.html\">as a series of films\u003c/a> back when Andrew Lincoln, who plays earnest hero Rick Grimes, left the mothership show in 2018. Danai Gurira, a co-star in the \u003cem>Black Panther\u003c/em> movies who plays sword-wielding warrior Michonne, \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2020-03-22/danai-gurira-the-walking-dead-michonne-goodbye#:~:text=Her%20departure%20also%20marked%20the,a%20Tony%20Award%20in%202016.\">departed in 2020 from the show\u003c/a>, which wrapped up in 2022.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Scott Gimple and I had an exit strategy [for me] from season four or five,” says Lincoln, who spoke to me with Gurira in a longer interview that will air in an upcoming episode of KCRW’s show \u003cem>The Business\u003c/em>. He didn’t actually leave \u003cem>The Walking Dead \u003c/em>until its ninth season, worn down by months spent shooting the show far away from his family in England.\u003c/p>\n\u003cp>[aside postid='pop_97900']“I could tell he was near the end of his time on the show … but I also knew he loved it, and he loved working with the people,” Gimple says. “So I started to talk to him, saying…you can go, but that doesn’t mean we have to be done telling stories. We can tell stories in a way that fits with the life you need to lead. And that’s what happened.”\u003c/p>\n\u003cp>Rick Grimes had always been the earnest, beating heart of \u003cem>The Walking Dead \u003c/em>series, as he fell in love with Michonne and they led a band of survivors. Onscreen, Rick was shown blowing up a bridge to save his friends and family, leaving them to believe he died, though Michonne eventually went searching for him.\u003c/p>\n\u003cfigure id=\"attachment_13953002\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953002\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-rick-grimes-4_custom-bdb6d67582862db286b8974deb6b7c76bdefe2c2-e1708974785249.jpe\" alt=\"A disheveled man sits exhausted against a brick wall. He is spattered with blood.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Andrew Lincoln as Rick Grimes on ‘The Walking Dead: The Ones Who Live.’ \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was whisked away in a mysterious black helicopter, leaving open the question of when and how he might resurface — and what else it might reveal about\u003cem> The Walking Dead\u003c/em>‘s post-apocalyptic universe when he returned. But a changing industry meant that, by the time they could create something to continue the story, doing it as a movie wasn’t in the cards.\u003c/p>\n\u003cp>“We realized after COVID and a few delays that actually the best way to deliver this was a love story with, you know, the love of [his] life,” Lincoln adds. “And it felt better and more satisfying to do it over six hours rather than two [in a movie].”\u003c/p>\n\u003ch3>Creating a spin off for a changed industry\u003c/h3>\n\u003cp>What’s changed for \u003cem>The Walking Dead\u003c/em> and AMC is that the audience for traditional cable channels has plummeted as the TV industry turns toward streaming. According to \u003cem>The Hollywood Reporter\u003c/em>, \u003cem>The Walking Dead\u003c/em> \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/walking-dead-by-the-numbers-ratings-amc-1235265635/\">hit its ratings high \u003c/a>with the debut of its fifth season in 2014, which drew more than 17 million viewers. In contrast, the show’s 90-minute finale in 2022 drew just over 3 million viewers, though it set viewership records for AMC’s streaming service, according to \u003ca href=\"https://www.amcnetworks.com/press-releases/the-walking-dead-series-finale-becomes-the-most-watched-single-episode-of-television-in-the-history-of-amc-and-drives-the-platforms-most-viewed-day-ever/#:~:text=In%20Nielsen%20live%2B3%20ratings,percent%20from%20the%20previous%20episode.\">a release from the company\u003c/a>.\u003c/p>\n\u003cp>[aside postid='pop_104118']Suggest to AMC executives that a number of fans may have just given up on watching the original show over its run, and they note the two spinoff series \u003cem>Dead City\u003c/em> and \u003cem>Daryl Dixon\u003c/em> \u003ca href=\"https://www.amcnetworks.com/press-releases/the-walking-dead-daryl-dixon-becomes-1-most-viewed-premiere-and-season-in-amc-history/#:~:text=In%20linear%20viewership%2C%20the%20fourth,and%20392k%20adults%2025%2D54.\">were among cable’s top performers\u003c/a> in key demographics during 2023.\u003c/p>\n\u003cp>“I think the nature of television has changed so much over the years that those numbers from 2014, 2015, I don’t know if they exist anywhere anymore,” Gurira says. “It’s still actually a very successful franchise within its realm … It kind of keeps proving itself worthy to keep being explored.”\u003c/p>\n\u003cfigure id=\"attachment_13953005\" class=\"wp-caption aligncenter\" style=\"max-width: 1798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf.jpe\" alt=\"Close up side profile of a white bald man with grey stubble.\" width=\"1798\" height=\"1232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf.jpe 1798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-800x548.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-1020x699.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-160x110.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-768x526.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-1536x1052.jpe 1536w\" sizes=\"(max-width: 1798px) 100vw, 1798px\">\u003cfigcaption class=\"wp-caption-text\">In ‘The Walking Dead: The Ones Who Live,’ Terry O’Quinn plays Beale, the Major General of the Civic Republic Military. \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Ones Who Live\u003c/em> accomplishes that by leaping ahead years from Rick’s fateful moment on the bridge. It turns out he was brought to a secret city that hides its existence by making sure visitors never leave. Inside the walls, people live free from the violence and horror of a world ravaged by flesh-eating “walkers” (no one really uses the word zombie in the \u003cem>Walking Dead\u003c/em> universe).\u003c/p>\n\u003cp>But they’re protected by an army of sorts called the Civic Republic Military, which goes to brutal lengths to keep their secrets. For a long time, Rick, desperate to return to Michonne, keeps trying — and failing — to escape.\u003c/p>\n\u003cp>“It gets more complex when the question is, ‘Who will you become to save someone you love or something you love?'” Gimple says. “That’s when people, I think, are even more apt to sacrifice their humanity.”\u003c/p>\n\u003ch3>Working with his stars to shape the story\u003c/h3>\n\u003cp>Gimple worked closely with his stars, Lincoln and Gurira, to create the story and edit episodes after they filmed. Both stars also serve as executive producers and are listed as co-creators of the show with Gimple. Gurira, a \u003ca href=\"https://www.newyorktheatreguide.com/theatre-news/interviews/interview-with-eclipsed-playwright-danai-gurira\">Tony-nominated playwright\u003c/a>, wrote the series’ fourth episode.\u003c/p>\n\u003cp>Helping with editing required Lincoln to do something he hadn’t done in 30 years as an actor: watch footage of his own performances.\u003c/p>\n\u003cp>[aside postid='pop_102007']“It wasn’t the most pleasant of experiences,” Lincoln says, chuckling. (I reminded him when I interviewed him publicly for \u003ca href=\"https://youtu.be/tvqVBNgGMSs?si=a9I38jIobXrSzR66&t=91\">a panel on the show convened by Smithsonian Associates\u003c/a> in 2016; he covered his eyes and ears as clips from the program played.)\u003c/p>\n\u003cp>“I watched it with one eye closed and sort of felt a bit queasy,” he adds. “And then I was able to do one scene with both eyes. And eventually, it was the strength of the other performances that I was able to tune into and get some objective perspective on the thing.”\u003c/p>\n\u003cp>Gimple says learning to watch his own performances ultimately seemed to be good for Lincoln. “In the process, he was able to get some separation between Andy and Rick,” the showrunner adds. “He was watching Rick. And when that was locked, we were off and running because he made major contributions.”\u003c/p>\n\u003cfigure id=\"attachment_13953004\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad.jpe\" alt=\"Movie image of a zombie with rotting face. It is wearing a military cap.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1920x1080.jpe 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">A “walker” from the series ‘The Walking Dead: The Ones Who Live.’ \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gimple was a showrunner for the original series for several seasons before becoming Chief Content Officer in 2018. Though one spin off, \u003cem>Fear the Walking Dead\u003c/em>, was already going by then, he’s shepherded five other spinoffs of the show, which now are an important part of AMC’s strategy, including two other series which have taken popular characters from the original and placed them in new locations: \u003cem>The Walking Dead: Dead City\u003c/em> (New York) and \u003cem>The Walking Dead: Daryl Dixon\u003c/em> (France).\u003c/p>\n\u003cp>Dan McDermott, president of entertainment for AMC Networks and AMC Studios, compares \u003cem>The Walking Dead\u003c/em> universe to the Marvel Cinematic Universe or the fictional worlds containing the \u003cem>Star Trek\u003c/em> and \u003cem>Star Wars\u003c/em> TV shows and films. He referenced Robert Kirkman, co-creator of the graphic novel on which the TV shows are based, who also serves as an executive producer on the original series.\u003c/p>\n\u003cp>[aside postid='arts_13952691']“The way Robert Kirkman designed this story from the beginning was it’s a walker apocalypse that never ends,” McDermott adds, noting AMC is also hoping to build a similar network of programs around characters and stories created by novelists Anne Rice and Tony Hillerman. “Our job, as stewards of this universe, is: How do we continue to tell stories in this universe that don’t feel repetitive, redundant, overdone and can be … revolutionary.”\u003c/p>\n\u003cp>Critics may say the franchise has struggled with exactly what McDermott wants to avoid. But it’s obvious AMC has a lot riding on the success of the \u003cem>Walking Dead \u003c/em>spinoffs, especially \u003cem>The Ones Who Live\u003c/em>, which brings together two characters fans have been waiting years to see together onscreen again.