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"content": "\u003cp>There is a lot of pretty niche comic book mythology swirling around \u003cem>Madame Web\u003c/em>, the inspiration for the newest of Sony’s \u003cem>Spider-Man\u003c/em> spinoffs.\u003c/p>\n\u003cp>This is a character who goes back to 1980 and whose powers of clairvoyance helped Peter Parker at some point. She’s elderly and blind and sits atop a web throne that keeps her alive. But to be honest, reading about her didn’t help give any more meaning or urgency to the Dakota Johnson movie that’s heading to theaters Wednesday. You’ve been warned.\u003c/p>\n\u003cp>\u003cem>Madame Web\u003c/em> is striving to be a classic superhero setup movie, about how the future Madame Web — now just single gal paramedic Cassie Webb — comes to terms with her newfound power that allows her to see the future. Well, sometimes at least, when it involves a death or something extremely violent.\u003c/p>\n\u003cp>[aside postid='arts_13951751']It’s also about the origins of a few other Spider-Women who are now just a couple of teenage girls, played by 20-somethings Julia Cornwall (Sydney Sweeney), Anya Corazon (Isabela Merced) and Celeste O’Connor (Mattie Franklin). Watching the flash-forwards to these three in their Spidey costumes makes you feel like there’s some Marvel TV show you forgot to watch that might make you care more.\u003c/p>\n\u003cp>A scene in which they try to sell the idea that all four women are connected in some cosmic way is so wildly strained (“you live in my building,” “you ran in front of my truck”) and inconsequential, you wonder if whichever screenwriter wrote their run-ins initially was even talking to the one who had to try to sell these coincidences. It’s impossible to know what exactly the four credited screenwriters (and three “story by” credits) are responsible for, but \u003cem>Madame Web\u003c/em> feels like the stitched-together product of a bunch of people who weren’t actually collaborating.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s_76M4c4LTo\u003c/p>\n\u003cp>There is also an alarming amount of repetition in just under two hours. Part of this is because Cassie is learning about her powers and sees various incidents play out over and over, which, by the fourth set piece, starts to get very tedious. You forgive it, a little, because Johnson is just always fun to watch and it at least serves a story purpose in theory. But then there’s all these scenes in which the bad guy, Ezekiel Sims (Tahar Rahim), is either seeing his future death at the hands of the Spider-Girls (or whatever we’re calling them) or barking at his associate (Zosia Mamet) to find them with her \u003cem>Dark Knight\u003c/em>-era surveillance setup in his blandly cold penthouse.\u003c/p>\n\u003cp>We know Rahim to be a talented, charismatic actor, but Ezekiel is one of the dullest, most thinly sketched superhero villains in recent memory. The movie doesn’t even withhold his own cosmic connection to Cassie as a reveal — it literally opens with him killing her mother (Kerry Bishé) who is on a spider research trip in the Amazon while very pregnant with her. The venom, and some Amazonian spider-people, save the baby though.\u003c/p>\n\u003cp>[aside postid='arts_13951144']Johnson’s singular performance style can make almost anything watchable. Her cool-girl deadpan is always interesting and funny and, thankfully, filmmaker S.J. Clarkson has the good sense to keep the camera on her as much as possible. She makes gems out of nothing and finds humor even while the script and story are crumbling around her. It’s too bad because there could have been a more fun movie in here — Clarkson imbues it with a distinctly feminine and teenage energy that makes good use of its soundtrack. But it spins itself into a knot trying to justify a silly story instead.\u003c/p>\n\u003cp>The studio, it seems, is playing a very long game with this one. Cassie’s paramedic colleague is Ben Parker (Adam Scott), whose sister-in-law Mary Parker (Emma Roberts) is about to give birth. But one has to imagine after seeing \u003cem>Madame Web\u003c/em>, that, ironically, whatever payoff was planned may be a vision that will not come to pass.\u003c/p>\n\u003cp>\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\">\u003cem>‘Madame Web’ is released nationwide on Feb. 14, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Johnson’s singular performance style can make almost anything watchable. Her cool-girl deadpan is always interesting and funny and, thankfully, filmmaker S.J. Clarkson has the good sense to keep the camera on her as much as possible. She makes gems out of nothing and finds humor even while the script and story are crumbling around her. It’s too bad because there could have been a more fun movie in here — Clarkson imbues it with a distinctly feminine and teenage energy that makes good use of its soundtrack. But it spins itself into a knot trying to justify a silly story instead.\u003c/p>\n\u003cp>The studio, it seems, is playing a very long game with this one. Cassie’s paramedic colleague is Ben Parker (Adam Scott), whose sister-in-law Mary Parker (Emma Roberts) is about to give birth. But one has to imagine after seeing \u003cem>Madame Web\u003c/em>, that, ironically, whatever payoff was planned may be a vision that will not come to pass.\u003c/p>\n\u003cp>\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\">\u003cem>‘Madame Web’ is released nationwide on Feb. 14, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After watching Jon Stewart’s triumphant return to \u003cem>The Daily Show\u003c/em> on Monday night, I had two thoughts.\u003c/p>\n\u003cp>The GOAT of late night satire is back. And even some of the show’s biggest fans may not be all that happy to see him return.\u003c/p>\n\u003cp>That’s because, in his first episode returning as host — nearly nine years after he originally left — Stewart took on a subject that even his most liberal fans might find touchy: the idea that concerns about how age may have affected President Biden aren’t necessarily overblown.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NpBPm0b9deQ\u003c/p>\n\u003cp>He didn’t mince words about the erratic behavior of Biden’s likely opponent for the presidency, Donald Trump, either — showing how the former president couldn’t remember basic things during court depositions like how long he was married to Marla Maples or whether he had bragged about how great his memory was. (“It turns out, the leading cause of early onset dementia is being deposed,” Stewart cracked, after showing a montage of Trump’s grown children having similar recall issues.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13952077']But even though some liberals may be sensitive to the idea that comparing Biden’s gaffes with Trump’s behavior is an unfair “both sides” balancing act, Stewart insisted supporters should do a better job showing the current president is vital and effective as they say he is.\u003c/p>\n\u003cp>“It’s the candidate’s job to assuage concerns,” Stewart said in a 20-minute segment that kicked off last night’s program. “Not the voter’s job not to mention them.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6F4L5NkdaRY\u003c/p>\n\u003ch3>Easily slipping back into the host chair\u003c/h3>\n\u003cp>From the show’s opening moments, Stewart eased back into the host’s chair without missing a beat, firing off jokes with a familiar style that felt like he had left just a few weeks ago, rather than in 2015. He brought a confidence the program sorely needs; it’s been searching for a permanent host for more than a year since the departure of Trevor Noah, who succeeded Stewart as host.\u003c/p>\n\u003cp>Stewart returns in a unique arrangement, hosting\u003cem> The Daily Show\u003c/em> on Monday nights and serving as an executive producer for all evenings — similar to an arrangement crafted by another cable TV star, Rachel Maddow on MSNBC. The new setup allows him to avoid the grind of daily hosting, ceding the rest of the week to the show’s correspondents, starting with Jordan Klepper, who hosts Tuesday through Thursday.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7cmWbSv-GOE\u003c/p>\n\u003cp>Even as he eased into familiar rhythms — poking fun at the idea that he’s an old guy returning to his old job, highlighting concerns about two other old guys competing to get their old job back — Stewart faced a new challenge: reminding everyone why he was such a venerated host in the first place.\u003c/p>\n\u003cp>In his first 16 years hosting \u003cem>The Daily Show\u003c/em>, Stewart elevated the program into an incisive look at the hypocrisies of media, politics and society. Along the way, he helped birth a style of fact-based satire that has exploded all over television, from the work by \u003cem>Daily Show\u003c/em> alums John Oliver on HBO’s \u003cem>Last Week Tonight\u003c/em> and Stephen Colbert on CBS’ \u003cem>The Late Show\u003c/em> to the sharper political tone of \u003cem>Late Night with Seth Meyers \u003c/em>and \u003cem>Jimmy Kimmel Live\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13951374']But the media environment Stewart has returned to is quite different. Ratings in late night have declined, and the young audiences that once fueled the genre have moved on to TikTok and YouTube. With luck, Stewart’s appeal to \u003cem>The Daily Show\u003c/em>‘s old school fans will bring better ratings on the cable channel, but it’s still likely to be a smaller crowd than he once commanded.\u003c/p>\n\u003cp>Regardless, last night’s program shows Stewart’s still got the comedy chops and incisive ideas to power the show at least through the presidential election in November. He has \u003ca href=\"https://www.cbsnews.com/news/jon-stewart-daily-show-return-what-to-expect/\">said in interviews\u003c/a> that part of the appeal in returning was to have a place to “unload thoughts” as the election season progresses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last night’s debut proved Stewart will bring that and more, buying time for an influential show at a crossroads to figure out a new future for itself at least one more time.\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=Jon+Stewart%27s+%27Daily+Show%27+return+is+so+smooth%2C+it%27s+like+he+never+left+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After watching Jon Stewart’s triumphant return to \u003cem>The Daily Show\u003c/em> on Monday night, I had two thoughts.\u003c/p>\n\u003cp>The GOAT of late night satire is back. And even some of the show’s biggest fans may not be all that happy to see him return.\u003c/p>\n\u003cp>That’s because, in his first episode returning as host — nearly nine years after he originally left — Stewart took on a subject that even his most liberal fans might find touchy: the idea that concerns about how age may have affected President Biden aren’t necessarily overblown.\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/NpBPm0b9deQ'\n title='//www.youtube.com/embed/NpBPm0b9deQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He didn’t mince words about the erratic behavior of Biden’s likely opponent for the presidency, Donald Trump, either — showing how the former president couldn’t remember basic things during court depositions like how long he was married to Marla Maples or whether he had bragged about how great his memory was. (“It turns out, the leading cause of early onset dementia is being deposed,” Stewart cracked, after showing a montage of Trump’s grown children having similar recall issues.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But even though some liberals may be sensitive to the idea that comparing Biden’s gaffes with Trump’s behavior is an unfair “both sides” balancing act, Stewart insisted supporters should do a better job showing the current president is vital and effective as they say he is.\u003c/p>\n\u003cp>“It’s the candidate’s job to assuage concerns,” Stewart said in a 20-minute segment that kicked off last night’s program. “Not the voter’s job not to mention them.”\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/6F4L5NkdaRY'\n title='//www.youtube.com/embed/6F4L5NkdaRY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Easily slipping back into the host chair\u003c/h3>\n\u003cp>From the show’s opening moments, Stewart eased back into the host’s chair without missing a beat, firing off jokes with a familiar style that felt like he had left just a few weeks ago, rather than in 2015. He brought a confidence the program sorely needs; it’s been searching for a permanent host for more than a year since the departure of Trevor Noah, who succeeded Stewart as host.\u003c/p>\n\u003cp>Stewart returns in a unique arrangement, hosting\u003cem> The Daily Show\u003c/em> on Monday nights and serving as an executive producer for all evenings — similar to an arrangement crafted by another cable TV star, Rachel Maddow on MSNBC. The new setup allows him to avoid the grind of daily hosting, ceding the rest of the week to the show’s correspondents, starting with Jordan Klepper, who hosts Tuesday through Thursday.\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/7cmWbSv-GOE'\n title='//www.youtube.com/embed/7cmWbSv-GOE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even as he eased into familiar rhythms — poking fun at the idea that he’s an old guy returning to his old job, highlighting concerns about two other old guys competing to get their old job back — Stewart faced a new challenge: reminding everyone why he was such a venerated host in the first place.\u003c/p>\n\u003cp>In his first 16 years hosting \u003cem>The Daily Show\u003c/em>, Stewart elevated the program into an incisive look at the hypocrisies of media, politics and society. Along the way, he helped birth a style of fact-based satire that has exploded all over television, from the work by \u003cem>Daily Show\u003c/em> alums John Oliver on HBO’s \u003cem>Last Week Tonight\u003c/em> and Stephen Colbert on CBS’ \u003cem>The Late Show\u003c/em> to the sharper political tone of \u003cem>Late Night with Seth Meyers \u003c/em>and \u003cem>Jimmy Kimmel Live\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the media environment Stewart has returned to is quite different. Ratings in late night have declined, and the young audiences that once fueled the genre have moved on to TikTok and YouTube. With luck, Stewart’s appeal to \u003cem>The Daily Show\u003c/em>‘s old school fans will bring better ratings on the cable channel, but it’s still likely to be a smaller crowd than he once commanded.\u003c/p>\n\u003cp>Regardless, last night’s program shows Stewart’s still got the comedy chops and incisive ideas to power the show at least through the presidential election in November. He has \u003ca href=\"https://www.cbsnews.com/news/jon-stewart-daily-show-return-what-to-expect/\">said in interviews\u003c/a> that part of the appeal in returning was to have a place to “unload thoughts” as the election season progresses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Last night’s debut proved Stewart will bring that and more, buying time for an influential show at a crossroads to figure out a new future for itself at least one more time.\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=Jon+Stewart%27s+%27Daily+Show%27+return+is+so+smooth%2C+it%27s+like+he+never+left+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Super Bowl Ads Played it Safe, but There Were Still Some Winners",
