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"title": "How to Watch This Year’s Oscar-Nominated Movies Before the Academy Awards",
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"content": "\u003cp>The winner in the Oscar nominations race Tuesday after a bruising year for the film industry was \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a> with 13 nods, followed by the otherworldly \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a> with 11 and the period epic \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em> \u003c/a>with 10.\u003c/p>\n\u003cp>2023 was marred by strikes and work stoppages for the cinema world, throwing production and release schedules into chaos.\u003c/p>\n\u003cp>Looking to catch up ahead of the Academy Awards on March 10? Here’s how to watch:\u003c/p>\n\u003ch2>‘Oppenheimer’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=bK6ldnjE3Y0\u003c/p>\n\u003cp>13 nominations. Digital purchase or rental. Streams on Peacock starting Feb. 16.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Christopher Nolan’s atomic opus \u003cem>Oppenheimer\u003c/em> received widespread critical acclaim and broke box office records. It’s half the Barbenheimer phenom with \u003cem>Barbie\u003c/em> from last July. The three-hour film, which is semi-trippy and flashback heavy, chronicles the trials and tribulations of the secret Manhattan Project’s J. Robert Oppenheimer (Cillian Murphy).\u003c/p>\n\u003cp>Available for pay at YouTube, Apple TV, Prime Video, Vudu, iTunes and Google Play and elsewhere.\u003c/p>\n\u003ch2>‘Poor Things’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=RlbR5N6veqw\u003c/p>\n\u003cp>11 nominations. \u003ca href=\"https://www.fandango.com/poor-things-2023-231939/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>Think Frankenstein story, and his bride. Director Yorgos Lanthimos owes a debt to Emma Stone, his childlike and highly randy Bella, in \u003cem>Poor Things\u003c/em>. The comedy is dark and the vibe Victorian fantasy. And did we mention the sex? How Bella handles that activity has been the talk of film circles. No spoilers here but rest assured her consciousness is raised. Also stars Willem Dafoe and Mark Ruffalo.\u003c/p>\n\u003ch2>‘Killers of the Flower Moon’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=EP34Yoxs3FQ&t=13s\u003c/p>\n\u003cp>10 nominations. Digital purchase. Streams on Apple TV+. Re-released in theaters on Jan. 26, 2024.\u003c/p>\n\u003cp>Martin Scorsese delves into the systematic killing of Osage Nation members for their oil-rich land in the 1920s in his drama \u003cem>Killers of the Flower Moon\u003c/em>. With a star-bright cast, including Lily Gladstone, Leonardo DiCaprio and Robert De Niro. Warning: Its running time is 3 hours and 26 minutes. There’s craft in every shot.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘Barbie’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=pBk4NYhWNMM\u003c/p>\n\u003cp>8 nominations. Digital purchase or rental. Streams on Max.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950821/greta-gerwig-oscars-snub\">Greta Gerwig\u003c/a>’s \u003cem>Barbie\u003c/em>, in the billion-dollar club at the box office, is a live-action musical comedy focused on the 64-year-old plastic doll in a range of iterations. It also took the globe by storm, culturally speaking. The film stars Margot Robbie and Ryan Gosling (as Just Ken). Robbie plays Stereotypical Barbie, who experiences an existential crisis but lands on the road to self-discovery.\u003c/p>\n\u003cp>Available for pay at iTunes, Apple TV, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘Maestro’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=gJP2QblqLA0\u003c/p>\n\u003cp>7 nominations. Digital purchase or rental. Streams on Netflix.\u003c/p>\n\u003cp>With the help of a prosthetic nose, Bradley Cooper brings Leonard Bernstein alive in \u003ca href=\"https://www.kqed.org/arts/13938332/maestro-bradley-cooper-review\">\u003cem>Maestro\u003c/em>\u003c/a>, which he also directed. The famed conductor’s personal life and persona on stage benefit from Cooper’s energy, and chain smoking. Cooper got an assist from Carey Mulligan, who plays the actor Felicia Montealegre, Bernstein’s stylish wife.\u003c/p>\n\u003cp>Available for pay at Prime Video, Google Play, Vudu, YouTube and elsewhere.\u003c/p>\n\u003ch2>‘American Fiction’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=i0MbLCpYJPA&t=75s\u003c/p>\n\u003cp>5 nominations. \u003ca href=\"https://www.fandango.com/american-fiction-2023-232613/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>Cord Jefferson’s directorial debut \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a> is what satire should be: funny while succinctly pointing at truths. Jeffrey Wright plays a frustrated academic up against the wall of what Black books must be to sell. He takes action. The film is also about families and the weight of their struggles. Wright is joined by a great supporting cast in Leslie Uggams, Erika Alexander, Issa Rae, Sterling K. Brown and Tracee Ellis Ross.