\u003c/p>\n\u003cp>Regardless of what skeptics may say, it is also true that \u003cem>The Walking Dead\u003c/em> is arguably one of the most successful franchises in cable TV history, outlasting more acclaimed AMC shows like \u003cem>Mad Men, Breaking Bad\u003c/em> and \u003cem>Better Call Saul\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“There’s a certain timelessness to TV now,” Gimple says. “Back in the past, you would have a shelf of DVDs [with episodes of TV shows]. We’re now trying to fill up that virtual shelf, both for people who love the show and maybe for people who, you know, stumbled into that corner of the house and … pulled one down. And, hopefully, they will want to keep pulling them down.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Returning+characters+revive+%27The+Walking+Dead%27+in+%27The+Ones+Who+Live%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Danai Gurira and Andrew Lincoln are back as Michonne and Rick Grimes. But will a new audience still show up?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nestled in a Burbank office filled with comic books, framed movie posters, \u003cem>Walking Dead\u003c/em> memorabilia and a life-size replica of Han Solo frozen in Carbonite looming over his desk, Scott Gimple knows what some of you are thinking.\u003c/p>\n\u003cp>As Chief Content Officer of the \u003cem>Walking Dead \u003c/em>franchise and showrunner for its newest spinoff series, \u003cem>The Walking Dead: The Ones Who Live\u003c/em>, Gimple realizes some folks — like the critic from NPR who came to quiz him on the new show — understand several people who watched the original zombie drama have stopped keeping up with it all.\u003c/p>\n\u003cp>And even though \u003cem>The Ones Who Live\u003c/em> is centered on two of the show’s most popular characters — husband and wife team Rick Grimes and Michonne — many of us skeptics wonder: Will a new audience show up for the latest iteration of a franchise nearly 14 years old?\u003c/p>\n\u003cp>“Well, things change,” says Gimple, who has the air of a mild-mannered comics nerd. “There was a short moment in the culture [where people reacted to] Taylor Swift; they would roll their eyes and [say she’s] singing about her ex-boyfriend again. Then people kind of understood what she was doing … I’m not saying anybody’s rolling their eyes at us, but I’m saying if you’re around long enough, things go in cycles.”\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/cN6_lMcYFKY'\n title='//www.youtube.com/embed/cN6_lMcYFKY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Moving from film to TV series\u003c/h3>\n\u003cp>Though it debuted Sunday as a TV program,\u003cem> The Ones Who Live\u003c/em> was originally planned \u003ca href=\"https://www.nytimes.com/2018/11/04/arts/television/andrew-lincoln-the-walking-dead.html\">as a series of films\u003c/a> back when Andrew Lincoln, who plays earnest hero Rick Grimes, left the mothership show in 2018. Danai Gurira, a co-star in the \u003cem>Black Panther\u003c/em> movies who plays sword-wielding warrior Michonne, \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2020-03-22/danai-gurira-the-walking-dead-michonne-goodbye#:~:text=Her%20departure%20also%20marked%20the,a%20Tony%20Award%20in%202016.\">departed in 2020 from the show\u003c/a>, which wrapped up in 2022.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Scott Gimple and I had an exit strategy [for me] from season four or five,” says Lincoln, who spoke to me with Gurira in a longer interview that will air in an upcoming episode of KCRW’s show \u003cem>The Business\u003c/em>. He didn’t actually leave \u003cem>The Walking Dead \u003c/em>until its ninth season, worn down by months spent shooting the show far away from his family in England.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I could tell he was near the end of his time on the show … but I also knew he loved it, and he loved working with the people,” Gimple says. “So I started to talk to him, saying…you can go, but that doesn’t mean we have to be done telling stories. We can tell stories in a way that fits with the life you need to lead. And that’s what happened.”\u003c/p>\n\u003cp>Rick Grimes had always been the earnest, beating heart of \u003cem>The Walking Dead \u003c/em>series, as he fell in love with Michonne and they led a band of survivors. Onscreen, Rick was shown blowing up a bridge to save his friends and family, leaving them to believe he died, though Michonne eventually went searching for him.\u003c/p>\n\u003cfigure id=\"attachment_13953002\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953002\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-rick-grimes-4_custom-bdb6d67582862db286b8974deb6b7c76bdefe2c2-e1708974785249.jpe\" alt=\"A disheveled man sits exhausted against a brick wall. He is spattered with blood.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Andrew Lincoln as Rick Grimes on ‘The Walking Dead: The Ones Who Live.’ \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was whisked away in a mysterious black helicopter, leaving open the question of when and how he might resurface — and what else it might reveal about\u003cem> The Walking Dead\u003c/em>‘s post-apocalyptic universe when he returned. But a changing industry meant that, by the time they could create something to continue the story, doing it as a movie wasn’t in the cards.\u003c/p>\n\u003cp>“We realized after COVID and a few delays that actually the best way to deliver this was a love story with, you know, the love of [his] life,” Lincoln adds. “And it felt better and more satisfying to do it over six hours rather than two [in a movie].”\u003c/p>\n\u003ch3>Creating a spin off for a changed industry\u003c/h3>\n\u003cp>What’s changed for \u003cem>The Walking Dead\u003c/em> and AMC is that the audience for traditional cable channels has plummeted as the TV industry turns toward streaming. According to \u003cem>The Hollywood Reporter\u003c/em>, \u003cem>The Walking Dead\u003c/em> \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-news/walking-dead-by-the-numbers-ratings-amc-1235265635/\">hit its ratings high \u003c/a>with the debut of its fifth season in 2014, which drew more than 17 million viewers. In contrast, the show’s 90-minute finale in 2022 drew just over 3 million viewers, though it set viewership records for AMC’s streaming service, according to \u003ca href=\"https://www.amcnetworks.com/press-releases/the-walking-dead-series-finale-becomes-the-most-watched-single-episode-of-television-in-the-history-of-amc-and-drives-the-platforms-most-viewed-day-ever/#:~:text=In%20Nielsen%20live%2B3%20ratings,percent%20from%20the%20previous%20episode.\">a release from the company\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Suggest to AMC executives that a number of fans may have just given up on watching the original show over its run, and they note the two spinoff series \u003cem>Dead City\u003c/em> and \u003cem>Daryl Dixon\u003c/em> \u003ca href=\"https://www.amcnetworks.com/press-releases/the-walking-dead-daryl-dixon-becomes-1-most-viewed-premiere-and-season-in-amc-history/#:~:text=In%20linear%20viewership%2C%20the%20fourth,and%20392k%20adults%2025%2D54.\">were among cable’s top performers\u003c/a> in key demographics during 2023.\u003c/p>\n\u003cp>“I think the nature of television has changed so much over the years that those numbers from 2014, 2015, I don’t know if they exist anywhere anymore,” Gurira says. “It’s still actually a very successful franchise within its realm … It kind of keeps proving itself worthy to keep being explored.”\u003c/p>\n\u003cfigure id=\"attachment_13953005\" class=\"wp-caption aligncenter\" style=\"max-width: 1798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953005\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf.jpe\" alt=\"Close up side profile of a white bald man with grey stubble.\" width=\"1798\" height=\"1232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf.jpe 1798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-800x548.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-1020x699.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-160x110.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-768x526.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-terry-oquin_custom-93a3e847123d6a8dcf88c928aab78da5103d60bf-1536x1052.jpe 1536w\" sizes=\"(max-width: 1798px) 100vw, 1798px\">\u003cfigcaption class=\"wp-caption-text\">In ‘The Walking Dead: The Ones Who Live,’ Terry O’Quinn plays Beale, the Major General of the Civic Republic Military. \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Ones Who Live\u003c/em> accomplishes that by leaping ahead years from Rick’s fateful moment on the bridge. It turns out he was brought to a secret city that hides its existence by making sure visitors never leave. Inside the walls, people live free from the violence and horror of a world ravaged by flesh-eating “walkers” (no one really uses the word zombie in the \u003cem>Walking Dead\u003c/em> universe).\u003c/p>\n\u003cp>But they’re protected by an army of sorts called the Civic Republic Military, which goes to brutal lengths to keep their secrets. For a long time, Rick, desperate to return to Michonne, keeps trying — and failing — to escape.\u003c/p>\n\u003cp>“It gets more complex when the question is, ‘Who will you become to save someone you love or something you love?'” Gimple says. “That’s when people, I think, are even more apt to sacrifice their humanity.”\u003c/p>\n\u003ch3>Working with his stars to shape the story\u003c/h3>\n\u003cp>Gimple worked closely with his stars, Lincoln and Gurira, to create the story and edit episodes after they filmed. Both stars also serve as executive producers and are listed as co-creators of the show with Gimple. Gurira, a \u003ca href=\"https://www.newyorktheatreguide.com/theatre-news/interviews/interview-with-eclipsed-playwright-danai-gurira\">Tony-nominated playwright\u003c/a>, wrote the series’ fourth episode.\u003c/p>\n\u003cp>Helping with editing required Lincoln to do something he hadn’t done in 30 years as an actor: watch footage of his own performances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It wasn’t the most pleasant of experiences,” Lincoln says, chuckling. (I reminded him when I interviewed him publicly for \u003ca href=\"https://youtu.be/tvqVBNgGMSs?si=a9I38jIobXrSzR66&t=91\">a panel on the show convened by Smithsonian Associates\u003c/a> in 2016; he covered his eyes and ears as clips from the program played.)