"headTitle": "Super Bowl Ads Played it Safe, but There Were Still Some Winners | KQED",
"content": "\u003cp>When I spoke with Shayne Millington about the cheeky Super Bowl ad she was planning with Cardi B, the advertising executive was excited about the prospect of tweaking male sports fans in a way Big Game ads often don’t do.\u003c/p>\n\u003cp>But the NFL threw some cold water on her plans Sunday, preventing makeup brand NYX from airing part of their ad suggesting that men may have mistaken the name of their Duck Plump lip gloss and used it in a certain private area. Instead, \u003ca href=\"https://youtu.be/LOhNE2zCvEs?si=TDLuyxJi6aLs7qgo\">they aired 30 seconds featuring Cardi B\u003c/a> and displayed a QR code viewers could use to access the full ad.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5Z3vPLTpa30\u003c/p>\n\u003cp>Millington, the chief creative officer at McCann New York, told me before the game that the ad was an attempt to turn the tables on traditional Super Bowl advertising.\u003c/p>\n\u003cp>“You have to really look at how women have been portrayed in Super Bowl ads and in the past, and it’s not great,” she added. “So, on a platform as big as the Super Bowl, where men have [traditionally] had the upper hand with humor … [this time] women will have the last laugh with Cardi B.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Turns out, Millington’s ad was among the sauciest in a Super Bowl where brands played it safe even more than usual, perhaps due to the mammoth, $7 million-per-30-seconds fee for airtime.\u003c/p>\n\u003cp>Political messages were subtle and shaded, including a retro-looking ad for independent presidential candidate Robert Kennedy Jr. that didn’t get near his controversial stands on vaccines and other issues (talk about a nepo baby). An ad for the website hegetsus.com aimed at boosting Jesus Christ focused on how his teachings might bring people together, not the \u003ca href=\"https://www.npr.org/2023/02/06/1154880673/jesus-commercial-super-bowl-billboard-he-gets-us-hobby-lobby-evangelical-billion\">controversial stands of one funder\u003c/a>, the family that owns notably religious craft store chain Hobby Lobby.\u003c/p>\n\u003cp>[aside postid='arts_13951795']Blame the intensely crazy pace of real-life news or the back-breaking price for ads, but this year’s crop of commercials seemed to lean away from controversy and into nostalgia, celebrity and cross promotion — with Super Bowl halftime performer Usher appearing in more spots than the Budweiser Clydesdales.\u003c/p>\n\u003cp>Here’s a breakdown of what worked and didn’t in the biggest — and most expensive — advertising showcase on American television.\u003c/p>\n\u003ch3>\u003cstrong>Best use of a celebrity poking fun at something he knows we’re all laughing at anyway: State Farm’s ‘Like a Good Neighbaa’\u003c/strong>\u003c/h3>\n\u003cp>We all know Arnold Schwarzenegger has somehow won over America’s hearts despite delivering lines in films so drenched with his Austrian accent that it sounds like English put through a Cuisinart. That’s why it’s so delightful to see him willing to send up both his action hero past and his dicey diction, playing a swashbuckling State Farm agent who somehow can’t say “labor,” “concealer” or “neighbor.” Even Jake From State Farm couldn’t help coach him through a speech pattern that, somehow, still makes all those words sound cooler when they come out of Ahnuld’s mouth. (Though his former \u003cem>Twins \u003c/em>co-star Danny DeVito untimately had to help him out.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sNGbLrrGYGs\u003c/p>\n\u003ch3>\u003cstrong>Worst use of a celebrity tolerating something we’re all laughing at anyway: BMW’s ‘Talkin’ Like Walken’\u003c/strong>\u003c/h3>\n\u003cp>How do you come up with a concept so promising — much-mimicked Hollywood eccentric Christopher Walken walks through a day where everyone is doing their own Walken impressions — and wind up with a spot so, well, odd? Where are the celebrities who do amazing Walken impressions, like Kevin Pollak, Jay Mohr or even Tom Hiddleston? Where’s the moment Walken has fun with people trying to cop his off-kilter patois, (instead of looking like he can’t wait to get off the screen)? And why is the Super Bowl’s halftime headliner Usher showing up at the end and NOT doing a Walken impersonation? Small wonder this overhyped ad is also in the running for Best Missed Opportunity. Sigh.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sfB-glrgn5o\u003c/p>\n\u003ch3>Best way to get someone else to publicize your new music: Verizon’s ‘Can’t B Broken’\u003c/h3>\n\u003cp>The ad itself is a fun affair, with Beyoncé trying to “break” Verizon’s 5G network through a series of outlandish stunts (assisted by \u003cem>Veep\u003c/em> co-star Tony Hale), including creating Beyonc-A.I., the pink-themed Bar-Bey, and a musical performance in space. When none of that succeeds in bringing down Verizon, she says “OK. They ready. Drop the new music.”\u003c/p>\n\u003cp>Of course, Beyoncé meant business, dropping \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">two new tunes on her website\u003c/a> and announcing the debut of a country-inspired album, \u003cem>Act II\u003c/em>, for March 29. Forget about announcing a new album during the Grammys; Bey dropped her announcement on TV’s biggest platform, paid for by Verizon. Respect.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hRaBlE6maf4\u003c/p>\n\u003ch3>\u003cstrong>Best celebrity save: Uber Eats’ ‘Don’t Forget Uber Eats’\u003c/strong>\u003c/h3>\n\u003cp>Actually, I want to forget much of this spot, which features wooden moments like David and Victoria Beckham pretending to forget she was in the Spice Girls (Will anyone catch that they’re spoofing a scene from his Netflix docuseries?) and another, um, forgettable cameo from Usher (Did you know he’s playing the Super Bowl halftime? Feels like he’s popping up in half of the Super Bowl ads to remind you!)\u003c/p>\n\u003cp>[aside postid='pop_105499']But the conceit — that you have to forget something to make room in your memory for Uber Eats’ awesome services — hit home when Jennifer Aniston appeared, ignoring David Schwimmer even as he reminds her they worked together for 10 years on one of the most popular sitcoms in TV history.\u003c/p>\n\u003cp>Perhaps it’s because I disliked his character Ross’ romance with Aniston’s character on \u003cem>Friends \u003c/em>so much, but when she walked away, convinced she didn’t know him, and he muttered “I hate this town,” I felt like TV justice had somehow been served.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0LXSb0PQ6HQ\u003c/p>\n\u003ch3>\u003cstrong>Best hope for Marvel fans: The ‘Deadpool’ movie\u003c/strong>\u003c/h3>\n\u003cp>That sound you heard at the game’s start wasn’t sports fans settling in for the Big Game. It was Marvel fans screaming in anticipation after realizing that Ryan Reynolds’ new \u003cem>Deadpool\u003c/em> movie won’t just feature Hugh Jackman returning as Wolverine, but Reynolds’ disfigured, wisecracking mercenary superhero getting kidnapped by the TVA — an organization from the \u003cem>Loki\u003c/em> series. And the TVA’s representative here is none other than \u003cem>Succession’\u003c/em>s Tom Wambsgans, or the actor Matthew Macfadyen. If any film can rescue the world from superhero fatigue, this might be the one.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xW-zNOT4P1A\u003c/p>\n\u003ch3>\u003cstrong>Best use of a cat/worst use of a McKinnon: Hellmann’s ‘Mayo Cat’\u003c/strong>\u003c/h3>\n\u003cp>Fans know \u003cem>Saturday Night Live\u003c/em> alum Kate McKinnon has a special bond with cats — she’s even come up with \u003ca href=\"https://www.youtube.com/watch?v=bv8MDqVrRH0\">some sidesplitting sketches on the subject\u003c/a> — so it was cute to see her alongside a feline who captivates the world by simply saying “mayo.” The ad also has a cool button at the end, where the cat dates and breaks up with fellow \u003cem>SNL\u003c/em> alum Pete Davidson (“You lasted longer than most,” McKinnon quips.) But how do you spend millions on a commercial starring the funniest woman on TV and give all the action to her cat? Purrfectly frustrating. (Yes, I went there.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aUnKqXTSJWU\u003c/p>\n\u003ch3>\u003cstrong>Second best use of a celebrity poking fun at themselves: Skechers ‘Mr. T in Skechers’\u003c/strong>\u003c/h3>\n\u003cp>I’ll be honest, I didn’t notice there was no “T” in the footwear company’s name until Tony Romo upsets the famous \u003cem>A Team\u003c/em> star by pointing it out. Watching a 71-year-old Mr. T walk on hot coals and do CGI-assisted pull-ups while insisting “I pity the fool who has to touch his shoes” as he cavorts in Skechers slip-on shoes, I saw a mix of nostalgia, absurdity and good-hearted self-parody that I didn’t even knew I needed until it happened. Once again, Mr. T. for the win.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6zolFHbtEew\u003c/p>\n\u003ch3>\u003cstrong>Best tribute to a departed legend: FanDuel’s Super Bowl Kick of Destiny Part 2\u003c/strong>\u003c/h3>\n\u003cp>Reprising the stunt from last year, where the four-time Super Bowl champion tight end tried — and failed — to make a 25-yard field goal, this year’s commercial featured Gronk failing again. In a teaser for the series of ads released early, \u003cem>Rocky \u003c/em>co-star Carl Weathers was shown riding up on a motorcycle to encourage Gronkowski. After Weathers died earlier this month at age 76, producers reworked one of those ads to show the actor saying ruefully, “You gave us your all, Gronk.” Then the spot flashed to an image of Weathers with the message “Thank you, Carl. 1948 — 2024.” Glad to see the company kept him in the spot; there’s no better, classier tribute to a towering talent than tipping the hat to him on the biggest platform in the world.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sZtdfuNZtIU\u003c/p>\n\u003ch3>\u003cstrong>Best ‘I’m not crying, you’re crying’ ad: Google Pixel’s ‘Javier in Frame’\u003c/strong>\u003c/h3>\n\u003cp>I first gave this award last year for the \u003ca href=\"https://www.youtube.com/watch?v=IAIo-pUDl0s\">dog food ad \u003c/a>that made everyone emotional. This time, it’s Google Pixel showcasing its guided frame technology, in which the phone tells users when faces are fully in the picture frame. We see this work from the perspective of Javier, who utilizes the phone despite his problems with blurred vision to capture important moments in his life, including the birth of his child. The spot’s director, Adam Morse, is blind and it’s narrated at the end by Stevie Wonder. Poignant doesn’t begin to describe it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wYPTZIFQoDQ\u003c/p>\n\u003ch3>Most confusing movie ad: ‘Twisters’\u003c/h3>\n\u003cp>It’s not apparent from watching the Super Bowl ad whether this film is a reboot or a sequel to the 1996 film that featured Helen Hunt, Bill Paxton and Philip Seymour Hoffman (\u003ca href=\"https://variety.com/2024/film/news/twisters-super-bowl-trailer-glen-powell-daisy-edgar-jones-1235901269/\">according to\u003cem> Variety\u003c/em>\u003c/a>, it’s indeed a sequel). But after watching Glen Powell and Daisy Edgar-Jones jostling around in a 2-minute spot spouting dialogue that referenced the original, I only had one question that really needed answering: Why?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wdok0rZdmx4\u003c/p>\n\u003ch3>Best contest with the worst ad: DoorDash’s ‘All the Ads’\u003c/h3>\n\u003cp>It’s an inspired giveaway: DoorDash will provide all of the items in every Super Bowl commercial to one lucky winner, including a 2024 BMW All-Electric i5, chicken wings from Popeyes for 150-plus people, a $50,000 check for their dream home and much more (you had to watch the commercial during the game and add a promotional code \u003ca href=\"https://www.doordash-all-the-ads.com/\">at this URL\u003c/a> to enter). But hearing Laurence Fishburne majestically narrate a preview ad that uses DoorDash as a verb while products are bursting from the ground makes me want to DoorDash as far away from it all as possible.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DTLM5o-9hYg\u003c/p>\n\u003ch3>\u003cstrong>Worst use of a celebrity: ‘Sir Patrick Stewart Throws a Hail Arnold’ on Paramount+\u003c/strong>\u003c/h3>\n\u003cp>Yes, you read the title right. Patrick Stewart, star of \u003cem>Star Trek: Picard \u003c/em>on Paramount+, appears in a spot where he argues with Drew Barrymore, then orders Miami Dolphins quarterback Tua Tagovailoa to throw an animated fourth-grader from \u003cem>Hey Arnold!\u003c/em> up a mountain, before doing it himself. (The band Creed also shows up to play a song for some reason.)\u003c/p>\n\u003cp>All I want is a sample of whatever the scriptwriters were smoking when they came up with this nonsense — or when they got Stewart to agree to appear in it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YKzk1h7qrj8\u003c/p>\n\u003ch3>\u003cstrong>Second-worst use of a celebrity: Squarespace’s ‘Hello Down There’\u003c/strong>\u003c/h3>\n\u003cp>The concept’s not so bad: We’re so distracted by our phones and social media that no one on Earth notices a fleet of flying saucers overhead until the aliens build a website with Squarespace.\u003c/p>\n\u003cp>But it’s a drag seeing Oscar winner Martin Scorsese direct this bit of fluff without much humor and a punchline that goes over like, well, a badly formatted website: Scorsese, in traffic, looks at a sky filled with spaceships and tells his driver: “I told you to take Broadway. This always happens.”\u003c/p>\n\u003cp>Feels a little like hiring Frank Lloyd Wright to design your kid’s backyard playhouse.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OBcd8S0YYuU\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=Super+Bowl+ads+played+it+safe%2C+but+there+were+still+some+winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I spoke with Shayne Millington about the cheeky Super Bowl ad she was planning with Cardi B, the advertising executive was excited about the prospect of tweaking male sports fans in a way Big Game ads often don’t do.\u003c/p>\n\u003cp>But the NFL threw some cold water on her plans Sunday, preventing makeup brand NYX from airing part of their ad suggesting that men may have mistaken the name of their Duck Plump lip gloss and used it in a certain private area. Instead, \u003ca href=\"https://youtu.be/LOhNE2zCvEs?si=TDLuyxJi6aLs7qgo\">they aired 30 seconds featuring Cardi B\u003c/a> and displayed a QR code viewers could use to access the full ad.\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/5Z3vPLTpa30'\n title='//www.youtube.com/embed/5Z3vPLTpa30'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Millington, the chief creative officer at McCann New York, told me before the game that the ad was an attempt to turn the tables on traditional Super Bowl advertising.\u003c/p>\n\u003cp>“You have to really look at how women have been portrayed in Super Bowl ads and in the past, and it’s not great,” she added. “So, on a platform as big as the Super Bowl, where men have [traditionally] had the upper hand with humor … [this time] women will have the last laugh with Cardi B.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Turns out, Millington’s ad was among the sauciest in a Super Bowl where brands played it safe even more than usual, perhaps due to the mammoth, $7 million-per-30-seconds fee for airtime.\u003c/p>\n\u003cp>Political messages were subtle and shaded, including a retro-looking ad for independent presidential candidate Robert Kennedy Jr. that didn’t get near his controversial stands on vaccines and other issues (talk about a nepo baby). An ad for the website hegetsus.com aimed at boosting Jesus Christ focused on how his teachings might bring people together, not the \u003ca href=\"https://www.npr.org/2023/02/06/1154880673/jesus-commercial-super-bowl-billboard-he-gets-us-hobby-lobby-evangelical-billion\">controversial stands of one funder\u003c/a>, the family that owns notably religious craft store chain Hobby Lobby.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Blame the intensely crazy pace of real-life news or the back-breaking price for ads, but this year’s crop of commercials seemed to lean away from controversy and into nostalgia, celebrity and cross promotion — with Super Bowl halftime performer Usher appearing in more spots than the Budweiser Clydesdales.\u003c/p>\n\u003cp>Here’s a breakdown of what worked and didn’t in the biggest — and most expensive — advertising showcase on American television.\u003c/p>\n\u003ch3>\u003cstrong>Best use of a celebrity poking fun at something he knows we’re all laughing at anyway: State Farm’s ‘Like a Good Neighbaa’\u003c/strong>\u003c/h3>\n\u003cp>We all know Arnold Schwarzenegger has somehow won over America’s hearts despite delivering lines in films so drenched with his Austrian accent that it sounds like English put through a Cuisinart. That’s why it’s so delightful to see him willing to send up both his action hero past and his dicey diction, playing a swashbuckling State Farm agent who somehow can’t say “labor,” “concealer” or “neighbor.” Even Jake From State Farm couldn’t help coach him through a speech pattern that, somehow, still makes all those words sound cooler when they come out of Ahnuld’s mouth. (Though his former \u003cem>Twins \u003c/em>co-star Danny DeVito untimately had to help him out.)\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/sNGbLrrGYGs'\n title='//www.youtube.com/embed/sNGbLrrGYGs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Worst use of a celebrity tolerating something we’re all laughing at anyway: BMW’s ‘Talkin’ Like Walken’\u003c/strong>\u003c/h3>\n\u003cp>How do you come up with a concept so promising — much-mimicked Hollywood eccentric Christopher Walken walks through a day where everyone is doing their own Walken impressions — and wind up with a spot so, well, odd? Where are the celebrities who do amazing Walken impressions, like Kevin Pollak, Jay Mohr or even Tom Hiddleston? Where’s the moment Walken has fun with people trying to cop his off-kilter patois, (instead of looking like he can’t wait to get off the screen)? And why is the Super Bowl’s halftime headliner Usher showing up at the end and NOT doing a Walken impersonation? Small wonder this overhyped ad is also in the running for Best Missed Opportunity. Sigh.\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/sfB-glrgn5o'\n title='//www.youtube.com/embed/sfB-glrgn5o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best way to get someone else to publicize your new music: Verizon’s ‘Can’t B Broken’\u003c/h3>\n\u003cp>The ad itself is a fun affair, with Beyoncé trying to “break” Verizon’s 5G network through a series of outlandish stunts (assisted by \u003cem>Veep\u003c/em> co-star Tony Hale), including creating Beyonc-A.I., the pink-themed Bar-Bey, and a musical performance in space. When none of that succeeds in bringing down Verizon, she says “OK. They ready. Drop the new music.”\u003c/p>\n\u003cp>Of course, Beyoncé meant business, dropping \u003ca href=\"https://www.kqed.org/arts/13952067/beyonce-new-songs-super-bowl-16-carriages-texas-hold-em\">two new tunes on her website\u003c/a> and announcing the debut of a country-inspired album, \u003cem>Act II\u003c/em>, for March 29. Forget about announcing a new album during the Grammys; Bey dropped her announcement on TV’s biggest platform, paid for by Verizon. 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/hRaBlE6maf4'\n title='//www.youtube.com/embed/hRaBlE6maf4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Best celebrity save: Uber Eats’ ‘Don’t Forget Uber Eats’\u003c/strong>\u003c/h3>\n\u003cp>Actually, I want to forget much of this spot, which features wooden moments like David and Victoria Beckham pretending to forget she was in the Spice Girls (Will anyone catch that they’re spoofing a scene from his Netflix docuseries?) and another, um, forgettable cameo from Usher (Did you know he’s playing the Super Bowl halftime? Feels like he’s popping up in half of the Super Bowl ads to remind you!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the conceit — that you have to forget something to make room in your memory for Uber Eats’ awesome services — hit home when Jennifer Aniston appeared, ignoring David Schwimmer even as he reminds her they worked together for 10 years on one of the most popular sitcoms in TV history.\u003c/p>\n\u003cp>Perhaps it’s because I disliked his character Ross’ romance with Aniston’s character on \u003cem>Friends \u003c/em>so much, but when she walked away, convinced she didn’t know him, and he muttered “I hate this town,” I felt like TV justice had somehow been served.\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/0LXSb0PQ6HQ'\n title='//www.youtube.com/embed/0LXSb0PQ6HQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Best hope for Marvel fans: The ‘Deadpool’ movie\u003c/strong>\u003c/h3>\n\u003cp>That sound you heard at the game’s start wasn’t sports fans settling in for the Big Game. It was Marvel fans screaming in anticipation after realizing that Ryan Reynolds’ new \u003cem>Deadpool\u003c/em> movie won’t just feature Hugh Jackman returning as Wolverine, but Reynolds’ disfigured, wisecracking mercenary superhero getting kidnapped by the TVA — an organization from the \u003cem>Loki\u003c/em> series. And the TVA’s representative here is none other than \u003cem>Succession’\u003c/em>s Tom Wambsgans, or the actor Matthew Macfadyen. If any film can rescue the world from superhero fatigue, this might be the one.\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/xW-zNOT4P1A'\n title='//www.youtube.com/embed/xW-zNOT4P1A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Best use of a cat/worst use of a McKinnon: Hellmann’s ‘Mayo Cat’\u003c/strong>\u003c/h3>\n\u003cp>Fans know \u003cem>Saturday Night Live\u003c/em> alum Kate McKinnon has a special bond with cats — she’s even come up with \u003ca href=\"https://www.youtube.com/watch?v=bv8MDqVrRH0\">some sidesplitting sketches on the subject\u003c/a> — so it was cute to see her alongside a feline who captivates the world by simply saying “mayo.” The ad also has a cool button at the end, where the cat dates and breaks up with fellow \u003cem>SNL\u003c/em> alum Pete Davidson (“You lasted longer than most,” McKinnon quips.) But how do you spend millions on a commercial starring the funniest woman on TV and give all the action to her cat? Purrfectly frustrating. (Yes, I went there.)\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/aUnKqXTSJWU'\n title='//www.youtube.com/embed/aUnKqXTSJWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Second best use of a celebrity poking fun at themselves: Skechers ‘Mr. T in Skechers’\u003c/strong>\u003c/h3>\n\u003cp>I’ll be honest, I didn’t notice there was no “T” in the footwear company’s name until Tony Romo upsets the famous \u003cem>A Team\u003c/em> star by pointing it out. Watching a 71-year-old Mr. T walk on hot coals and do CGI-assisted pull-ups while insisting “I pity the fool who has to touch his shoes” as he cavorts in Skechers slip-on shoes, I saw a mix of nostalgia, absurdity and good-hearted self-parody that I didn’t even knew I needed until it happened. Once again, Mr. T. for the win.\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/6zolFHbtEew'\n title='//www.youtube.com/embed/6zolFHbtEew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Best tribute to a departed legend: FanDuel’s Super Bowl Kick of Destiny Part 2\u003c/strong>\u003c/h3>\n\u003cp>Reprising the stunt from last year, where the four-time Super Bowl champion tight end tried — and failed — to make a 25-yard field goal, this year’s commercial featured Gronk failing again. In a teaser for the series of ads released early, \u003cem>Rocky \u003c/em>co-star Carl Weathers was shown riding up on a motorcycle to encourage Gronkowski. After Weathers died earlier this month at age 76, producers reworked one of those ads to show the actor saying ruefully, “You gave us your all, Gronk.” Then the spot flashed to an image of Weathers with the message “Thank you, Carl. 1948 — 2024.” Glad to see the company kept him in the spot; there’s no better, classier tribute to a towering talent than tipping the hat to him on the biggest platform in the world.\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/sZtdfuNZtIU'\n title='//www.youtube.com/embed/sZtdfuNZtIU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Best ‘I’m not crying, you’re crying’ ad: Google Pixel’s ‘Javier in Frame’\u003c/strong>\u003c/h3>\n\u003cp>I first gave this award last year for the \u003ca href=\"https://www.youtube.com/watch?v=IAIo-pUDl0s\">dog food ad \u003c/a>that made everyone emotional. This time, it’s Google Pixel showcasing its guided frame technology, in which the phone tells users when faces are fully in the picture frame. We see this work from the perspective of Javier, who utilizes the phone despite his problems with blurred vision to capture important moments in his life, including the birth of his child. The spot’s director, Adam Morse, is blind and it’s narrated at the end by Stevie Wonder. Poignant doesn’t begin to describe it.\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/wYPTZIFQoDQ'\n title='//www.youtube.com/embed/wYPTZIFQoDQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Most confusing movie ad: ‘Twisters’\u003c/h3>\n\u003cp>It’s not apparent from watching the Super Bowl ad whether this film is a reboot or a sequel to the 1996 film that featured Helen Hunt, Bill Paxton and Philip Seymour Hoffman (\u003ca href=\"https://variety.com/2024/film/news/twisters-super-bowl-trailer-glen-powell-daisy-edgar-jones-1235901269/\">according to\u003cem> Variety\u003c/em>\u003c/a>, it’s indeed a sequel). But after watching Glen Powell and Daisy Edgar-Jones jostling around in a 2-minute spot spouting dialogue that referenced the original, I only had one question that really needed answering: Why?\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wdok0rZdmx4'\n title='//www.youtube.com/embed/wdok0rZdmx4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best contest with the worst ad: DoorDash’s ‘All the Ads’\u003c/h3>\n\u003cp>It’s an inspired giveaway: DoorDash will provide all of the items in every Super Bowl commercial to one lucky winner, including a 2024 BMW All-Electric i5, chicken wings from Popeyes for 150-plus people, a $50,000 check for their dream home and much more (you had to watch the commercial during the game and add a promotional code \u003ca href=\"https://www.doordash-all-the-ads.com/\">at this URL\u003c/a> to enter). But hearing Laurence Fishburne majestically narrate a preview ad that uses DoorDash as a verb while products are bursting from the ground makes me want to DoorDash as far away from it all as possible.\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/DTLM5o-9hYg'\n title='//www.youtube.com/embed/DTLM5o-9hYg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Worst use of a celebrity: ‘Sir Patrick Stewart Throws a Hail Arnold’ on Paramount+\u003c/strong>\u003c/h3>\n\u003cp>Yes, you read the title right. Patrick Stewart, star of \u003cem>Star Trek: Picard \u003c/em>on Paramount+, appears in a spot where he argues with Drew Barrymore, then orders Miami Dolphins quarterback Tua Tagovailoa to throw an animated fourth-grader from \u003cem>Hey Arnold!\u003c/em> up a mountain, before doing it himself. (The band Creed also shows up to play a song for some reason.)\u003c/p>\n\u003cp>All I want is a sample of whatever the scriptwriters were smoking when they came up with this nonsense — or when they got Stewart to agree to appear in it.\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/YKzk1h7qrj8'\n title='//www.youtube.com/embed/YKzk1h7qrj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cstrong>Second-worst use of a celebrity: Squarespace’s ‘Hello Down There’\u003c/strong>\u003c/h3>\n\u003cp>The concept’s not so bad: We’re so distracted by our phones and social media that no one on Earth notices a fleet of flying saucers overhead until the aliens build a website with Squarespace.\u003c/p>\n\u003cp>But it’s a drag seeing Oscar winner Martin Scorsese direct this bit of fluff without much humor and a punchline that goes over like, well, a badly formatted website: Scorsese, in traffic, looks at a sky filled with spaceships and tells his driver: “I told you to take Broadway. This always happens.”\u003c/p>\n\u003cp>Feels a little like hiring Frank Lloyd Wright to design your kid’s backyard playhouse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Beyoncé teased, announced and dropped new music in the span of less than an hour during Sunday’s Super Bowl.\u003c/p>\n\u003cp>“Okay, they ready! Drop the new music,” Beyoncé says in the final seconds of a \u003ca href=\"https://www.instagram.com/reel/C3Os7bUxELf/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==\">Verizon commercial\u003c/a> that aired during the third quarter.\u003c/p>\n\u003cp>[aside postid='arts_13873945']Social media, already \u003ca href=\"https://www.npr.org/2024/02/10/1230621176/super-bowl-58\">buzzing from the Super Bowl action\u003c/a> on and off the field (star-studded stands, halftime show and commercials included), went into a further frenzy.\u003c/p>\n\u003cp>Within minutes, Beyoncé’s accounts had made it official.\u003c/p>\n\u003cp>The star posted a minute-long \u003ca href=\"https://www.instagram.com/p/C3Ot8xfRIaA/\">video to Instagram\u003c/a> showing a taxi with a Texas vanity plate (“HOLD-EM”) driving through dusty roads, past radio towers and a sign for “Radio Texas.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It ends with a crowd gathered in front of a billboard of her waving next to the words “Texas! Hold ’em,” as a song with those words starts to play. The video ends with: “act ii” and the date March 29.\u003c/p>\n\u003cp>Her \u003ca href=\"https://www.beyonce.com/\">official website \u003c/a>advertises the same video and date, as well as the name of two songs: “Texas Hold ‘Em” and “16 carriages.” Thirty-second snippets of both songs were \u003ca href=\"https://tidal.com/browse/album/344957697\">posted to Tidal\u003c/a> shortly thereafter. Then the full versions dropped on Spotify and YouTube.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-fV37wdHG8U\u003c/p>\n\u003cp>The accompanying images show Beyoncé wearing cowboy hats and other decidedly Western wear.