\u003c/p>\n\u003cp>“I watched it with one eye closed and sort of felt a bit queasy,” he adds. “And then I was able to do one scene with both eyes. And eventually, it was the strength of the other performances that I was able to tune into and get some objective perspective on the thing.”\u003c/p>\n\u003cp>Gimple says learning to watch his own performances ultimately seemed to be good for Lincoln. “In the process, he was able to get some separation between Andy and Rick,” the showrunner adds. “He was watching Rick. And when that was locked, we were off and running because he made major contributions.”\u003c/p>\n\u003cfigure id=\"attachment_13953004\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13953004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad.jpe\" alt=\"Movie image of a zombie with rotting face. It is wearing a military cap.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1536x864.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/twd-walkers_wide-0445eb997f718cd99cea28966074c3c633bcb5ad-1920x1080.jpe 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">A “walker” from the series ‘The Walking Dead: The Ones Who Live.’ \u003ccite>(AMC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gimple was a showrunner for the original series for several seasons before becoming Chief Content Officer in 2018. Though one spin off, \u003cem>Fear the Walking Dead\u003c/em>, was already going by then, he’s shepherded five other spinoffs of the show, which now are an important part of AMC’s strategy, including two other series which have taken popular characters from the original and placed them in new locations: \u003cem>The Walking Dead: Dead City\u003c/em> (New York) and \u003cem>The Walking Dead: Daryl Dixon\u003c/em> (France).\u003c/p>\n\u003cp>Dan McDermott, president of entertainment for AMC Networks and AMC Studios, compares \u003cem>The Walking Dead\u003c/em> universe to the Marvel Cinematic Universe or the fictional worlds containing the \u003cem>Star Trek\u003c/em> and \u003cem>Star Wars\u003c/em> TV shows and films. He referenced Robert Kirkman, co-creator of the graphic novel on which the TV shows are based, who also serves as an executive producer on the original series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The way Robert Kirkman designed this story from the beginning was it’s a walker apocalypse that never ends,” McDermott adds, noting AMC is also hoping to build a similar network of programs around characters and stories created by novelists Anne Rice and Tony Hillerman. “Our job, as stewards of this universe, is: How do we continue to tell stories in this universe that don’t feel repetitive, redundant, overdone and can be … revolutionary.”\u003c/p>\n\u003cp>Critics may say the franchise has struggled with exactly what McDermott wants to avoid. But it’s obvious AMC has a lot riding on the success of the \u003cem>Walking Dead \u003c/em>spinoffs, especially \u003cem>The Ones Who Live\u003c/em>, which brings together two characters fans have been waiting years to see together onscreen again.\u003c/p>\n\u003cp>Regardless of what skeptics may say, it is also true that \u003cem>The Walking Dead\u003c/em> is arguably one of the most successful franchises in cable TV history, outlasting more acclaimed AMC shows like \u003cem>Mad Men, Breaking Bad\u003c/em> and \u003cem>Better Call Saul\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s a certain timelessness to TV now,” Gimple says. “Back in the past, you would have a shelf of DVDs [with episodes of TV shows]. We’re now trying to fill up that virtual shelf, both for people who love the show and maybe for people who, you know, stumbled into that corner of the house and … pulled one down. And, hopefully, they will want to keep pulling them down.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Returning+characters+revive+%27The+Walking+Dead%27+in+%27The+Ones+Who+Live%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Star actress \u003ca href=\"https://www.kqed.org/arts/tag/zendaya\">Zendaya\u003c/a> has made a large donation to the California Shakespeare Theater (Cal Shakes) that’s expected to have a major impact on the company’s upcoming 50th anniversary season.\u003c/p>\n\u003cp>[aside postid='arts_13891785']\u003ca href=\"https://www.kqed.org/pop/95643/how-oaklands-zendaya-became-the-most-woke-disney-star-ever\">The Oakland-born star\u003c/a> of \u003ca href=\"https://www.kqed.org/arts/13952684/dune-part-two-sustains-the-dystopian-dream-of-part-one\">\u003cem>Dune\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13907939/hbos-euphoria-is-more-than-a-parents-worst-nightmare-its-a-creative-triumph\">\u003cem>Euphoria\u003c/em> \u003c/a>facilitated a $100,000 grant to the theater’s \u003ca href=\"https://calshakes.org/support/\">North Star Fund\u003c/a> via the Women Donors Network (WDN).\u003c/p>\n\u003cp>“We hope that our funding supports your work and helps further your strategic vision, wherever funds are most needed,” said WDN’s President and CEO Leena Barakat in a statement.\u003c/p>\n\u003cp>The North Star Fund is dedicated toward launching a development program for young acting talent, improving sound and lighting at the Bruns Amphitheater in Orinda, and upgrading Cal Shakes’ cafe facilities. The fund will also finance the theater’s \u003ca href=\"https://calshakes.org/calshakes50_pr/\">50th anniversary production of \u003c/a>\u003cem>\u003ca href=\"https://calshakes.org/calshakes50_pr/\">As You Like It\u003c/a>,\u003c/em> set to be directed by Elizabeth Carter.\u003c/p>\n\u003cp>“To me, \u003cem>As You Like It\u003c/em> is ultimately about the freedom to uncover ourselves,” Carter said when the play was announced, “being loved for our true selves, and that the least of us is the most of us.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='pop_95643']Zendaya, 27, has been closely linked to Cal Shakes since her childhood. Her mother, elementary school teacher Claire Stoermer, worked as the house manager for 12 summers. Zendaya often accompanied her mom to the theater, helping out by selling raffle tickets and handing out programs.\u003c/p>\n\u003cp>The actress began taking classes at Cal Shakes at the age of 8, encouraged by her mom. Within six years, Zendaya began starring in the Disney Channel series, \u003cem>Shake it Up\u003c/em>. In 2020, she became the youngest actor to ever win an Emmy Award for her work on \u003cem>Euphoria\u003c/em>.\u003c/p>\n\u003cp>The $100,000 donation follows a pattern of Zendaya representing her hometown of Oakland and supporting its community programs. Last year, with boyfriend Tom Holland, she \u003ca href=\"https://datebook.sfchronicle.com/movies-tv/zendaya-and-boyfriend-tom-holland-made-a-secret-trip-to-her-oakland-school\">visited her alma mater Oakland School for the Arts\u003c/a> to talk with students. In 2018, she \u003ca href=\"https://www.essence.com/celebrity/zendaya-google-computer-science-roses-oakland/\">helped fund a grant supporting computer science curriculum\u003c/a> at Oakland’s Roses In Concerete Community School.\u003c/p>\n\u003cp>Zendaya remains a regular visitor to the Cal Shakes’ theater in Orinda, and was made aware of its post-pandemic challenges in conversations with Executive Director Clive Worsley and others at Cal Shakes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are deeply grateful to Zendaya and the WDN for their partnership,” Worsley said in a statement. “This gift helps keep Cal Shakes going strong.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.kqed.org/pop/95643/how-oaklands-zendaya-became-the-most-woke-disney-star-ever\">The Oakland-born star\u003c/a> of \u003ca href=\"https://www.kqed.org/arts/13952684/dune-part-two-sustains-the-dystopian-dream-of-part-one\">\u003cem>Dune\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13907939/hbos-euphoria-is-more-than-a-parents-worst-nightmare-its-a-creative-triumph\">\u003cem>Euphoria\u003c/em> \u003c/a>facilitated a $100,000 grant to the theater’s \u003ca href=\"https://calshakes.org/support/\">North Star Fund\u003c/a> via the Women Donors Network (WDN).\u003c/p>\n\u003cp>“We hope that our funding supports your work and helps further your strategic vision, wherever funds are most needed,” said WDN’s President and CEO Leena Barakat in a statement.\u003c/p>\n\u003cp>The North Star Fund is dedicated toward launching a development program for young acting talent, improving sound and lighting at the Bruns Amphitheater in Orinda, and upgrading Cal Shakes’ cafe facilities. The fund will also finance the theater’s \u003ca href=\"https://calshakes.org/calshakes50_pr/\">50th anniversary production of \u003c/a>\u003cem>\u003ca href=\"https://calshakes.org/calshakes50_pr/\">As You Like It\u003c/a>,\u003c/em> set to be directed by Elizabeth Carter.\u003c/p>\n\u003cp>“To me, \u003cem>As You Like It\u003c/em> is ultimately about the freedom to uncover ourselves,” Carter said when the play was announced, “being loved for our true selves, and that the least of us is the most of us.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Zendaya, 27, has been closely linked to Cal Shakes since her childhood. Her mother, elementary school teacher Claire Stoermer, worked as the house manager for 12 summers. Zendaya often accompanied her mom to the theater, helping out by selling raffle tickets and handing out programs.\u003c/p>\n\u003cp>The actress began taking classes at Cal Shakes at the age of 8, encouraged by her mom. Within six years, Zendaya began starring in the Disney Channel series, \u003cem>Shake it Up\u003c/em>. In 2020, she became the youngest actor to ever win an Emmy Award for her work on \u003cem>Euphoria\u003c/em>.\u003c/p>\n\u003cp>The $100,000 donation follows a pattern of Zendaya representing her hometown of Oakland and supporting its community programs. Last year, with boyfriend Tom Holland, she \u003ca href=\"https://datebook.sfchronicle.com/movies-tv/zendaya-and-boyfriend-tom-holland-made-a-secret-trip-to-her-oakland-school\">visited her alma mater Oakland School for the Arts\u003c/a> to talk with students. In 2018, she \u003ca href=\"https://www.essence.com/celebrity/zendaya-google-computer-science-roses-oakland/\">helped fund a grant supporting computer science curriculum\u003c/a> at Oakland’s Roses In Concerete Community School.\u003c/p>\n\u003cp>Zendaya remains a regular visitor to the Cal Shakes’ theater in Orinda, and was made aware of its post-pandemic challenges in conversations with Executive Director Clive Worsley and others at Cal Shakes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are deeply grateful to Zendaya and the WDN for their partnership,” Worsley said in a statement. “This gift helps keep Cal Shakes going strong.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hilary Swank Gives Inspirational ‘Ordinary Angels’ Both the Heart and Heft it Needs",