\u003c/p>\n\u003cp>Notably, Beyoncé \u003ca href=\"https://x.com/Beyonce/status/1542540338002219008?s=20\">advertised\u003c/a> her 2022 album \u003cem>Renaissance\u003c/em> as “act i.”\u003c/p>\n\u003cp>It \u003ca href=\"https://www.grammy.com/news/beyonce-most-grammys-in-history-renaissance-best-dance-electronic-album-2023-grammys-acceptance-speech\">won the Grammy\u003c/a> for best Dance/Electronic Music Album in 2023, a record-breaking 32nd for the Houston-born icon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g92AYBlNOi0\u003c/p>\n\u003cdiv class=\"fullattribution\">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=Beyonc%C3%A9+releases+two+new+songs+during+the+Super+Bowl%2C+teasing+more+to+come&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It ends with a crowd gathered in front of a billboard of her waving next to the words “Texas! Hold ’em,” as a song with those words starts to play. The video ends with: “act ii” and the date March 29.\u003c/p>\n\u003cp>Her \u003ca href=\"https://www.beyonce.com/\">official website \u003c/a>advertises the same video and date, as well as the name of two songs: “Texas Hold ‘Em” and “16 carriages.” Thirty-second snippets of both songs were \u003ca href=\"https://tidal.com/browse/album/344957697\">posted to Tidal\u003c/a> shortly thereafter. Then the full versions dropped on Spotify and YouTube.\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/-fV37wdHG8U'\n title='//www.youtube.com/embed/-fV37wdHG8U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The accompanying images show Beyoncé wearing cowboy hats and other decidedly Western wear.\u003c/p>\n\u003cp>Notably, Beyoncé \u003ca href=\"https://x.com/Beyonce/status/1542540338002219008?s=20\">advertised\u003c/a> her 2022 album \u003cem>Renaissance\u003c/em> as “act i.”\u003c/p>\n\u003cp>It \u003ca href=\"https://www.grammy.com/news/beyonce-most-grammys-in-history-renaissance-best-dance-electronic-album-2023-grammys-acceptance-speech\">won the Grammy\u003c/a> for best Dance/Electronic Music Album in 2023, a record-breaking 32nd for the Houston-born icon.\u003c/p>\n\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/g92AYBlNOi0'\n title='//www.youtube.com/embed/g92AYBlNOi0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">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=Beyonc%C3%A9+releases+two+new+songs+during+the+Super+Bowl%2C+teasing+more+to+come&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>My obsession with literature exploded in my early teens. Back then, my diet consisted mostly of whatever classics I could find, novels by Jules Verne, poetry by Mario Benedetti, and a lot of horror novels by Stephen King, Richard Laymon, and Bentley Little — all of which I was arguably way too young to be reading.\u003c/p>\n\u003cp>[aside postid='arts_13935838']Then I discovered cryptozoology and went down a rabbit hole, consuming anything I could find about cryptids like Nessie, mokèlé-mbèmbé, and the chupacabras as well as animals that had jumped from cryptozoology to the pages of science books — the giant squid (\u003cem>Architeuthis dux\u003c/em>) and the coelacanth. My favorite cryptid? Bigfoot. Books, documentaries shot with a $12 budget, shaky footage online; I couldn’t get enough. I wanted to know more about it, but also about the folks who swore it was real, the people who had seen it, the devout researchers who spent countless nights out in the middle of woods looking for the famous creature I’d seen in the Patterson-Gimlin film (which is, along with the Zapruder film, probably one of the most scrutinized pieces of footage in history).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oPlRr_OfxZI\u003c/p>\n\u003cp>When I heard John O’Connor’s \u003cem>The Secret History of Bigfoot: Field Notes on a North American Monster\u003c/em> was coming, I knew I had to read it. My expectations were somewhere close to the exosphere — unfair, I know — but O’Connor surpassed all of them.\u003c/p>\n\u003cp>If you’re looking for a book that proves the existence of Bigfoot, look elsewhere. If you want a book that’s all about discrediting evidence and making those who believe in Bigfoot look like mumbling fools wearing tinfoil hats, also look elsewhere. \u003cem>The Secret History of Bigfoot \u003c/em>is a smart, engaging, incredibly informative, hilarious, and wonderfully immersive journey not only into the history of Bigfoot in North America and the culture around but also a deep, honest, heartfelt look at the people who obsess about, the meaning of its myth’s lingering appeal, and the psychology behind it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>O’Connor, a journalist and self-diagnosed skeptic, is fascinated by Bigfoot, so he spent a year travelling around the country, talking to those who live for Sasquatch, and tracking Bigfoot in the untamed terrain of the Pacific Northwest. The book would’ve been interesting if O’Connor merely transcribed his interviews with those looking for Bigfoot. But his research and interviews also include psychologists and scientists — and he delves deep into everything from history and philosophy to politics and the flawed nature of memory. The result is one of the most compelling nonfiction books you’ll read this year.\u003c/p>\n\u003cp>[aside postid='arts_13896082']There are two elements that make this is fantastic read. The first is O’Connor’s voice. As knowledgeable as he is funny and as well-read as he is self-deprecating, O’Connor quickly turns into the perfect narrator for this adventure. His quest for understanding is powerful, and he presents every person in this book with the same gravitas. Yes, this is a hilarious narrative, but also a very serious and enlightening one in which O’Connor prefers to make fun of himself instead of making fun of others (except for folks who are convinced the election was stolen).\u003c/p>\n\u003cfigure id=\"attachment_13952046\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952046\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM.png\" alt=\"Cover of The Secret History of Bigfoot. Text over an image of trees.\" width=\"830\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM-800x1172.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM-768x1125.png 768w\" sizes=\"auto, (max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘The Secret History of Bigfoot’ by John O’Connor. \u003ccite>(Sourcebooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The second element is the breadth and scope of this book. This is about Bigfoot, about its history and the people trying to find him, but O’Connor somehow manages to take the discussion into unexpected places without ever straying far from the creature at the core of the narrative. Occam’s razor, Heisenberg’s uncertainty principle, the effects of unreliable witness accounts and racism in our legal system, pseudoscience and its appeal, “the magnetic tug of hidden things,” and “the considerable gap between perception and reality” are all part of this book. So are Fernando Pessoa, Henry David Thoreau, M.C. Escher, Joseph Campbell, the Appalachian Trail, the movies \u003cem>Harry and the Hendersons\u003c/em> and \u003cem>Predator,\u003c/em> Immanuel Kant, Martin Heidegger, and Dr. Jeff Meldrum, a full professor of anatomy and anthropology at Idaho State University who was always the voice of reason in many of those documentaries I used to watch. And those are only a few of the people, cultural products, and ideas in the book. O’Connor is brilliant in an engaging way. You’ll learn things reading this book, but you’ll never feel like he’s trying to teach you something or preaching about his own beliefs.\u003c/p>\n\u003cp>[aside postid='news_10708114']\u003cem>The Secret History of Bigfoot \u003c/em>is a wonderful book about one of the most ubiquitous myths in the U.S. and around the world: a wild man, a hairy beast stalking the woods, a magical creature that remains untouched by the mess we’ve made. It’s also a celebration of one of the weirdest subcultures we have and a narrative that fully embraces the fact that we sometimes need to believe in something that’s bigger and freer than us. Bigfoot, a large being stomping around in the woods, is all of that and more. He speaks to us of fear, sure, but also of magic and the wildness of nature. Bigfoot might be out there, but its presence is all over this book. Go look for it. I assure you it’s an amazing adventure you can embark on without leaving your house.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\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=Is+Bigfoot+real%3F+A+new+book+dives+deep+into+the+legend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My obsession with literature exploded in my early teens. Back then, my diet consisted mostly of whatever classics I could find, novels by Jules Verne, poetry by Mario Benedetti, and a lot of horror novels by Stephen King, Richard Laymon, and Bentley Little — all of which I was arguably way too young to be reading.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then I discovered cryptozoology and went down a rabbit hole, consuming anything I could find about cryptids like Nessie, mokèlé-mbèmbé, and the chupacabras as well as animals that had jumped from cryptozoology to the pages of science books — the giant squid (\u003cem>Architeuthis dux\u003c/em>) and the coelacanth. My favorite cryptid? Bigfoot. Books, documentaries shot with a $12 budget, shaky footage online; I couldn’t get enough. I wanted to know more about it, but also about the folks who swore it was real, the people who had seen it, the devout researchers who spent countless nights out in the middle of woods looking for the famous creature I’d seen in the Patterson-Gimlin film (which is, along with the Zapruder film, probably one of the most scrutinized pieces of footage in history).\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/oPlRr_OfxZI'\n title='//www.youtube.com/embed/oPlRr_OfxZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When I heard John O’Connor’s \u003cem>The Secret History of Bigfoot: Field Notes on a North American Monster\u003c/em> was coming, I knew I had to read it. My expectations were somewhere close to the exosphere — unfair, I know — but O’Connor surpassed all of them.\u003c/p>\n\u003cp>If you’re looking for a book that proves the existence of Bigfoot, look elsewhere. If you want a book that’s all about discrediting evidence and making those who believe in Bigfoot look like mumbling fools wearing tinfoil hats, also look elsewhere. \u003cem>The Secret History of Bigfoot \u003c/em>is a smart, engaging, incredibly informative, hilarious, and wonderfully immersive journey not only into the history of Bigfoot in North America and the culture around but also a deep, honest, heartfelt look at the people who obsess about, the meaning of its myth’s lingering appeal, and the psychology behind it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>O’Connor, a journalist and self-diagnosed skeptic, is fascinated by Bigfoot, so he spent a year travelling around the country, talking to those who live for Sasquatch, and tracking Bigfoot in the untamed terrain of the Pacific Northwest. The book would’ve been interesting if O’Connor merely transcribed his interviews with those looking for Bigfoot. But his research and interviews also include psychologists and scientists — and he delves deep into everything from history and philosophy to politics and the flawed nature of memory. The result is one of the most compelling nonfiction books you’ll read this year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are two elements that make this is fantastic read. The first is O’Connor’s voice. As knowledgeable as he is funny and as well-read as he is self-deprecating, O’Connor quickly turns into the perfect narrator for this adventure. His quest for understanding is powerful, and he presents every person in this book with the same gravitas. Yes, this is a hilarious narrative, but also a very serious and enlightening one in which O’Connor prefers to make fun of himself instead of making fun of others (except for folks who are convinced the election was stolen).\u003c/p>\n\u003cfigure id=\"attachment_13952046\" class=\"wp-caption aligncenter\" style=\"max-width: 830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952046\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM.png\" alt=\"Cover of The Secret History of Bigfoot. Text over an image of trees.\" width=\"830\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM-800x1172.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-09-at-11.11.15-AM-768x1125.png 768w\" sizes=\"auto, (max-width: 830px) 100vw, 830px\">\u003cfigcaption class=\"wp-caption-text\">‘The Secret History of Bigfoot’ by John O’Connor. \u003ccite>(Sourcebooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The second element is the breadth and scope of this book. This is about Bigfoot, about its history and the people trying to find him, but O’Connor somehow manages to take the discussion into unexpected places without ever straying far from the creature at the core of the narrative. Occam’s razor, Heisenberg’s uncertainty principle, the effects of unreliable witness accounts and racism in our legal system, pseudoscience and its appeal, “the magnetic tug of hidden things,” and “the considerable gap between perception and reality” are all part of this book. So are Fernando Pessoa, Henry David Thoreau, M.C. Escher, Joseph Campbell, the Appalachian Trail, the movies \u003cem>Harry and the Hendersons\u003c/em> and \u003cem>Predator,\u003c/em> Immanuel Kant, Martin Heidegger, and Dr. Jeff Meldrum, a full professor of anatomy and anthropology at Idaho State University who was always the voice of reason in many of those documentaries I used to watch. And those are only a few of the people, cultural products, and ideas in the book. O’Connor is brilliant in an engaging way. You’ll learn things reading this book, but you’ll never feel like he’s trying to teach you something or preaching about his own beliefs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Secret History of Bigfoot \u003c/em>is a wonderful book about one of the most ubiquitous myths in the U.S. and around the world: a wild man, a hairy beast stalking the woods, a magical creature that remains untouched by the mess we’ve made. It’s also a celebration of one of the weirdest subcultures we have and a narrative that fully embraces the fact that we sometimes need to believe in something that’s bigger and freer than us. Bigfoot, a large being stomping around in the woods, is all of that and more. He speaks to us of fear, sure, but also of magic and the wildness of nature. Bigfoot might be out there, but its presence is all over this book. Go look for it. I assure you it’s an amazing adventure you can embark on without leaving your house.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\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=Is+Bigfoot+real%3F+A+new+book+dives+deep+into+the+legend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://kqed.org/arts/13924014/seiji-odas-anri-city-pop-003-celebrates-lunar-new-year-with-a-ride-through-japantown\">Lunar New Year\u003c/a> is upon us, and you might be wondering what the next 12 months have in store for you. It’s not all that surprising if you are — the Year of the Dragon is an attention-seeking little so-and-so.\u003c/p>\n\u003cp>As we bid farewell to the Year of the Rabbit and usher in the Year of the Dragon, here are five things to keep in mind:\u003c/p>\n\u003cp>1. In 2024, the Lunar New Year arrives on Feb. 10, tied as always to the date of the second new moon after the winter solstice. Scoff not if you’re a human that doesn’t believe in horoscopes of any kind — Lunar New Year celebrations have been around for thousands of years. It wouldn’t have endured this long in China, Vietnam, Malaysia, Singapore, the Philippines, the Koreas and elsewhere if there wasn’t something to it.\u003c/p>\n\u003cp>2. The Year of the Dragon promises to bring with it power, strength and dynamism. It’s also a good omen for success and endless possibilities that will spread a little good fortune everyone’s way, regardless of what sign you are personally. (May that bring us all some comfort in this particular election year.)\u003c/p>\n\u003cp>[aside postid='arts_13923980']3. The Year of the Dragon\u003cem> really\u003c/em> wants to be acknowledged. Last time it was a dragon year (2012), archeologists in Argentina dug up a \u003ca href=\"https://www.zmescience.com/science/news-science/paleontologists-uncover-dragon-of-death-in-argentina-its-the-largest-pterosaur-ever-found-in-south-america/\">giant, 86-million-year-old dragon\u003c/a>. Sure, technically, it was a pterosaur, but paleontologists immediately dubbed the flying reptile the “Dragon of Death” (or “Thanatosdrakon Amaru” in Greek), due to its unfeasibly long neck and 30-foot-wide wingspan. All of which was kind of perfect because the Chinese word for dinosaur — “kǒnglóng” — derives from the fact that ancient Chinese people referred to dinosaurs as “terror dragons.” (Just please acknowledge the arrival of the Year of the Dragon so a living one doesn’t show up this time, k?)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[Update, Feb. 23, 2024: \u003ca href=\"https://www.kqed.org/news/11976926/paleontologists-discover-240-million-year-old-dragon-fossil-in-full\">Paleontologists just found another freakin’ dragon\u003c/a>! This one is 16 feet long and 240 million years old. Cool, cool. Nothing to see here.]\u003c/p>\n\u003cp>4. There are many ways to appropriately usher in the Lunar New Year, including joining the celebrations in San Francisco. \u003ca href=\"https://chineseparade.com/\">This year’s parade\u003c/a> — part of the most elaborate Chinese New Year party in the country — doesn’t happen until Feb. 24, but if you err on the superstitious side, there are plenty of ways to acknowledge the New Year before that. Here are three possibilities. First, be sure to clean your home more thoroughly than usual before Feb. 10 and avoid cleaning on the day. Second, keep your language positive, avoiding mention of dark subject matter. Third, wear a brand new outfit — or just a new item or two — to usher in good fortune for the rest of the year. (Red items are favored. Avoid black and white.) And, just for the sake of deliciousness, \u003ca href=\"https://www.kqed.org/arts/13923548/lunar-new-year-tangyuan-soup-kit-annies-t-cakes\">don’t forget the tangyuan soup\u003c/a>!\u003c/p>\n\u003cp>5. Unsurprisingly, for those born in a dragon year (1928, 1940, 1952, 1964, 1976, 1988, 2000, 2012, 2024) — already an energetic and powerful bunch — 2024 promises to be particularly auspicious. But for anyone who felt bogged down and frustrated by the soft and slow energy of the Year of the Rabbit for the last 12 months, the Dragon offers some relief. Where the Rabbit gently requested we all stop and take stock, the Dragon has no qualms about kicking you up the butt to get you sprinting back towards your goals.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy Lunar New Year, everybody! And \u003ca href=\"https://www.tiktok.com/@david_chinese/video/7333231322426641672\">nián nián yǒuyú\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>[Update, Feb. 23, 2024: \u003ca href=\"https://www.kqed.org/news/11976926/paleontologists-discover-240-million-year-old-dragon-fossil-in-full\">Paleontologists just found another freakin’ dragon\u003c/a>! This one is 16 feet long and 240 million years old. Cool, cool. Nothing to see here.]\u003c/p>\n\u003cp>4. There are many ways to appropriately usher in the Lunar New Year, including joining the celebrations in San Francisco. \u003ca href=\"https://chineseparade.com/\">This year’s parade\u003c/a> — part of the most elaborate Chinese New Year party in the country — doesn’t happen until Feb. 24, but if you err on the superstitious side, there are plenty of ways to acknowledge the New Year before that. Here are three possibilities. First, be sure to clean your home more thoroughly than usual before Feb. 10 and avoid cleaning on the day. Second, keep your language positive, avoiding mention of dark subject matter. Third, wear a brand new outfit — or just a new item or two — to usher in good fortune for the rest of the year. (Red items are favored. Avoid black and white.) And, just for the sake of deliciousness, \u003ca href=\"https://www.kqed.org/arts/13923548/lunar-new-year-tangyuan-soup-kit-annies-t-cakes\">don’t forget the tangyuan soup\u003c/a>!\u003c/p>\n\u003cp>5. Unsurprisingly, for those born in a dragon year (1928, 1940, 1952, 1964, 1976, 1988, 2000, 2012, 2024) — already an energetic and powerful bunch — 2024 promises to be particularly auspicious. But for anyone who felt bogged down and frustrated by the soft and slow energy of the Year of the Rabbit for the last 12 months, the Dragon offers some relief. Where the Rabbit gently requested we all stop and take stock, the Dragon has no qualms about kicking you up the butt to get you sprinting back towards your goals.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy Lunar New Year, everybody! And \u003ca href=\"https://www.tiktok.com/@david_chinese/video/7333231322426641672\">nián nián yǒuyú\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The California Academy of Sciences has proudly announced the birth of a “staggering” 10 African penguin chicks over the past 14 months. This follows a four-year dry spell (stressful for anyone, but especially for parents who carry the weight of an endangered population on their little wings). Before that, only 10 chicks hatched over a period of 10 years.\u003c/p>\n\u003cp>Alice, Fyn, Ignatz (Iggie), Nelson, Oswald Cobblepot (Ozzie for short), Pogo and a yet-to-be named fuzzball born Jan. 12, 2024 are among the aquarium’s newest residents. (Two siblings did not survive past 30 days.)\u003c/p>\n\u003cp>What is life like for a newly hatched African penguin at the Academy of Sciences? I’m glad you asked, because now I get to tell you about \u003cem>FISH SCHOOL\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13951985\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000.jpg\" alt=\"Fluffy penguin chick in school-like environment\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13951985\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The gloriously named Oswald Cobblepot is ‘curious and loves to swim, but will never pass up a free ride from a biologist.’ \u003ccite>(Gayle Laird/California Academy of Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New chicks spend 21 days in the nest box with their parents. For the first few months of their lives, they attend something that is exactly as adorable as it sounds: a place where they learn to swim on their own and eat fish provided by biologists. Enrichment activities at fish school include painting, bubbles, playing with a laser pointer, ice cakes and a tablet for audio and visual enrichment.\u003c/p>\n\u003cp>I simply cannot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once buoyant and waterproof, they join the aquarium’s African penguin colony, and eventually will be paired up to grow the population in human care. Four of the juveniles are already part of the museum’s exhibit and will be present for the annual Penguin Valentine’s program on Feb. 14 at 10:30 a.m.\u003c/p>\n\u003cfigure id=\"attachment_13951986\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000.jpg\" alt=\"Multiple penguins stand on rocks with red felt hearts at their feet\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13951986\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The annual Penguin Valentines celebration takes place on Feb. 14, at 10:30 a.m. \u003ccite>(Gayle Laird/California Academy of Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And how does a permanently tuxedoed critter celebrate Valentine’s Day? Just like a very egalitarian elementary school class, each webbed charmer will receive a heart-shaped felt valentine to be used as nesting material.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you have your own Valentine’s plans but still want to obsess over these little guys, you can get to know the Academy of Science’s penguin colony with this \u003ca href=\"https://www.calacademy.org/meet-our-african-penguins\">personality-filled cheat sheet\u003c/a> or \u003ca href=\"https://www.calacademy.org/learn-explore/animal-webcams/live-penguin-cams\">watch a live penguin webcam\u003c/a>, streaming 24/7.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The California Academy of Sciences has proudly announced the birth of a “staggering” 10 African penguin chicks over the past 14 months. This follows a four-year dry spell (stressful for anyone, but especially for parents who carry the weight of an endangered population on their little wings). Before that, only 10 chicks hatched over a period of 10 years.\u003c/p>\n\u003cp>Alice, Fyn, Ignatz (Iggie), Nelson, Oswald Cobblepot (Ozzie for short), Pogo and a yet-to-be named fuzzball born Jan. 12, 2024 are among the aquarium’s newest residents. (Two siblings did not survive past 30 days.)\u003c/p>\n\u003cp>What is life like for a newly hatched African penguin at the Academy of Sciences? I’m glad you asked, because now I get to tell you about \u003cem>FISH SCHOOL\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13951985\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000.jpg\" alt=\"Fluffy penguin chick in school-like environment\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13951985\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The gloriously named Oswald Cobblepot is ‘curious and loves to swim, but will never pass up a free ride from a biologist.’ \u003ccite>(Gayle Laird/California Academy of Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New chicks spend 21 days in the nest box with their parents. For the first few months of their lives, they attend something that is exactly as adorable as it sounds: a place where they learn to swim on their own and eat fish provided by biologists. Enrichment activities at fish school include painting, bubbles, playing with a laser pointer, ice cakes and a tablet for audio and visual enrichment.\u003c/p>\n\u003cp>I simply cannot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once buoyant and waterproof, they join the aquarium’s African penguin colony, and eventually will be paired up to grow the population in human care. Four of the juveniles are already part of the museum’s exhibit and will be present for the annual Penguin Valentine’s program on Feb. 14 at 10:30 a.m.\u003c/p>\n\u003cfigure id=\"attachment_13951986\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000.jpg\" alt=\"Multiple penguins stand on rocks with red felt hearts at their feet\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13951986\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The annual Penguin Valentines celebration takes place on Feb. 14, at 10:30 a.m. \u003ccite>(Gayle Laird/California Academy of Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And how does a permanently tuxedoed critter celebrate Valentine’s Day? Just like a very egalitarian elementary school class, each webbed charmer will receive a heart-shaped felt valentine to be used as nesting material.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you have your own Valentine’s plans but still want to obsess over these little guys, you can get to know the Academy of Science’s penguin colony with this \u003ca href=\"https://www.calacademy.org/meet-our-african-penguins\">personality-filled cheat sheet\u003c/a> or \u003ca href=\"https://www.calacademy.org/learn-explore/animal-webcams/live-penguin-cams\">watch a live penguin webcam\u003c/a>, streaming 24/7.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Food, Glorious Food (and Other Pleasures) in ‘The Taste of Things’",
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"content": "\u003cp>\u003cem>The Taste of Things\u003c/em> should come with a warning: Audiences may be tempted to abandon work as they know it and start a beautiful, calm new life in the French countryside devoted to the culinary arts.\u003c/p>\n\u003cp>[aside postid='arts_13951641']There is something rather cruel about releasing a film this lovely and voyeuristic in the dead of February, in which the cinematic gardens are lush, the game is fresh, the atmosphere is tranquil, the distractions are non-existent, the conversations are intellectual and the goal is shared. But maybe that’s why we need movies like this. It’s pure escapism and the cost of the movie ticket is slightly more affordable.\u003c/p>\n\u003cp>The film is fictional, a sort of prequel to Marcel Rouff’s \u003cem>The Life and Passion of Dodin-Bouffant, Gourmet \u003c/em>from 1924, itself loosely inspired by 19th century French epicure Jean Anthelme Brillat-Savarin. But the food is real, imagined by three-star chef Pierre Gagnaire and prepared on set by Michel Nave. Far from that ugly, almost meaningless phrase “food porn,” \u003cem>The Taste of Things\u003c/em> is a cinematic expression of the art of cuisine. The sounds of cooking provide the score. The visuals seem to transcend the screen in a very mystical way.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cKKCGtoIOVY\u003c/p>\n\u003cp>Director and screenwriter Trần Anh Hùng and cinematographer Jonathan Ricquebourg use the camera as almost a sous chef, letting the audience feel like they’re in the flurry of everything in the kitchen as well. It is not chaotic like \u003cem>The Bear\u003c/em> or any number of those shouty reality shows. This is more like a ballet — precise, delicate and quiet. And the luminous Juliette Binoche is the regal principal, guiding the proceedings with grace and a slightly undone bun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, there’s a story here, too, the side dish to the main course, which focuses on Dodin’s (Benoît Magimel) relationship with his cook Eugénie (Binoche). Theirs is a long and deep companionship, forged by a shared passion for food and a mutual respect that belies normal dynamics between boss and employee. It is kind of the ultimate in intimacy, being on the same page about quality and pairings and the seemingly very mundane, ordinary question of “What are we eating tonight?” Dodin wants to marry her. She refuses. It’s a conversation they’ve probably had many times before and perhaps why the dynamic continues to work.