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"content": "\u003cp>At the end of \u003cem>Ordinary Angels\u003c/em>, we’re given one of those now-see-how-it-really-happened moments with real footage mirroring the climax of the film. That’s a really good thing.\u003c/p>\n\u003cp>Because otherwise, one might be tempted to think the filmmakers had dreamed up a story too sappy and inspirational to be true. But no, this tale of how one determined woman rallied her community to help save a dying young girl took place largely as it’s presented.\u003c/p>\n\u003cp>[aside postid='arts_13952488']Despite the compelling source material, \u003cem>Ordinary Angels\u003c/em> is one of those movies where you can predict developments with certainty. You know in your bones when the phone’s about to ring with a fateful call. You know when a character is finally going to lose patience, telegraphing the obligatory Moment of Conflict. And you know when an alcoholic is going to relapse, even before the shot of the beers in the fridge.\u003c/p>\n\u003cp>Such predictability can be fatal for a film, but \u003cem>Ordinary Angels\u003c/em>, directed by Jon Gunn, has something crucial going for it — Hilary Swank. Not for nothing, we soon recall, has Swank won two Oscars. With her innate groundedness — even in big hair, fringed jacket, sparkly dress and pink heels — she can lend truth to most any scenario. She gives what could have been merely a pass-the -Kleenex weepie its heart, yes, but more importantly its heft.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R1vn8kPgCYA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>First, though, we meet Ed, a Kentucky roofer (Alan Ritchson, solid and appealing). In flashback, Ed welcomes his second daughter at the hospital with his wife, and the loving couple name her Michelle. Flash forward five years, though, and Ed’s wife is dying of a congenital disease. A devastated Ed promises to take care of the girls.\u003c/p>\n\u003cp>Now we meet Sharon (Swank), a single hairdresser with an estranged son. She’s also what they call hard-living, which means we meet her at — where else? — a bar, where she dances on the counter and does shots and falls down and ends up a mascara-stained mess. Her wise friend Rose — there’s always a wise friend — forces her to an AA meeting, but Sharon still won’t call herself an alcoholic.\u003c/p>\n\u003cp>But she does hear some good advice at the meeting, where a man describes learning to “find a reason to be here that’s bigger than you are.”\u003c/p>\n\u003cp>[aside postid='arts_13952409']Like clockwork, Sharon sees an article in the local paper about a 5-year-old girl — Ed’s daughter Michelle — whose mother has just died and who now needs a liver transplant. Sharon shows up at the funeral unannounced, then tells Rose back at the salon that she thinks her destiny is to find the money for the transplant.\u003c/p>\n\u003cp>But meanwhile, there are huge hospital bills, and Ed can’t afford them. Without asking, Sharon holds a fundraiser and shows up at the house with several thousand dollars in cash. Ed is, understandably, perplexed at this woman who is soon eating dinner with the family. But his mother, Barbara, welcomes Sharon with open arms. “Mom, she’s a mess,” Ed says. “Perfect, she’ll fit right in here,” Barbara replies.\u003c/p>\n\u003cp>Certainly they need money. For one hospital stay, Ed, who has no health insurance, is charged more than $6,000 (the scene is an advertisement for socialized medicine). Soon Sharon is sitting down with Ed and going through all his bills, making piles of “urgent” and “very urgent.” (“Daddy’s in over his head,” says older daughter Ashley.) Sharon also helps Ed market his roofing skills.\u003c/p>\n\u003cp>But Sharon is struggling in her own life. Her estranged son, embittered by her alcoholism during his childhood, rejects her efforts to reconcile. Sharon’s words to him, even uttered by the always-authentic Swank, are trite: “I know I let you down,” she says. “Being a single mom ain’t easy.” The by-the-numbers script also leaves us wondering when, a full hour into the movie, Ed asks Sharon about her past: “Married? Kids?” You’d think that would have come up many moons ago, but OK.\u003c/p>\n\u003cp>[aside postid='arts_13952301']Things go back and forth between Ed and Sharon, who may be an angel but lacks boundaries. She pretends to be his sister to call and find out what he owes the hospital. But later, she convinces a group of hospital executives to erase hundreds of thousands of dollars in debt. Ed is moved to tears, but then Sharon goes too far, angering him when she calls a news crew to the home without permission.\u003c/p>\n\u003cp>Sharon suffers a predictable relapse with alcohol, but then the stakes are raised dramatically for the denouement of the story. A new liver for Michelle is in reach, but the family needs a private plane to get there — during the famous Kentucky Blizzard of 1994, the worst in state history. Sharon needs more miracles and the whole town needs to help.\u003c/p>\n\u003cp>Again, this would all seem made up if it didn’t actually happen. We won’t spoil the ending, but this is an inspirational tale, so you can count on being inspired. Luckily Swank is on hand, almost singlehandedly raising the material to a level that keeps you wanting to watch. And sometimes, for a good cry at the movies, that’s really all you need.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ordinary Angels’ is released nationwide on Feb. 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Like clockwork, Sharon sees an article in the local paper about a 5-year-old girl — Ed’s daughter Michelle — whose mother has just died and who now needs a liver transplant. Sharon shows up at the funeral unannounced, then tells Rose back at the salon that she thinks her destiny is to find the money for the transplant.\u003c/p>\n\u003cp>But meanwhile, there are huge hospital bills, and Ed can’t afford them. Without asking, Sharon holds a fundraiser and shows up at the house with several thousand dollars in cash. Ed is, understandably, perplexed at this woman who is soon eating dinner with the family. But his mother, Barbara, welcomes Sharon with open arms. “Mom, she’s a mess,” Ed says. “Perfect, she’ll fit right in here,” Barbara replies.\u003c/p>\n\u003cp>Certainly they need money. For one hospital stay, Ed, who has no health insurance, is charged more than $6,000 (the scene is an advertisement for socialized medicine). Soon Sharon is sitting down with Ed and going through all his bills, making piles of “urgent” and “very urgent.” (“Daddy’s in over his head,” says older daughter Ashley.) Sharon also helps Ed market his roofing skills.\u003c/p>\n\u003cp>But Sharon is struggling in her own life. Her estranged son, embittered by her alcoholism during his childhood, rejects her efforts to reconcile. Sharon’s words to him, even uttered by the always-authentic Swank, are trite: “I know I let you down,” she says. “Being a single mom ain’t easy.” The by-the-numbers script also leaves us wondering when, a full hour into the movie, Ed asks Sharon about her past: “Married? Kids?” You’d think that would have come up many moons ago, but OK.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Things go back and forth between Ed and Sharon, who may be an angel but lacks boundaries. She pretends to be his sister to call and find out what he owes the hospital. But later, she convinces a group of hospital executives to erase hundreds of thousands of dollars in debt. Ed is moved to tears, but then Sharon goes too far, angering him when she calls a news crew to the home without permission.\u003c/p>\n\u003cp>Sharon suffers a predictable relapse with alcohol, but then the stakes are raised dramatically for the denouement of the story. A new liver for Michelle is in reach, but the family needs a private plane to get there — during the famous Kentucky Blizzard of 1994, the worst in state history. Sharon needs more miracles and the whole town needs to help.\u003c/p>\n\u003cp>Again, this would all seem made up if it didn’t actually happen. We won’t spoil the ending, but this is an inspirational tale, so you can count on being inspired. Luckily Swank is on hand, almost singlehandedly raising the material to a level that keeps you wanting to watch. And sometimes, for a good cry at the movies, that’s really all you need.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ordinary Angels’ is released nationwide on Feb. 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Buckle Up for a Queer Road Trip Caper in Ethan Coen’s Spry ‘Drive-Away Dolls’",