\u003c/p>\n\u003cp>[aside postid='arts_13950994']There is a moving story in here about love in ones “autumn years” as Dodin calls it. Everything is understated and lovely, including their very adult conversations about marriage and the right to lock their doors at night. There are some tropey flourishes, too, like a precocious young girl reciting flavor notes with suspicious specificity, and foreshadowing illness by showing a character who suddenly feels faint. They stand out as common choices in a film that is anything but.\u003c/p>\n\u003cp>Hùng won the best director award for \u003cem>The Taste of Things\u003c/em> at the Cannes Film Festival last year, and it was selected to represent France in the Oscars but was passed over for a nomination. This technicality should not dissuade anyone from being interested in the film — just a reminder of how unfair it is that all of world cinema is reduced to five nominations every year.\u003c/p>\n\u003cp>Just make sure you either go in satiated or with set plans for your post-viewing meal. In our world of gross TikTok hacks for one pot meals, it’s a balm to see things slowed down and with many, many beautifully rustic copper pots and cast-iron pans. And don’t be surprised if everyone suddenly starts making pot-au-feu, which, come to think of it, is actually a perfect meal for February.\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 Taste of Things’ is released in select cities, including San Francisco, on Feb. 9, 2024. It will reach screens nationwide on Feb. 14.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is something rather cruel about releasing a film this lovely and voyeuristic in the dead of February, in which the cinematic gardens are lush, the game is fresh, the atmosphere is tranquil, the distractions are non-existent, the conversations are intellectual and the goal is shared. But maybe that’s why we need movies like this. It’s pure escapism and the cost of the movie ticket is slightly more affordable.\u003c/p>\n\u003cp>The film is fictional, a sort of prequel to Marcel Rouff’s \u003cem>The Life and Passion of Dodin-Bouffant, Gourmet \u003c/em>from 1924, itself loosely inspired by 19th century French epicure Jean Anthelme Brillat-Savarin. But the food is real, imagined by three-star chef Pierre Gagnaire and prepared on set by Michel Nave. Far from that ugly, almost meaningless phrase “food porn,” \u003cem>The Taste of Things\u003c/em> is a cinematic expression of the art of cuisine. The sounds of cooking provide the score. The visuals seem to transcend the screen in a very mystical way.\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/cKKCGtoIOVY'\n title='//www.youtube.com/embed/cKKCGtoIOVY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director and screenwriter Trần Anh Hùng and cinematographer Jonathan Ricquebourg use the camera as almost a sous chef, letting the audience feel like they’re in the flurry of everything in the kitchen as well. It is not chaotic like \u003cem>The Bear\u003c/em> or any number of those shouty reality shows. This is more like a ballet — precise, delicate and quiet. And the luminous Juliette Binoche is the regal principal, guiding the proceedings with grace and a slightly undone bun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, there’s a story here, too, the side dish to the main course, which focuses on Dodin’s (Benoît Magimel) relationship with his cook Eugénie (Binoche). Theirs is a long and deep companionship, forged by a shared passion for food and a mutual respect that belies normal dynamics between boss and employee. It is kind of the ultimate in intimacy, being on the same page about quality and pairings and the seemingly very mundane, ordinary question of “What are we eating tonight?” Dodin wants to marry her. She refuses. It’s a conversation they’ve probably had many times before and perhaps why the dynamic continues to work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is a moving story in here about love in ones “autumn years” as Dodin calls it. Everything is understated and lovely, including their very adult conversations about marriage and the right to lock their doors at night. There are some tropey flourishes, too, like a precocious young girl reciting flavor notes with suspicious specificity, and foreshadowing illness by showing a character who suddenly feels faint. They stand out as common choices in a film that is anything but.\u003c/p>\n\u003cp>Hùng won the best director award for \u003cem>The Taste of Things\u003c/em> at the Cannes Film Festival last year, and it was selected to represent France in the Oscars but was passed over for a nomination. This technicality should not dissuade anyone from being interested in the film — just a reminder of how unfair it is that all of world cinema is reduced to five nominations every year.\u003c/p>\n\u003cp>Just make sure you either go in satiated or with set plans for your post-viewing meal. In our world of gross TikTok hacks for one pot meals, it’s a balm to see things slowed down and with many, many beautifully rustic copper pots and cast-iron pans. And don’t be surprised if everyone suddenly starts making pot-au-feu, which, come to think of it, is actually a perfect meal for February.\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 Taste of Things’ is released in select cities, including San Francisco, on Feb. 9, 2024. It will reach screens nationwide on Feb. 14.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Chelsea Wolfe Says Witchcraft and Sobriety Informed Her Latest Album",
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"content": "\u003cp>Often in popular culture, witchcraft is associated with a kind of feminist reclamation of power and spite-fueled revenge.\u003c/p>\n\u003cp>And although Chelsea Wolfe’s new album is arguably her most spiritual yet, dripping with poetic lyricism about tarot, underworlds and bathing in blood, the process of making it has been marked by a time of healing, joy and relinquishing control.\u003c/p>\n\u003cp>“Over the years, as I’ve embraced a path of witchcraft and following the cycles of the seasons and the cycles of the moon, I put that into my writing process a lot, and I’ve started to share that more because this has been such a positive, wonderful thing in my life,” Wolfe explains.\u003c/p>\n\u003cp>[aside postid='arts_13951564']Witchcraft’s influence has meant an increased attentiveness to letting each record “be what it wants to be,” the singer, songwriter and musician says — which can sometimes be overtly mystical, like pulling a tarot card for “clarity and guidance” on what she is about to write, or more ostensibly mundane.\u003c/p>\n\u003cp>Take, for example, her songwriting process for \u003cem>She Reaches Out to She Reaches Out to She\u003c/em>. Although Wolfe frequently brings nearly finished demos to the studio to be fine-tuned and recorded for an album, this time around, she decided to work with producer Dave Sitek, who heavily transformed her rock-sounding songs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This one felt like it wanted to lean more electronic, a little bit more of that trip-hop influence that I’ve dabbled with over the years,” she says of her embrace of the genre which blends hip-hop and electronica.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=L0o2GraeMlo\u003c/p>\n\u003cp>And while Wolfe is pleased with where she allowed those songs to go, it was still difficult to let it happen after years of holding onto them during the pandemic.\u003c/p>\n\u003cp>“When you do have a lot of time to sit with the demos, sometimes it can be hard to then give them over to someone and hear all the changes,” she says. “But something about this place in my life and kind of what this record is about, thematically, it just felt right.”\u003c/p>\n\u003cp>Part of what informed this idea of letting go and shedding exoskeletons — “a spectral reminder of all that we’ve become,” she sings in one song — was beginning a journey of sobriety.\u003c/p>\n\u003cp>[aside postid='arts_114628']“I got sober from alcohol in early 2021, and I had already started this record. It’s interesting to kind of hear the songs that I started before that and the way that they changed,” she recalls. “That created a lot of openness and clarity in my life and my creativity that I just was then naturally channeling into this music. It became a lot about rebirth.”\u003c/p>\n\u003cp>Wolfe’s music is hard to categorize, but she is known for her tendency to blend folk music with heavier subgenres like gothic rock and doom metal. She’s aware of the specific taste required for people to enjoy it — “It’s not party music,” she laughs — but has never been afraid to stand her creative ground.\u003c/p>\n\u003cp>“There’s been collaborations that I’ve been asked to do that I felt like they just weren’t right for me. And maybe it would have given me a lot of exposure or more payment down the line,” she says. “I try to live simply and not have to do things that I don’t feel like I’m aligned with just for money. I know that’s a privilege.”\u003c/p>\n\u003cp>But she has found resourceful ways, in addition to touring, to make a living with which she feels artistically comfortable, such as collaborating with composer Tyler Bates on the soundtrack for the 2022 slasher film, \u003cem>X\u003c/em>, which stars Mia Goth.\u003c/p>\n\u003cp>Director Ti West remembers wanting to experiment with a more avant-garde sound and talking to Bates about how best to achieve it.\u003c/p>\n\u003cp>“I kind of pitched this idea to Tyler that it’d be great to have a vocal-driven score,” West says. “It just seemed conceptually like a really weird and interesting idea to not just have the same old horror score that you hear over and over again.”\u003c/p>\n\u003cp>Bates, who had admired Wolfe’s music for years and had already worked with her once before, knew she’d be perfect. He came to her with the idea to use her voice to make “percussive sounds” throughout, including laughter, growling and even sexual noises — particularly apt given the movie follows a pornographic film crew in the ‘70s.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=quXqq2q0MmA\u003c/p>\n\u003cp>“She looked at me like, ‘What do you want me to do?’” Bates laughs as he recalls explaining his proposal.\u003c/p>\n\u003cp>But West, aware of their unconventional request, says Wolfe quickly rose to the occasion, making a big difference in the finished film.\u003c/p>\n\u003cp>“It’s hugely important. Music, certainly in a horror movie, is something that’s going to curate the tone,” West says. “At least for me, it’s something I’m thinking about before I even make the movie.”\u003c/p>\n\u003cp>[aside postid='arts_13950877']Bates teases that he and Wolfe have continued this method in the score for \u003cem>MaXXXine\u003c/em>, the highly anticipated final film of the trilogy, which stars Elizabeth Debicki and singer Halsey alongside Goth.\u003c/p>\n\u003cp>Between working on the \u003cem>MaXXXine\u003c/em> score and gearing up for her album release and upcoming tour, Wolfe has been particularly intentional about taking time for self-reflection and being present amid a busy schedule.\u003c/p>\n\u003cp>That has of course involved witchcraft, though, like her music, she resists attempts to put walls around what that means.\u003c/p>\n\u003cp>“Witchcraft in itself isn’t a religion. It’s not like we all gather somewhere,” she says. “Just because someone practices witchcraft doesn’t mean that they’re going to resonate with everybody else who does.”\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>Chelsea Wolfe’s new album, ‘She Reaches Out to She Reaches Out to She’ is released on Feb. 9, 2024 via Loma Vista Recordings.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Often in popular culture, witchcraft is associated with a kind of feminist reclamation of power and spite-fueled revenge.\u003c/p>\n\u003cp>And although Chelsea Wolfe’s new album is arguably her most spiritual yet, dripping with poetic lyricism about tarot, underworlds and bathing in blood, the process of making it has been marked by a time of healing, joy and relinquishing control.\u003c/p>\n\u003cp>“Over the years, as I’ve embraced a path of witchcraft and following the cycles of the seasons and the cycles of the moon, I put that into my writing process a lot, and I’ve started to share that more because this has been such a positive, wonderful thing in my life,” Wolfe explains.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Witchcraft’s influence has meant an increased attentiveness to letting each record “be what it wants to be,” the singer, songwriter and musician says — which can sometimes be overtly mystical, like pulling a tarot card for “clarity and guidance” on what she is about to write, or more ostensibly mundane.\u003c/p>\n\u003cp>Take, for example, her songwriting process for \u003cem>She Reaches Out to She Reaches Out to She\u003c/em>. Although Wolfe frequently brings nearly finished demos to the studio to be fine-tuned and recorded for an album, this time around, she decided to work with producer Dave Sitek, who heavily transformed her rock-sounding songs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This one felt like it wanted to lean more electronic, a little bit more of that trip-hop influence that I’ve dabbled with over the years,” she says of her embrace of the genre which blends hip-hop and electronica.\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/L0o2GraeMlo'\n title='//www.youtube.com/embed/L0o2GraeMlo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And while Wolfe is pleased with where she allowed those songs to go, it was still difficult to let it happen after years of holding onto them during the pandemic.\u003c/p>\n\u003cp>“When you do have a lot of time to sit with the demos, sometimes it can be hard to then give them over to someone and hear all the changes,” she says. “But something about this place in my life and kind of what this record is about, thematically, it just felt right.”\u003c/p>\n\u003cp>Part of what informed this idea of letting go and shedding exoskeletons — “a spectral reminder of all that we’ve become,” she sings in one song — was beginning a journey of sobriety.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I got sober from alcohol in early 2021, and I had already started this record. It’s interesting to kind of hear the songs that I started before that and the way that they changed,” she recalls. “That created a lot of openness and clarity in my life and my creativity that I just was then naturally channeling into this music. It became a lot about rebirth.”\u003c/p>\n\u003cp>Wolfe’s music is hard to categorize, but she is known for her tendency to blend folk music with heavier subgenres like gothic rock and doom metal. She’s aware of the specific taste required for people to enjoy it — “It’s not party music,” she laughs — but has never been afraid to stand her creative ground.\u003c/p>\n\u003cp>“There’s been collaborations that I’ve been asked to do that I felt like they just weren’t right for me. And maybe it would have given me a lot of exposure or more payment down the line,” she says. “I try to live simply and not have to do things that I don’t feel like I’m aligned with just for money. I know that’s a privilege.”\u003c/p>\n\u003cp>But she has found resourceful ways, in addition to touring, to make a living with which she feels artistically comfortable, such as collaborating with composer Tyler Bates on the soundtrack for the 2022 slasher film, \u003cem>X\u003c/em>, which stars Mia Goth.\u003c/p>\n\u003cp>Director Ti West remembers wanting to experiment with a more avant-garde sound and talking to Bates about how best to achieve it.\u003c/p>\n\u003cp>“I kind of pitched this idea to Tyler that it’d be great to have a vocal-driven score,” West says. “It just seemed conceptually like a really weird and interesting idea to not just have the same old horror score that you hear over and over again.”\u003c/p>\n\u003cp>Bates, who had admired Wolfe’s music for years and had already worked with her once before, knew she’d be perfect. He came to her with the idea to use her voice to make “percussive sounds” throughout, including laughter, growling and even sexual noises — particularly apt given the movie follows a pornographic film crew in the ‘70s.\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/quXqq2q0MmA'\n title='//www.youtube.com/embed/quXqq2q0MmA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“She looked at me like, ‘What do you want me to do?’” Bates laughs as he recalls explaining his proposal.\u003c/p>\n\u003cp>But West, aware of their unconventional request, says Wolfe quickly rose to the occasion, making a big difference in the finished film.\u003c/p>\n\u003cp>“It’s hugely important. Music, certainly in a horror movie, is something that’s going to curate the tone,” West says. “At least for me, it’s something I’m thinking about before I even make the movie.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bates teases that he and Wolfe have continued this method in the score for \u003cem>MaXXXine\u003c/em>, the highly anticipated final film of the trilogy, which stars Elizabeth Debicki and singer Halsey alongside Goth.\u003c/p>\n\u003cp>Between working on the \u003cem>MaXXXine\u003c/em> score and gearing up for her album release and upcoming tour, Wolfe has been particularly intentional about taking time for self-reflection and being present amid a busy schedule.\u003c/p>\n\u003cp>That has of course involved witchcraft, though, like her music, she resists attempts to put walls around what that means.\u003c/p>\n\u003cp>“Witchcraft in itself isn’t a religion. It’s not like we all gather somewhere,” she says. “Just because someone practices witchcraft doesn’t mean that they’re going to resonate with everybody else who does.”\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>Chelsea Wolfe’s new album, ‘She Reaches Out to She Reaches Out to She’ is released on Feb. 9, 2024 via Loma Vista Recordings.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Look. We already have the perfect anthem for the moment the 49ers beat Taylor Swift’s boyfriend in this year’s Super Bowl. It’s by \u003ca href=\"https://www.kqed.org/arts/tag/saweetie\">Saweetie\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/p-lo\">P-Lo\u003c/a> and it’s called “\u003ca href=\"https://www.kqed.org/arts/13951349/genius-new-series-mlk-x-malcolm-national-geographic-disney-hulu-streaming\">Do It For the Bay.\u003c/a>”\u003c/p>\n\u003cp>Done. Dusted. Play on repeat.\u003c/p>\n\u003cp>[aside postid='arts_13950697']But there’s another anthem vying for your attention this week. This time by Marin County producer-musician Narada Michael Walden, who, some may recall, was behind the classic 1984 Niners anthem “We’re the 49ers.”\u003c/p>\n\u003cp>The song utilized manly group vocals, cutting-edge synthesizer techniques, and uplifting lyrics like: “We don’t take no stuff / Everybody knows we’re too tough / And we ain’t gonna stop ’til we get enough.”\u003c/p>\n\u003cp>Just lifts the spirits, don’t it?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Check out this little slice of early-’80s glory to find out what Reagan-era fans were singing when the 49ers beat the Miami Dolphins in the 1985 Super Bowl:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r30hNEQnn6c\u003c/p>\n\u003cp>I think we can all agree that this throwback to a simpler time did not need an update. Nonetheless, Narada Michael Walden has remade his former hit, 40 years later.\u003c/p>\n\u003cp>[aside postid='arts_13951328']The new version utilizes (*checks notes*) manly group vocals, cutting-edge synthesizer techniques, and uplifting lyrics. The best part is when several of the players have their skills broken down. Memorize these lyrics now, so you can unfurl them on Sunday and perplex your gathered family:\u003c/p>\n\u003cp>“Brandon Aiyuk, with \u003ca href=\"https://www.foxsports.com/watch/fmc-pzrmfv45b6qkpvmz\">the ladybug on his shoe\u003c/a>, catches all the miracle passes that are thrown to him, you dig?”\u003c/p>\n\u003cp>“Deebo Samuel, cheetah speed, shifty moves make defenders bleed!”\u003c/p>\n\u003cp>“Kittle, with the fire in his eyes, catches high above the sky!”\u003c/p>\n\u003cp>And my personal favorite:\u003c/p>\n\u003cp>“Shanahan schemes! Unstoppable. A man.”\u003c/p>\n\u003cp>Pure poetry. Listen below:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FIwJnqjeX-k\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Look. We already have the perfect anthem for the moment the 49ers beat Taylor Swift’s boyfriend in this year’s Super Bowl. It’s by \u003ca href=\"https://www.kqed.org/arts/tag/saweetie\">Saweetie\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/p-lo\">P-Lo\u003c/a> and it’s called “\u003ca href=\"https://www.kqed.org/arts/13951349/genius-new-series-mlk-x-malcolm-national-geographic-disney-hulu-streaming\">Do It For the Bay.\u003c/a>”\u003c/p>\n\u003cp>Done. Dusted. Play on repeat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But there’s another anthem vying for your attention this week. This time by Marin County producer-musician Narada Michael Walden, who, some may recall, was behind the classic 1984 Niners anthem “We’re the 49ers.”\u003c/p>\n\u003cp>The song utilized manly group vocals, cutting-edge synthesizer techniques, and uplifting lyrics like: “We don’t take no stuff / Everybody knows we’re too tough / And we ain’t gonna stop ’til we get enough.”\u003c/p>\n\u003cp>Just lifts the spirits, don’t it?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Check out this little slice of early-’80s glory to find out what Reagan-era fans were singing when the 49ers beat the Miami Dolphins in the 1985 Super Bowl:\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/r30hNEQnn6c'\n title='//www.youtube.com/embed/r30hNEQnn6c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I think we can all agree that this throwback to a simpler time did not need an update. Nonetheless, Narada Michael Walden has remade his former hit, 40 years later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The new version utilizes (*checks notes*) manly group vocals, cutting-edge synthesizer techniques, and uplifting lyrics. The best part is when several of the players have their skills broken down. Memorize these lyrics now, so you can unfurl them on Sunday and perplex your gathered family:\u003c/p>\n\u003cp>“Brandon Aiyuk, with \u003ca href=\"https://www.foxsports.com/watch/fmc-pzrmfv45b6qkpvmz\">the ladybug on his shoe\u003c/a>, catches all the miracle passes that are thrown to him, you dig?”\u003c/p>\n\u003cp>“Deebo Samuel, cheetah speed, shifty moves make defenders bleed!”\u003c/p>\n\u003cp>“Kittle, with the fire in his eyes, catches high above the sky!”\u003c/p>\n\u003cp>And my personal favorite:\u003c/p>\n\u003cp>“Shanahan schemes! Unstoppable. A man.”\u003c/p>\n\u003cp>Pure poetry. Listen below:\u003c/p>\n\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/FIwJnqjeX-k'\n title='//www.youtube.com/embed/FIwJnqjeX-k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Diablo Cody’s ’80s Satire ‘Lisa Frankenstein’ Lurches From Whimsy to Unwatchable",
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"content": "\u003cp>It will come as no surprise that the new movie \u003cem>Lisa Frankenstein\u003c/em> is a real monster — stitched together from previous movies, painfully incoherent and deeply, deeply dumb.\u003c/p>\n\u003cp>[aside postid='arts_13951126']This is a baffling display of filmmaking, what appears to be a sort of feminist take on the reanimated creature trope that has been shoehorned into a late-1980s setting, complete with New Wave songs, teased hair and brightly colored spandex. Why? Presumably to giggle at shoulder pads, hairspray and Echo and the Bunnymen.\u003c/p>\n\u003cp>Kathryn Newton stars as the goth-like high school misfit teen Lisa Swallows, who befriends a reanimated zombie bachelor who died in 1837. Cole Sprouse plays the corpse, who is missing body parts, uses grunts to communicate and resembles Johnny Depp from \u003cem>Edward Scissorhands\u003c/em>. Whoever suggested he’d shine deserves to be made mute.\u003c/p>\n\u003cp>Lisa’s mother has met a grisly death and she has found herself in a new town with a new family after her dad remarries. Her stepmother (gloriously over-the-top Carla Gugino) hates her and her stepsister (Liza Soberano, hopefully not making a career-ending mistake) is a friendly cheerleader.\u003c/p>\n\u003cp>The arrival of a Victorian-era zombie into 1989 offers many possibilities but all the interesting ones are avoided as the filmmakers embark on a \u003cem>Weird Science\u003c/em>-like, \u003cem>My Fair Lady\u003c/em> reversal — cleaning him up and hiding him in her bedroom. “OK, Sparky, we’ve got to get you some new duds,” Lisa says helpfully. Those duds include a blazer and a Violent Femmes T-shirt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other thing the zombie really needs is replacement body parts. “You’re a dead man, not a Chrysler LeBaron,” Lisa tells him in a line that’s sure to kill with Gen Z. So parts are naturally harvested from people who are deemed to have crossed the pair. They use an axe to procure an ear, some fingers and a penis. (Yes, this is a quality movie: Chrysler AND weenie jokes.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=POOeA3zCuUY\u003c/p>\n\u003cp>Director Zelda Williams is simply overmatched here, unable to conjure tension, interest, connection or coherence. \u003cem>Lisa Frankenstein\u003c/em> lurches from idiocy to whimsy to grossness to ultra-violence, obsessed along the way with grade-school toilet humor, like putting worms in fruit salads.\u003c/p>\n\u003cp>But the blame needs to be spread around. I mean, how many jokes can you legally try to make about vibrators and menstrual cycles in one movie? “I got to go change my pad” is one of the lines expected to trigger howls of laughter.\u003c/p>\n\u003cp>Written by Diablo Cody — unhappily a million miles now from \u003cem>Juno\u003c/em> — who has tried, if we use the best possible motive, to write a satire of ’80s teen movies, but has made something unwatchable — unfunny, unclever and dull. \u003cem>Weekend at Bernie’s\u003c/em>, which also dealt with a corpse, looks like a Christopher Nolan film in comparison.\u003c/p>\n\u003cp>[aside postid='arts_13951144']Maybe, like Cody’s previous stab at horror \u003cem>Jennifer’s Body\u003c/em>, this will become a cult hit one day. But that at least had some fun parts. This is pure lazy storytelling, like thinking that just showing us a clip of Bob Ross painting is somehow uproariously funny.\u003c/p>\n\u003cp>Lisa, who by the end of the movie is dressing as Madonna circa \u003cem>Desperately Seeking Susan\u003c/em>, has embarked on a murderous rampage and is rushing to lose her virginity before it all ends. Will she find love? Will she recognize true love before it’s too late? Will we have to endure more jokes at the expense of REO Speedwagon’s “Can’t Fight This Feeling?” Who cares?\u003c/p>\n\u003cp>Filmgoers will note with alarm that by the time the credits roll, the sweet, goth-inclined outcast Lisa has evolved into an unhinged, violent, self-involved, murderous monster while the zombie has gone the other way, becoming more human and compassionate. Talk about losing your way.\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>‘Lisa Frankenstein’ is released nationwide on Feb. 9, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is a baffling display of filmmaking, what appears to be a sort of feminist take on the reanimated creature trope that has been shoehorned into a late-1980s setting, complete with New Wave songs, teased hair and brightly colored spandex. Why? Presumably to giggle at shoulder pads, hairspray and Echo and the Bunnymen.\u003c/p>\n\u003cp>Kathryn Newton stars as the goth-like high school misfit teen Lisa Swallows, who befriends a reanimated zombie bachelor who died in 1837. Cole Sprouse plays the corpse, who is missing body parts, uses grunts to communicate and resembles Johnny Depp from \u003cem>Edward Scissorhands\u003c/em>. Whoever suggested he’d shine deserves to be made mute.\u003c/p>\n\u003cp>Lisa’s mother has met a grisly death and she has found herself in a new town with a new family after her dad remarries. Her stepmother (gloriously over-the-top Carla Gugino) hates her and her stepsister (Liza Soberano, hopefully not making a career-ending mistake) is a friendly cheerleader.\u003c/p>\n\u003cp>The arrival of a Victorian-era zombie into 1989 offers many possibilities but all the interesting ones are avoided as the filmmakers embark on a \u003cem>Weird Science\u003c/em>-like, \u003cem>My Fair Lady\u003c/em> reversal — cleaning him up and hiding him in her bedroom. “OK, Sparky, we’ve got to get you some new duds,” Lisa says helpfully. Those duds include a blazer and a Violent Femmes T-shirt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other thing the zombie really needs is replacement body parts. “You’re a dead man, not a Chrysler LeBaron,” Lisa tells him in a line that’s sure to kill with Gen Z. So parts are naturally harvested from people who are deemed to have crossed the pair. They use an axe to procure an ear, some fingers and a penis. (Yes, this is a quality movie: Chrysler AND weenie jokes.)\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/POOeA3zCuUY'\n title='//www.youtube.com/embed/POOeA3zCuUY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director Zelda Williams is simply overmatched here, unable to conjure tension, interest, connection or coherence. \u003cem>Lisa Frankenstein\u003c/em> lurches from idiocy to whimsy to grossness to ultra-violence, obsessed along the way with grade-school toilet humor, like putting worms in fruit salads.\u003c/p>\n\u003cp>But the blame needs to be spread around. I mean, how many jokes can you legally try to make about vibrators and menstrual cycles in one movie? “I got to go change my pad” is one of the lines expected to trigger howls of laughter.\u003c/p>\n\u003cp>Written by Diablo Cody — unhappily a million miles now from \u003cem>Juno\u003c/em> — who has tried, if we use the best possible motive, to write a satire of ’80s teen movies, but has made something unwatchable — unfunny, unclever and dull. \u003cem>Weekend at Bernie’s\u003c/em>, which also dealt with a corpse, looks like a Christopher Nolan film in comparison.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Maybe, like Cody’s previous stab at horror \u003cem>Jennifer’s Body\u003c/em>, this will become a cult hit one day. But that at least had some fun parts. This is pure lazy storytelling, like thinking that just showing us a clip of Bob Ross painting is somehow uproariously funny.