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"content": "\u003cp>\u003cem>Drive-Away Dolls\u003c/em> is, technically speaking, made up of old parts.\u003c/p>\n\u003cp>Its script was written two decades ago, when references to Ralph Nader and Chelsea Clinton’s security detail were current. Its homages are even more vintage, with trippy transitions harkening back to the acid-soaked B-movies of the 1960s. There’s a mysterious, sought-after briefcase, odd couple thugs on the hunt for it and some innocents who find themselves unwittingly entangled in the drama. It is all very familiar, and yet, in the hands of Ethan Coen and Tricia Cooke (who co-wrote), this 83-minute road trip caper feels like one of the freshest theatrical offerings of the year.\u003c/p>\n\u003cp>[aside postid='arts_13952306']Margaret Qualley and Geraldine Viswanathan star as Jamie and Marian, best friends and total opposites who are looking to escape their surroundings for a bit. The free-spirited, no-filter Jamie has been caught cheating on her cop girlfriend, Suki (Beanie Feldstein), and is looking for an adventure. The uptight Marian just wants a change and has decided that a better life awaits in Tallahassee, Florida. Both women are kind of cliches in the way that only works in the movies. Are they recognizable as people we know in real life? Not really. Do they make sense as friends? Also no. But they make for fun characters to play off of one another — especially Qualley as Jamie who mines every inch of her wonderfully expressive face to embody this shameless Texas lesbian with a fondness for dive bars, a ravenous sex drive and a heart of gold. She just wants to get her friend laid on their little road trip down south.\u003c/p>\n\u003cp>But unbeknownst to them, the drive-away car they rented for the trip (a run-down Dodge Aries that you can practically smell through the screen) contains a briefcase that some violent, dangerous people are after. Coen directed the film, his first solo narrative feature without his brother Joel Coen. The comedy and sensibilities we know so well from their shared films is still very present here, with a funny and violent start introducing the pesky silver briefcase and its owner, Santos, a short-lived but memorable Pedro Pascal.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_vy_7UGICJU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The world of \u003cem>Drive-Away Dolls\u003c/em> is full of rich smaller parts. The great Bill Camp is Curlie, the stone-faced proprietor of the junky drive-away shop who is responsible for the epic mix up. He probably has less than 20 lines of dialogue, and yet every one is a keeper. The goons are Joey Slotnick and C.J. Wilson, another mismatched pair who bicker about their different ways of dealing with people of interest, while trying to track down the girls for their boss: A smooth-talking Colman Domingo. Miley Cyrus and Matt Damon, an ever-reliable comedic cameo who does not disappoint here, also factor into the mix.\u003c/p>\n\u003cp>[aside postid='arts_13952409']Its recent past setting is interesting: A time capsule that is a little clunky at times but also kind of charming — when was the last time you heard a Ralph Nader joke? It’s understandable why they kept their original period for a concept that might have evaporated with smartphones and dating apps mixed in. Their commitment to the bit is admirable, but it also might be one that needs a few more decades to settle into itself. It also makes you wonder about the Allison Anders version that never was.\u003c/p>\n\u003cp>\u003cem>Drive-Away Dolls\u003c/em> isn’t perfect — it has a bit of a main character problem in which its heroines are regularly outshone by the razor-sharp supporting players. This is perhaps a good problem to have, all things considered. But it can also lead to an unfair impatience with the leads who are still very good but perhaps a little less fun to spend time with than the others. And even with its economical runtime, it drags a bit.\u003c/p>\n\u003cp>Still, it’s also one of those movies that you can imagine yourself watching (and enjoying) again, if at the very least to memorize some of its terrifically funny and quotable lines.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Drive-Away Dolls’ is released nationwide on Feb. 23, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Drive-Away Dolls\u003c/em> is, technically speaking, made up of old parts.\u003c/p>\n\u003cp>Its script was written two decades ago, when references to Ralph Nader and Chelsea Clinton’s security detail were current. Its homages are even more vintage, with trippy transitions harkening back to the acid-soaked B-movies of the 1960s. There’s a mysterious, sought-after briefcase, odd couple thugs on the hunt for it and some innocents who find themselves unwittingly entangled in the drama. It is all very familiar, and yet, in the hands of Ethan Coen and Tricia Cooke (who co-wrote), this 83-minute road trip caper feels like one of the freshest theatrical offerings of the year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Margaret Qualley and Geraldine Viswanathan star as Jamie and Marian, best friends and total opposites who are looking to escape their surroundings for a bit. The free-spirited, no-filter Jamie has been caught cheating on her cop girlfriend, Suki (Beanie Feldstein), and is looking for an adventure. The uptight Marian just wants a change and has decided that a better life awaits in Tallahassee, Florida. Both women are kind of cliches in the way that only works in the movies. Are they recognizable as people we know in real life? Not really. Do they make sense as friends? Also no. But they make for fun characters to play off of one another — especially Qualley as Jamie who mines every inch of her wonderfully expressive face to embody this shameless Texas lesbian with a fondness for dive bars, a ravenous sex drive and a heart of gold. She just wants to get her friend laid on their little road trip down south.\u003c/p>\n\u003cp>But unbeknownst to them, the drive-away car they rented for the trip (a run-down Dodge Aries that you can practically smell through the screen) contains a briefcase that some violent, dangerous people are after. Coen directed the film, his first solo narrative feature without his brother Joel Coen. The comedy and sensibilities we know so well from their shared films is still very present here, with a funny and violent start introducing the pesky silver briefcase and its owner, Santos, a short-lived but memorable Pedro Pascal.\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/_vy_7UGICJU'\n title='//www.youtube.com/embed/_vy_7UGICJU'\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 world of \u003cem>Drive-Away Dolls\u003c/em> is full of rich smaller parts. The great Bill Camp is Curlie, the stone-faced proprietor of the junky drive-away shop who is responsible for the epic mix up. He probably has less than 20 lines of dialogue, and yet every one is a keeper. The goons are Joey Slotnick and C.J. Wilson, another mismatched pair who bicker about their different ways of dealing with people of interest, while trying to track down the girls for their boss: A smooth-talking Colman Domingo. Miley Cyrus and Matt Damon, an ever-reliable comedic cameo who does not disappoint here, also factor into the mix.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Its recent past setting is interesting: A time capsule that is a little clunky at times but also kind of charming — when was the last time you heard a Ralph Nader joke? It’s understandable why they kept their original period for a concept that might have evaporated with smartphones and dating apps mixed in. Their commitment to the bit is admirable, but it also might be one that needs a few more decades to settle into itself. It also makes you wonder about the Allison Anders version that never was.\u003c/p>\n\u003cp>\u003cem>Drive-Away Dolls\u003c/em> isn’t perfect — it has a bit of a main character problem in which its heroines are regularly outshone by the razor-sharp supporting players. This is perhaps a good problem to have, all things considered. But it can also lead to an unfair impatience with the leads who are still very good but perhaps a little less fun to spend time with than the others. And even with its economical runtime, it drags a bit.\u003c/p>\n\u003cp>Still, it’s also one of those movies that you can imagine yourself watching (and enjoying) again, if at the very least to memorize some of its terrifically funny and quotable lines.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Drive-Away Dolls’ is released nationwide on Feb. 23, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Celebrate Black History, Cinema and Music With Kingmakers of Oakland",
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"content": "\u003cp>\u003ca href=\"https://www.kingmakersofoakland.org/\">Kingmakers of Oakland\u003c/a> (KOO) is an East Bay nonprofit best known for working with educators and kids to improve educational outcomes for young Black men. That the organization works hard to make that process as engaging, inventive and dope as possible gets less attention — but it’s a huge reason for KOO’s success.\u003c/p>\n\u003cp>On Feb. 23, KOO will finally let its ingeniously creative side shine bright — so bright, in fact, that it needs a big screen.\u003c/p>\n\u003cp>[aside postid='arts_13952570']Held at Oakland’s New Parkway Theater, the KOO Film Festival will honor Black History Month with 18 short films by people involved with the organization’s programs. With a mixture of music videos, behind-the-scenes making-of summaries, and profiles of educators and students who’ve and made a difference in their communities, the evening celebrates Black animators, musicians, creators and everyone who’s made Kingmakers of Oakland what it is.\u003c/p>\n\u003cp>One film in the program is the music video for “I’m a King,” an empowering three-minute anthem featuring \u003ca href=\"https://www.instagram.com/basi.sts/\">Basi\u003c/a>, \u003ca href=\"https://soundcloud.com/amc_510\">Amari\u003c/a>, \u003ca href=\"https://music.apple.com/us/artist/42k-lil/1426737083\">42k Lil\u003c/a> and \u003ca href=\"https://soundcloud.com/antihero510\">Anti Hero 510\u003c/a>. The accompanying visuals juxtapose historical figures like Martin Luther King, Marcus Garvey and Malcolm X with thriving young men working together and finding their power today.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8sefV3bBMk4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The track and video perfectly encapsulate the work that KOO does; certain lyrics even explain the importance of the organization’s mission. Sample: “I read this book on Marcus Garvey and I loved it / But the crazy thing about all them schools being public / Is that my teachers made it seem like all that Black lit was radical.”\u003c/p>\n\u003cp>“I’m a King” and the animated video “\u003ca href=\"https://www.youtube.com/watch?v=E8_ZVmtzsTQ\">Glisten\u003c/a>” — which also screens at the festival — are both taken from \u003cem>\u003ca href=\"https://open.spotify.com/album/1Ekg7wQkF21Kkr3CPt818t\">Full Royalty\u003c/a>, \u003c/em>a 14-track album by Kingmakers of Oakland that’s available to stream and download now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The KOO Film Festival takes place Friday, Feb. 23, at the \u003ca href=\"https://www.thenewparkway.com/\">New Parkway Theater\u003c/a> (474 24th Street, Oakland) at 5 p.m. \u003ca href=\"https://www.eventbrite.com/e/koo-film-festival-black-history-celebration-tickets-804078740157\">Tickets and more details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kingmakersofoakland.org/\">Kingmakers of Oakland\u003c/a> (KOO) is an East Bay nonprofit best known for working with educators and kids to improve educational outcomes for young Black men. That the organization works hard to make that process as engaging, inventive and dope as possible gets less attention — but it’s a huge reason for KOO’s success.