\u003c/p>\n\u003cp>Lisa, who by the end of the movie is dressing as Madonna circa \u003cem>Desperately Seeking Susan\u003c/em>, has embarked on a murderous rampage and is rushing to lose her virginity before it all ends. Will she find love? Will she recognize true love before it’s too late? Will we have to endure more jokes at the expense of REO Speedwagon’s “Can’t Fight This Feeling?” Who cares?\u003c/p>\n\u003cp>Filmgoers will note with alarm that by the time the credits roll, the sweet, goth-inclined outcast Lisa has evolved into an unhinged, violent, self-involved, murderous monster while the zombie has gone the other way, becoming more human and compassionate. Talk about losing your way.\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>‘Lisa Frankenstein’ is released nationwide on Feb. 9, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The annual Puppy Bowl turns 20 this year — well over middle age in dog years. But does the sheer cuteness of it really ever get old?\u003c/p>\n\u003cp>“Who doesn’t want to watch dogs play all day long?” asks Laurie Johnson, the director of Florida Little Dog Rescue in St. Cloud, Florida, who has been part of Puppy Bowl for a decade.\u003c/p>\n\u003cp>[aside postid='news_11974882']There are some changes this year to the canine football telecast: Four previous puppy players return to be inducted in the new Puppy Bowl Hall of Fame and the show, which has grown to include armadillos, hedgehogs and chickens, will focus on dogs.\u003c/p>\n\u003cp>“What we’ve done this year to flip the whole script is because it’s sort of a celebration of the fact that it’s the 20th year,” says Puppy Bowl referee Dan Schachner. “We’ve decided to go all in on puppy, making it the “most puppiest Puppy Bowl ever.”\u003c/p>\n\u003cp>The Puppy Bowl made its debut as counter-programming to the Super Bowl in 2005. Dogs score touchdowns on a gridiron carpet when they cross the goal line — any goal line — with a toy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show is really just an excuse to spend time watching adorable, clumsy pups in colorful sweaters play with chew toys, wag their tails furiously and lick the camera. A deeper reason is to encourage animal adoption.\u003c/p>\n\u003cp>“We always say the same message every year: Adopt, don’t shop,” says Schachner. “There are responsible breeders out there, but it kind of defies logic that somebody who’s searching for a dog would look beyond their local shelter or rescue.”\u003c/p>\n\u003cp>According to the ASPCA, approximately 390,000 shelter dogs are euthanized each year and 2 million shelter dogs are adopted. Schachner says the number of animals languishing in shelters is back up after falling during the pandemic. “It’s worse than ever,” he says.\u003c/p>\n\u003cp>Florida Little Dog Rescue, which like all puppy groups is vetted by Animal Planet, sent seven pup players and two Hall of Fame inductees this year. Johnson, who volunteers her time, says it’s an honor that Animal Planet picks her pups year after year.\u003c/p>\n\u003cp>[aside postid='arts_13951328']“It does bring attention to our rescue, which helps some of our other dogs get adopted. But, honestly, for us, the biggest excitement is that we’re helping dogs all over the country get into homes, because rescue is not a competition, it’s a cooperation,” says Johnson.\u003c/p>\n\u003cp>Most of the puppies are usually adopted by airtime, since the show is filmed in the fall. But the point is to show that animals just like the ones on the show can be found in any shelter at any time.\u003c/p>\n\u003cp>Schachner also has some advice for anyone who falls for a particular pup on the broadcast: “That animal is probably likely part of a litter, right? So there’s probably siblings out there that are still up for adoption or their parents — their mom, their dad — is in the shelter looking for a forever home.”\u003c/p>\n\u003cp>Florida Little Dog Rescue was the first to send a Shar Pei to the Puppy Bowl — the pup, Wrinkles, was quickly adopted by a crew member at the taping — and Johnson says many viewers might not know that all kinds of breeds — Corgis, Westies, Doodles and Cavapoos, included — are available at shelters and rescue groups.\u003c/p>\n\u003cfigure id=\"attachment_13951741\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951741\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM.png\" alt=\"A man in a referee uniform lays down on a miniature football field surrounded by tiny puppies.\" width=\"1920\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-1536x1021.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Referee Dan Schachner with participants of the annual Puppy Bowl. \u003ccite>(Animal Planet via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The inaugural Puppy Bowl was watched by nearly 6 million viewers. Last year, 13.2 million viewers tuned in, the largest reach for the event in five years. In comparison, The Emmy Awards telecast on Fox this year reached just 4.3 million viewers. This year’s show will be simulcast across Animal Planet, Discovery, TBS, truTV, Max and Discovery.\u003c/p>\n\u003cp>The dogs are split into two teams — Team Fluff and Team Ruff — and each dog is given a nickname — like “Slick Rick” or “J-Paw” — and a specialty, like “Epic end zone dance.”\u003c/p>\n\u003cp>They are free to frolic, but may face penalties for things like “unsportlike dog conduct” and “trash barking.” Awards are given to Most Valuable Puppy and, new this year, an Underdog Award for the more introverted pup.\u003c/p>\n\u003cp>[aside postid='arts_13873945']This year’s broadcast is built on the work of dozens of volunteers, as well as 600 pee pads, 200 poop bags, 10 bags of treats, 30 water bowls and 18 cameras. The cat halftime show will also return.\u003c/p>\n\u003cp>Schachner started refereeing 13 years ago, when there were 59 dogs invited. “I’ll never forget that because I thought that was a tremendous amount of dogs to be trying to officiate in one place.”\u003c/p>\n\u003cp>That number has by now more than doubled, with this year’s broadcast featuring 131 puppies. “The scope and the size of this show from the time I started 13 years ago to now is just very impressive.”\u003c/p>\n\u003cp>The canine entries this time come from 73 shelters and rescue groups across 36 states and territories. The entrance requirements include being healthy and sturdy enough to be on the field with playmates, between 3-6 months old and having no training.\u003c/p>\n\u003cp>“We don’t want dogs that are show dogs, that are sitting there with a trainer. We want to see them in all their puppy glory. Part of that is to show what puppies are in their true state,” says Schachner.\u003c/p>\n\u003cp>“They are playful, they are curious, they’re going to get into trouble, they’re going to do crazy things. And from time to time, they’re going to score touchdowns and really impress you.”\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 Puppy Bowl airs at 11 a.m. on Feb. 11, 2024 and will be simulcast across Animal Planet, Discovery, TBS, truTV, Max and discovery+.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The annual Puppy Bowl turns 20 this year — well over middle age in dog years. But does the sheer cuteness of it really ever get old?\u003c/p>\n\u003cp>“Who doesn’t want to watch dogs play all day long?” asks Laurie Johnson, the director of Florida Little Dog Rescue in St. Cloud, Florida, who has been part of Puppy Bowl for a decade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are some changes this year to the canine football telecast: Four previous puppy players return to be inducted in the new Puppy Bowl Hall of Fame and the show, which has grown to include armadillos, hedgehogs and chickens, will focus on dogs.\u003c/p>\n\u003cp>“What we’ve done this year to flip the whole script is because it’s sort of a celebration of the fact that it’s the 20th year,” says Puppy Bowl referee Dan Schachner. “We’ve decided to go all in on puppy, making it the “most puppiest Puppy Bowl ever.”\u003c/p>\n\u003cp>The Puppy Bowl made its debut as counter-programming to the Super Bowl in 2005. Dogs score touchdowns on a gridiron carpet when they cross the goal line — any goal line — with a toy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show is really just an excuse to spend time watching adorable, clumsy pups in colorful sweaters play with chew toys, wag their tails furiously and lick the camera. A deeper reason is to encourage animal adoption.\u003c/p>\n\u003cp>“We always say the same message every year: Adopt, don’t shop,” says Schachner. “There are responsible breeders out there, but it kind of defies logic that somebody who’s searching for a dog would look beyond their local shelter or rescue.”\u003c/p>\n\u003cp>According to the ASPCA, approximately 390,000 shelter dogs are euthanized each year and 2 million shelter dogs are adopted. Schachner says the number of animals languishing in shelters is back up after falling during the pandemic. “It’s worse than ever,” he says.\u003c/p>\n\u003cp>Florida Little Dog Rescue, which like all puppy groups is vetted by Animal Planet, sent seven pup players and two Hall of Fame inductees this year. Johnson, who volunteers her time, says it’s an honor that Animal Planet picks her pups year after year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It does bring attention to our rescue, which helps some of our other dogs get adopted. But, honestly, for us, the biggest excitement is that we’re helping dogs all over the country get into homes, because rescue is not a competition, it’s a cooperation,” says Johnson.\u003c/p>\n\u003cp>Most of the puppies are usually adopted by airtime, since the show is filmed in the fall. But the point is to show that animals just like the ones on the show can be found in any shelter at any time.\u003c/p>\n\u003cp>Schachner also has some advice for anyone who falls for a particular pup on the broadcast: “That animal is probably likely part of a litter, right? So there’s probably siblings out there that are still up for adoption or their parents — their mom, their dad — is in the shelter looking for a forever home.”\u003c/p>\n\u003cp>Florida Little Dog Rescue was the first to send a Shar Pei to the Puppy Bowl — the pup, Wrinkles, was quickly adopted by a crew member at the taping — and Johnson says many viewers might not know that all kinds of breeds — Corgis, Westies, Doodles and Cavapoos, included — are available at shelters and rescue groups.\u003c/p>\n\u003cfigure id=\"attachment_13951741\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951741\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM.png\" alt=\"A man in a referee uniform lays down on a miniature football field surrounded by tiny puppies.\" width=\"1920\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-1536x1021.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Referee Dan Schachner with participants of the annual Puppy Bowl. \u003ccite>(Animal Planet via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The inaugural Puppy Bowl was watched by nearly 6 million viewers. Last year, 13.2 million viewers tuned in, the largest reach for the event in five years. In comparison, The Emmy Awards telecast on Fox this year reached just 4.3 million viewers. This year’s show will be simulcast across Animal Planet, Discovery, TBS, truTV, Max and Discovery.\u003c/p>\n\u003cp>The dogs are split into two teams — Team Fluff and Team Ruff — and each dog is given a nickname — like “Slick Rick” or “J-Paw” — and a specialty, like “Epic end zone dance.”\u003c/p>\n\u003cp>They are free to frolic, but may face penalties for things like “unsportlike dog conduct” and “trash barking.” Awards are given to Most Valuable Puppy and, new this year, an Underdog Award for the more introverted pup.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This year’s broadcast is built on the work of dozens of volunteers, as well as 600 pee pads, 200 poop bags, 10 bags of treats, 30 water bowls and 18 cameras. The cat halftime show will also return.\u003c/p>\n\u003cp>Schachner started refereeing 13 years ago, when there were 59 dogs invited. “I’ll never forget that because I thought that was a tremendous amount of dogs to be trying to officiate in one place.”\u003c/p>\n\u003cp>That number has by now more than doubled, with this year’s broadcast featuring 131 puppies. “The scope and the size of this show from the time I started 13 years ago to now is just very impressive.”\u003c/p>\n\u003cp>The canine entries this time come from 73 shelters and rescue groups across 36 states and territories. The entrance requirements include being healthy and sturdy enough to be on the field with playmates, between 3-6 months old and having no training.\u003c/p>\n\u003cp>“We don’t want dogs that are show dogs, that are sitting there with a trainer. We want to see them in all their puppy glory. Part of that is to show what puppies are in their true state,” says Schachner.\u003c/p>\n\u003cp>“They are playful, they are curious, they’re going to get into trouble, they’re going to do crazy things. And from time to time, they’re going to score touchdowns and really impress you.”\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 Puppy Bowl airs at 11 a.m. on Feb. 11, 2024 and will be simulcast across Animal Planet, Discovery, TBS, truTV, Max and discovery+.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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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",
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"meta": {
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"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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"meta": {
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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",
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"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"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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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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"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.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"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",
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"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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"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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"source": "kqed",
"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": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"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)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"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": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
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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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"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": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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