\u003c/p>\n\u003cp>On Feb. 23, KOO will finally let its ingeniously creative side shine bright — so bright, in fact, that it needs a big screen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Held at Oakland’s New Parkway Theater, the KOO Film Festival will honor Black History Month with 18 short films by people involved with the organization’s programs. With a mixture of music videos, behind-the-scenes making-of summaries, and profiles of educators and students who’ve and made a difference in their communities, the evening celebrates Black animators, musicians, creators and everyone who’s made Kingmakers of Oakland what it is.\u003c/p>\n\u003cp>One film in the program is the music video for “I’m a King,” an empowering three-minute anthem featuring \u003ca href=\"https://www.instagram.com/basi.sts/\">Basi\u003c/a>, \u003ca href=\"https://soundcloud.com/amc_510\">Amari\u003c/a>, \u003ca href=\"https://music.apple.com/us/artist/42k-lil/1426737083\">42k Lil\u003c/a> and \u003ca href=\"https://soundcloud.com/antihero510\">Anti Hero 510\u003c/a>. The accompanying visuals juxtapose historical figures like Martin Luther King, Marcus Garvey and Malcolm X with thriving young men working together and finding their power today.\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/8sefV3bBMk4'\n title='//www.youtube.com/embed/8sefV3bBMk4'\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 track and video perfectly encapsulate the work that KOO does; certain lyrics even explain the importance of the organization’s mission. Sample: “I read this book on Marcus Garvey and I loved it / But the crazy thing about all them schools being public / Is that my teachers made it seem like all that Black lit was radical.”\u003c/p>\n\u003cp>“I’m a King” and the animated video “\u003ca href=\"https://www.youtube.com/watch?v=E8_ZVmtzsTQ\">Glisten\u003c/a>” — which also screens at the festival — are both taken from \u003cem>\u003ca href=\"https://open.spotify.com/album/1Ekg7wQkF21Kkr3CPt818t\">Full Royalty\u003c/a>, \u003c/em>a 14-track album by Kingmakers of Oakland that’s available to stream and download now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The KOO Film Festival takes place Friday, Feb. 23, at the \u003ca href=\"https://www.thenewparkway.com/\">New Parkway Theater\u003c/a> (474 24th Street, Oakland) at 5 p.m. \u003ca href=\"https://www.eventbrite.com/e/koo-film-festival-black-history-celebration-tickets-804078740157\">Tickets and more details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Constellation,’ Disaster Follows an Astronaut Back to Earth",
"headTitle": "In ‘Constellation,’ Disaster Follows an Astronaut Back to Earth | KQED",
"content": "\u003cp>\u003cem>Constellation,\u003c/em> the new drama series streaming on Apple TV+, starts in outer space, with an astronaut struggling to survive, and return safely to Earth, after things go horribly wrong.\u003c/p>\n\u003cp>This has long been familiar film territory, from the orbital collision in \u003cem>Apollo 13 \u003c/em>and the deadly stowaway in \u003cem>Alien, \u003c/em>to the twisting perceptions of reality in \u003cem>Gravity\u003c/em>. \u003cem>Constellation\u003c/em>, created and written by former \u003ca href=\"https://www.kqed.org/pop/92372/the-13th-doctor-who-is-a-woman-but-the-show-has-had-female-pioneers-from-the-very-beginning\">\u003cem>Doctor Who\u003c/em>\u003c/a> writer Peter Harness, borrows a bit from all of those. It’s a very tricky story to follow — but in the end, and by the end, it’s a very moving one.\u003c/p>\n\u003cp>[aside postid='arts_13940132']In \u003cem>Constellation\u003c/em>, the International Space Station, with a handful of astronauts aboard, is in orbit when it collides with an unidentified object, crippling most of the onboard systems. That’s the \u003cem>Apollo 13 \u003c/em>part. An emergency evacuation leaves a single astronaut waiting behind to repair and pilot the craft, while time, space and memory seem to shift — as does reality itself. That’s what Sandra Bullock’s astronaut went through in \u003cem>Gravity\u003c/em>. And finally, there’s something mysterious and otherworldly on board — something potentially lethal. So there’s \u003cem>Alien\u003c/em>, sort of.\u003c/p>\n\u003cp>But in \u003cem>Constellation\u003c/em>, while the spacebound scenes are thrilling and creepy, there’s less frantic action in this series overall, and more underlying tension. It’s a slow build, and takes several episodes to establish what may or may not be really going on here. But the clues make more sense as you go along, and the more you watch this \u003cem>Constellation\u003c/em>, the more profound and disturbing it becomes.\u003c/p>\n\u003cp>Noomi Rapace, from a previous outer-space thriller, \u003cem>Prometheus\u003c/em>, stars here. She plays Jo Ericsson, an astronaut on the space station who, in an early scene, is communicating with her 10-year-old daughter, Alice, who’s back on Earth. The daughter, Alice, is played by twin actresses, Rosie and Davina Coleman, who rotate in the role. That’s somehow fitting, because, after a while, Jo begins to suspect that her daughter isn’t the same little girl she left behind.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jo isn’t the only one with suspicions or identity issues. Jonathan Banks from \u003ca href=\"https://www.kqed.org/pop/109545/before-the-breaking-bad-movie-8-theories-about-the-fate-of-jesse-pinkman\">\u003cem>Breaking Bad\u003c/em>\u003c/a> co-stars as a former astronaut named Henry Caldera, who’s now a scientist with a top-secret experiment aboard the endangered space station. At times, he acts like two different people, and there may be a reason. Psychologists in the space program believe that both Jo and Henry suffer from “high altitude psychosis,” which explains — to them — the astronauts’ post-mission bouts of confusion, memory loss and paranoia.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4dAaLbsQSzI\u003c/p>\n\u003cp>Complicated? Absolutely. Over the eight installments of \u003cem>Constellation, \u003c/em>perspectives change. Stories change. Even people change. Scenes that look one way, and mean one thing, in episode one are turned inside out when they return in episode six or seven.\u003c/p>\n\u003cp>[aside postid='arts_13952684']It’s a story full of unreliable narrators, and a TV show where the images are more important and revealing than the dialogue. And because the visuals are crucial throughout, the directors of this series are crucial, too. Oliver Hirschbiegel and Joseph Cedar direct the later episodes, stunningly, but the mood and look are established in the all-important first ones by Michelle MacLaren, who directed some of the most brilliant episodes of \u003cem>Breaking Bad\u003c/em> and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13915943/better-call-saul-might-be-the-greatest-of-all-time-if-it-can-stick-the-landing\">Better Call Saul\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watching \u003cem>Constellation \u003c/em>takes commitment, patience and attention, but you’ll be rewarded for that effort with a haunting story that, at its center, is about the love between a mother and a daughter. It really touched me. At least it did in \u003cem>this\u003c/em> universe.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Disaster+follows+an+astronaut+back+to+Earth+in+the+thriller+%27Constellation%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003cdiv>\u003cem>‘Constellation’ is available to stream on Apple TV+ from Feb. 21, 2024.\u003c/em>\u003c/div>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Constellation,\u003c/em> the new drama series streaming on Apple TV+, starts in outer space, with an astronaut struggling to survive, and return safely to Earth, after things go horribly wrong.\u003c/p>\n\u003cp>This has long been familiar film territory, from the orbital collision in \u003cem>Apollo 13 \u003c/em>and the deadly stowaway in \u003cem>Alien, \u003c/em>to the twisting perceptions of reality in \u003cem>Gravity\u003c/em>. \u003cem>Constellation\u003c/em>, created and written by former \u003ca href=\"https://www.kqed.org/pop/92372/the-13th-doctor-who-is-a-woman-but-the-show-has-had-female-pioneers-from-the-very-beginning\">\u003cem>Doctor Who\u003c/em>\u003c/a> writer Peter Harness, borrows a bit from all of those. It’s a very tricky story to follow — but in the end, and by the end, it’s a very moving one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>Constellation\u003c/em>, the International Space Station, with a handful of astronauts aboard, is in orbit when it collides with an unidentified object, crippling most of the onboard systems. That’s the \u003cem>Apollo 13 \u003c/em>part. An emergency evacuation leaves a single astronaut waiting behind to repair and pilot the craft, while time, space and memory seem to shift — as does reality itself. That’s what Sandra Bullock’s astronaut went through in \u003cem>Gravity\u003c/em>. And finally, there’s something mysterious and otherworldly on board — something potentially lethal. So there’s \u003cem>Alien\u003c/em>, sort of.\u003c/p>\n\u003cp>But in \u003cem>Constellation\u003c/em>, while the spacebound scenes are thrilling and creepy, there’s less frantic action in this series overall, and more underlying tension. It’s a slow build, and takes several episodes to establish what may or may not be really going on here. But the clues make more sense as you go along, and the more you watch this \u003cem>Constellation\u003c/em>, the more profound and disturbing it becomes.\u003c/p>\n\u003cp>Noomi Rapace, from a previous outer-space thriller, \u003cem>Prometheus\u003c/em>, stars here. She plays Jo Ericsson, an astronaut on the space station who, in an early scene, is communicating with her 10-year-old daughter, Alice, who’s back on Earth. The daughter, Alice, is played by twin actresses, Rosie and Davina Coleman, who rotate in the role. That’s somehow fitting, because, after a while, Jo begins to suspect that her daughter isn’t the same little girl she left behind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jo isn’t the only one with suspicions or identity issues. Jonathan Banks from \u003ca href=\"https://www.kqed.org/pop/109545/before-the-breaking-bad-movie-8-theories-about-the-fate-of-jesse-pinkman\">\u003cem>Breaking Bad\u003c/em>\u003c/a> co-stars as a former astronaut named Henry Caldera, who’s now a scientist with a top-secret experiment aboard the endangered space station. At times, he acts like two different people, and there may be a reason. Psychologists in the space program believe that both Jo and Henry suffer from “high altitude psychosis,” which explains — to them — the astronauts’ post-mission bouts of confusion, memory loss and paranoia.\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/4dAaLbsQSzI'\n title='//www.youtube.com/embed/4dAaLbsQSzI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Complicated? Absolutely. Over the eight installments of \u003cem>Constellation, \u003c/em>perspectives change. Stories change. Even people change. Scenes that look one way, and mean one thing, in episode one are turned inside out when they return in episode six or seven.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s a story full of unreliable narrators, and a TV show where the images are more important and revealing than the dialogue. And because the visuals are crucial throughout, the directors of this series are crucial, too. Oliver Hirschbiegel and Joseph Cedar direct the later episodes, stunningly, but the mood and look are established in the all-important first ones by Michelle MacLaren, who directed some of the most brilliant episodes of \u003cem>Breaking Bad\u003c/em> and \u003cem>\u003ca href=\"https://www.kqed.org/arts/13915943/better-call-saul-might-be-the-greatest-of-all-time-if-it-can-stick-the-landing\">Better Call Saul\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watching \u003cem>Constellation \u003c/em>takes commitment, patience and attention, but you’ll be rewarded for that effort with a haunting story that, at its center, is about the love between a mother and a daughter. It really touched me. At least it did in \u003cem>this\u003c/em> universe.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Disaster+follows+an+astronaut+back+to+Earth+in+the+thriller+%27Constellation%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003cdiv>\u003cem>‘Constellation’ is available to stream on Apple TV+ from Feb. 21, 2024.\u003c/em>\u003c/div>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Dune: Part Two’ Sustains the Dystopian Dream of ‘Part One’",
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"content": "\u003cp>Three firm thumps into the Arrakis sand is all you need to summon a sandworm in Denis Villeneuve’s \u003cem>Dune: Part Two\u003c/em>. It’s almost as easy as hailing a cab or calling for the check.\u003c/p>\n\u003cp>The big buggers can’t resist the sound, which is a little like how I feel taking in all the vibrations of Villeneuve’s adaptation of Frank Herbert’s 1965 science-fiction novel. Whispers, incantations and guttural sounds buzz throughout \u003cem>Part Two\u003c/em>, a hissing hulk of a sequel that fluctuates between ominous silences and thunderous booms.\u003c/p>\n\u003cp>[aside postid='arts_13952488']The first \u003cem>Dune\u003c/em>, released in 2021 when movie theaters were still humbled by the pandemic, tackled just the first half of Herbert’s opus, saving the second half for the sequel. That split can be owed in part to the enormous amount of plot contained in the novel, but it can also be attributed to the operatic rhythms of Villeneuve’s solemn spectacle. Sober as they are, \u003cem>Dune\u003c/em> parts one and two are almost drunk on their own sense of atmosphere.\u003c/p>\n\u003cp>And with good reason. Like its predecessor, Dune: Part Two thrums with an intoxicating big-screen expressionism of monoliths and mosquitos, fevered visions and messianic fervor — more dystopian dream, or nightmare, than a straightforward narrative.\u003c/p>\n\u003cp>That filmmaking prowess sometimes comes at the expense of other things. Humor, for one, is in shorter supply on Arrakis than water. Javier Bardem, returning as the Fremen leader Stilgar, alone seems to want to breathe a little laughter into all the fiery red sands and mammoth machinery of \u003cem>Dune\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1kI6nXntYN8\u003c/p>\n\u003cp>\u003cem>Part Two\u003c/em> primarily follows the rise of Paul Atreides ( Timothée Chalamet ), who, after seeing his father killed and House Atreides routed from the Arrakis capital by House Harkonnen and Baron Vladimir Harkonnen (a monstrously good Stellan Skarsgård), is now living among the Fremen, the desert-dwelling peoples of Arrakis, with his mother Lady Jessica (Rebecca Ferguson).\u003c/p>\n\u003cp>[aside postid='arts_13951896']The myth of Paul is already growing among the Fremen, who call him Muad’Dib. (A great feature of these movies, like Hebert’s books, is the exquisite names.) Is he the chosen one or a false prophet? Doubts are gradually erased by his accomplishments (leading strikes against Harkonnen spice harvesters; quickly learning the ways of the Fremen); the cunning maneuvering of Lady Jessica; and the worshipful zeal of Stilgar.\u003c/p>\n\u003cp>The Fremen warrior Chani ( Zendaya ), though skeptical of the hype, believes, with some reluctance, in Paul. \u003cem>Part Two\u003c/em> is significantly propped up by their dynamic and budding romance, a relationship that gives a deserving wide-screen canvas to two of the most exciting young movie stars of their generation.\u003c/p>\n\u003cp>For a while it’s fun and games in the desert, blowing up stuff and learning how to ride sand worms. Oh, there’s the matter of the “holy poison” forced on Lady Jessica, a neon-blue liquid extracted from sand worms that looks like it would produce a fine Slush Puppie, but, if it doesn’t kill you, confers a frightful clairvoyance of the universe.\u003c/p>\n\u003cfigure id=\"attachment_13952686\" class=\"wp-caption aligncenter\" style=\"max-width: 1946px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM.png\" alt=\"A woman glares into the distance with thinly veiled anger. She is wearing dirty utilitarian clothes and is surrounded by men dressed similarly.\" width=\"1946\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM.png 1946w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-800x525.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-1020x670.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-768x504.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-1536x1009.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-1920x1261.png 1920w\" sizes=\"(max-width: 1946px) 100vw, 1946px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya in ‘Dune: Part Two.’ \u003ccite>(Warner Bros. Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blue is an important color in the otherwise darker shaded \u003cem>Dune\u003c/em>. It lights up in Lady Jessica’s eyes and, later, Paul’s too. If you thought Peter O’Toole’s eyes blazed in \u003cem>Lawrence of Arabia\u003c/em>, Paul’s look like they’ve been pumped through with windshield-wiper fluid. As his following swells, Paul grows increasingly aware, and fearful, of his god-like power.\u003c/p>\n\u003cp>\u003cem>Dune: Part Two\u003c/em> spends much of its energy with Paul wrestling with this supposed messianic destiny. Like \u003cem>Lawrence of Arabia\u003c/em>, he’s a white protagonist from the West (or, here, the “Outer World”) on a Middle Eastern-like desert, leading the revolution of a dark-skinned population against oppressors whom he, himself, has deep ties to.\u003c/p>\n\u003cp>[aside postid='arts_13951772']Herbert’s metaphor-rife book has sometimes been interpreted — or misinterpreted, scholars would say — by the alt-right for its racial politics. Villeneuve’s film, scripted by the director and Jon Spaihts, appears highly conscious of this legacy as well as that of the white-savior trope. And often — as in so much of these two films — the movie expresses itself most through imagery and movement.\u003c/p>\n\u003cp>The Harkonnens, universally white, bald and violent, are served up as the symbol of colonist rule. In the middle of \u003cem>Part Two\u003c/em>, the film introduces the Harkonnen prince Feyd-Rautha (a hairless Austin Butler, looking a bit too much like the albino protagonist of 1995’s \u003cem>Powder\u003c/em>) who is a kind of opposite to Paul. He, too, could take command of Arrakis.\u003c/p>\n\u003cfigure id=\"attachment_13952687\" class=\"wp-caption aligncenter\" style=\"max-width: 1954px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952687\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM.png\" alt=\"A pale young white man with a bald head and no eyebrows gazes at an attractive blonde woman wearing a blue hooded velvet dress. Their faces are close together.\" width=\"1954\" height=\"1174\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM.png 1954w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-1020x613.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-1536x923.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-1920x1154.png 1920w\" sizes=\"(max-width: 1954px) 100vw, 1954px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler and Lea Seydoux in ‘Dune: Part Two.’ \u003ccite>(Warner Bros. Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Villeneuve temporarily switches to Feyd-Rautha’s story and away from Paul and Chani, the film’s richly orchestrated sense of momentum falters. But the comparison is illuminating. In a massive colosseum, Feyd-Rautha ruthlessly battles a trio of Atreides survivors in a scene, bleached in monochrome, that looks like \u003ca href=\"https://www.imdb.com/title/tt0025913/\">Triumph of the Will\u003c/a>, supersized.\u003c/p>\n\u003cp>[aside postid='arts_13939927']There’s an earnest reckoning here in the power dynamics of the source material and previous Hollywood tales of first-and-third world confrontations. There’s plenty of doubt to go around for all involved, too. The movie’s perspective ultimately resides in the drained, shrouded face of Charlotte Rampling, who plays the matriarch of the Bene Gesserit (again, the names!), a mystic order that pulls the strings behind the galactic politics of \u003cem>Dune\u003c/em>. For her, it’s a game of raw calculation and “no sides.”\u003c/p>\n\u003cp>As \u003cem>Part Two\u003c/em> brings all parties together for the final act, it begins to lose steam. The Emperor (Christopher Walken) and his daughter Princess Irulan (Florence Pugh), seen sporadically from afar debating the events on Arrakis, turn up. But while Walken’s company is always welcome, he might be too warm a presence for \u003cem>Dune\u003c/em> — too much of the Earth despite so often seeming on a planet of his own.\u003c/p>\n\u003cp>Yet the limpness of the finale, despite all of the expert build-up of Hans Zimmer’s score and Mark Mangini and Theo Green’s sound design, goes to something deeper. Villeneuve’s great talent lies, I think, in invocation. He may be less perfect when it comes to conclusions but he’s brilliant at summoning — a sense of doom, a suddenly appeared spacecraft, a sandworm. Even better than those serpentine sand creatures (the runaway stars of \u003cem>Part Two\u003c/em>) is that thump, thump, thump that precedes them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Dune: Part Two’ is released nationwide on March 1, but will play in Bay Area IMAX theaters from Feb. 25, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three firm thumps into the Arrakis sand is all you need to summon a sandworm in Denis Villeneuve’s \u003cem>Dune: Part Two\u003c/em>. It’s almost as easy as hailing a cab or calling for the check.\u003c/p>\n\u003cp>The big buggers can’t resist the sound, which is a little like how I feel taking in all the vibrations of Villeneuve’s adaptation of Frank Herbert’s 1965 science-fiction novel. Whispers, incantations and guttural sounds buzz throughout \u003cem>Part Two\u003c/em>, a hissing hulk of a sequel that fluctuates between ominous silences and thunderous booms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The first \u003cem>Dune\u003c/em>, released in 2021 when movie theaters were still humbled by the pandemic, tackled just the first half of Herbert’s opus, saving the second half for the sequel. That split can be owed in part to the enormous amount of plot contained in the novel, but it can also be attributed to the operatic rhythms of Villeneuve’s solemn spectacle. Sober as they are, \u003cem>Dune\u003c/em> parts one and two are almost drunk on their own sense of atmosphere.\u003c/p>\n\u003cp>And with good reason. Like its predecessor, Dune: Part Two thrums with an intoxicating big-screen expressionism of monoliths and mosquitos, fevered visions and messianic fervor — more dystopian dream, or nightmare, than a straightforward narrative.\u003c/p>\n\u003cp>That filmmaking prowess sometimes comes at the expense of other things. Humor, for one, is in shorter supply on Arrakis than water. Javier Bardem, returning as the Fremen leader Stilgar, alone seems to want to breathe a little laughter into all the fiery red sands and mammoth machinery of \u003cem>Dune\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The myth of Paul is already growing among the Fremen, who call him Muad’Dib. (A great feature of these movies, like Hebert’s books, is the exquisite names.) Is he the chosen one or a false prophet? Doubts are gradually erased by his accomplishments (leading strikes against Harkonnen spice harvesters; quickly learning the ways of the Fremen); the cunning maneuvering of Lady Jessica; and the worshipful zeal of Stilgar.\u003c/p>\n\u003cp>The Fremen warrior Chani ( Zendaya ), though skeptical of the hype, believes, with some reluctance, in Paul. \u003cem>Part Two\u003c/em> is significantly propped up by their dynamic and budding romance, a relationship that gives a deserving wide-screen canvas to two of the most exciting young movie stars of their generation.\u003c/p>\n\u003cp>For a while it’s fun and games in the desert, blowing up stuff and learning how to ride sand worms. Oh, there’s the matter of the “holy poison” forced on Lady Jessica, a neon-blue liquid extracted from sand worms that looks like it would produce a fine Slush Puppie, but, if it doesn’t kill you, confers a frightful clairvoyance of the universe.\u003c/p>\n\u003cfigure id=\"attachment_13952686\" class=\"wp-caption aligncenter\" style=\"max-width: 1946px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM.png\" alt=\"A woman glares into the distance with thinly veiled anger. She is wearing dirty utilitarian clothes and is surrounded by men dressed similarly.\" width=\"1946\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM.png 1946w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-800x525.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-1020x670.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-768x504.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-1536x1009.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.26.31-AM-1920x1261.png 1920w\" sizes=\"(max-width: 1946px) 100vw, 1946px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya in ‘Dune: Part Two.’ \u003ccite>(Warner Bros. Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blue is an important color in the otherwise darker shaded \u003cem>Dune\u003c/em>. It lights up in Lady Jessica’s eyes and, later, Paul’s too. If you thought Peter O’Toole’s eyes blazed in \u003cem>Lawrence of Arabia\u003c/em>, Paul’s look like they’ve been pumped through with windshield-wiper fluid. As his following swells, Paul grows increasingly aware, and fearful, of his god-like power.\u003c/p>\n\u003cp>\u003cem>Dune: Part Two\u003c/em> spends much of its energy with Paul wrestling with this supposed messianic destiny. Like \u003cem>Lawrence of Arabia\u003c/em>, he’s a white protagonist from the West (or, here, the “Outer World”) on a Middle Eastern-like desert, leading the revolution of a dark-skinned population against oppressors whom he, himself, has deep ties to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Herbert’s metaphor-rife book has sometimes been interpreted — or misinterpreted, scholars would say — by the alt-right for its racial politics. Villeneuve’s film, scripted by the director and Jon Spaihts, appears highly conscious of this legacy as well as that of the white-savior trope. And often — as in so much of these two films — the movie expresses itself most through imagery and movement.\u003c/p>\n\u003cp>The Harkonnens, universally white, bald and violent, are served up as the symbol of colonist rule. In the middle of \u003cem>Part Two\u003c/em>, the film introduces the Harkonnen prince Feyd-Rautha (a hairless Austin Butler, looking a bit too much like the albino protagonist of 1995’s \u003cem>Powder\u003c/em>) who is a kind of opposite to Paul. He, too, could take command of Arrakis.\u003c/p>\n\u003cfigure id=\"attachment_13952687\" class=\"wp-caption aligncenter\" style=\"max-width: 1954px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952687\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM.png\" alt=\"A pale young white man with a bald head and no eyebrows gazes at an attractive blonde woman wearing a blue hooded velvet dress. Their faces are close together.\" width=\"1954\" height=\"1174\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM.png 1954w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-1020x613.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-1536x923.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-21-at-10.32.39-AM-1920x1154.png 1920w\" sizes=\"(max-width: 1954px) 100vw, 1954px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler and Lea Seydoux in ‘Dune: Part Two.’ \u003ccite>(Warner Bros. Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Villeneuve temporarily switches to Feyd-Rautha’s story and away from Paul and Chani, the film’s richly orchestrated sense of momentum falters. But the comparison is illuminating. In a massive colosseum, Feyd-Rautha ruthlessly battles a trio of Atreides survivors in a scene, bleached in monochrome, that looks like \u003ca href=\"https://www.imdb.com/title/tt0025913/\">Triumph of the Will\u003c/a>, supersized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s an earnest reckoning here in the power dynamics of the source material and previous Hollywood tales of first-and-third world confrontations. There’s plenty of doubt to go around for all involved, too. The movie’s perspective ultimately resides in the drained, shrouded face of Charlotte Rampling, who plays the matriarch of the Bene Gesserit (again, the names!), a mystic order that pulls the strings behind the galactic politics of \u003cem>Dune\u003c/em>. For her, it’s a game of raw calculation and “no sides.”\u003c/p>\n\u003cp>As \u003cem>Part Two\u003c/em> brings all parties together for the final act, it begins to lose steam. The Emperor (Christopher Walken) and his daughter Princess Irulan (Florence Pugh), seen sporadically from afar debating the events on Arrakis, turn up. But while Walken’s company is always welcome, he might be too warm a presence for \u003cem>Dune\u003c/em> — too much of the Earth despite so often seeming on a planet of his own.\u003c/p>\n\u003cp>Yet the limpness of the finale, despite all of the expert build-up of Hans Zimmer’s score and Mark Mangini and Theo Green’s sound design, goes to something deeper. Villeneuve’s great talent lies, I think, in invocation. He may be less perfect when it comes to conclusions but he’s brilliant at summoning — a sense of doom, a suddenly appeared spacecraft, a sandworm. Even better than those serpentine sand creatures (the runaway stars of \u003cem>Part Two\u003c/em>) is that thump, thump, thump that precedes them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dune: Part Two’ is released nationwide on March 1, but will play in Bay Area IMAX theaters from Feb. 25, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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 />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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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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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"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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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"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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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"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",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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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",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"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/",
"meta": {
"site": "news",
"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",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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