\u003c/p>\n\u003ch2>‘Anatomy of a Fall’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=FUXawkH-ONM\u003c/p>\n\u003cp>5 nominations. Digital purchase or rental.\u003c/p>\n\u003cp>Justine Triet’s \u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em>\u003c/a> took the Palme d’Or at the 76th Cannes Film Festival. It stars Sandra Hüller as a writer, Sandra, trying to prove her innocence in court in her husband’s death at their chalet in the French Alps. The verdict? We won’t tell. Did she or didn’t she? Triet wrote the film with her husband, Arthur Harari. “It’s OK, he’s alive,” she told The Associated Press’ Jake Coyle.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, Vudu, YouTube and elsewhere.\u003c/p>\n\u003ch2>‘The Holdovers’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=AhKLpJmHhIg\u003c/p>\n\u003cp>5 nominations. Digital purchase. Streams on Peacock.\u003c/p>\n\u003cp>The Alexander Payne offering \u003cem>The Holdovers\u003c/em> is set at Christmastime, but its themes of loneliness and belonging resonate well beyond the holiday, wrapped in a comedic package. Set in 1970 over the holiday break at a boarding school, there’s plenty of nostalgia in the details. It stars Paul Giamatti in curmudgeonly glory as the teacher stuck minding Angus (Dominic Sessa) and other students with no place to go.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘The Zone of Interest’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=GFNtVaAuVYY\u003c/p>\n\u003cp>5 nominations. In theaters.\u003c/p>\n\u003cp>There’s another meaty role for Hüller in the Holocaust story\u003ca href=\"https://www.kqed.org/arts/13940387/the-zone-of-interest-movie-review\">\u003cem> The Zone of Interest\u003c/em>\u003c/a>, directed by Jonathan Glazer. She plays Hedwig, the wife of Rudolf Höss (Christian Friedel), the real-life, bloodthirsty commandant of Auschwitz. The action largely has Rudolf and Hedwig living their everyday family lives just a few steps from the ovens and trains that were instruments in the slaughter of millions of Jews. A story worth telling, considering their status as monsters? You decide.\u003c/p>\n\u003ch2>‘Past Lives’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=kA244xewjcI&t=63s\u003c/p>\n\u003cp>2 nominations. Digital purchase or rental. Streams on Paramount+ starting Feb. 2.\u003c/p>\n\u003cp>Celine Song’s feature debut \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a> is a triumph for her as director and writer, and for Greta Lee, one of her stars. Largely autobiographical, it tells the story of childhood companions in Seoul who reunite and rekindle in New York years later, landing in a love triangle. The other thirds of the equation are played by Teo Yoo and John Magaro. It’s understated glory, inducing the best kind of tears: those come by honestly without massive manipulation.\u003c/p>\n\u003cp>Available for pay at iTunes, Google Play and elsewhere.\u003c/p>\n\u003ch2>‘Nyad’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=3anCgVSQb3Q&t=79s\u003c/p>\n\u003cp>2 nominations. Streams on Netflix.\u003c/p>\n\u003cp>Annette Bening plays the never-say-die marathon open-water swimmer Diana Nyad and Jodie Foster portrays Nyad’s best friend and trainer, Bonnie Stoll. Enough said. \u003cem>\u003ca href=\"https://www.kqed.org/arts/13936754/nyad-movie-review-true-story-jodie-foster-swimming-annette-bening\">Nyad\u003c/a>\u003c/em> isn’t your average sports biopic. At age 60, Nyad decides to attempt as she did in her youth to swim the shark-infested ocean from Cuba to Miami. Nothing will stop her and lots of things try. A lesson in single-focus excellence.\u003c/p>\n\u003ch2>‘Society of the Snow’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=pDak4qLyF4Q\u003c/p>\n\u003cp>2 nominations. Streams on Netflix.\u003c/p>\n\u003cp>The story of an amateur Uruguay rugby team’s 1972 plane crash in the Andes as they traveled with relatives and friends to Chile for a match has been told on film many times. There were 45 on board. Sixteen survived after 72 days in the mountains. They faced biting cold, massive snowstorms, avalanches and starvation, the latter motivating them to eat the dead. In \u003cem>Society of the Snow\u003c/em>, J.A. Bayona wanted to honor the tragedy’s victims and survivors, including him. It’s bleak indeed, with a spirit of love and camaraderie.\u003c/p>\n\u003ch2>‘The Color Purple’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=wPwzBUui1GA\u003c/p>\n\u003cp>1 nomination. Digital purchase or rental. In theaters.\u003c/p>\n\u003cp>It was a book (Alice Walker). It was a dramatic film (Whoopi Goldberg as Celie). It was a Broadway musical (Fantasia Barrino as Celie). This \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a> has Barrino back. It’s a musical, too, adapted from the stage version, and it’s directed by Blitz Bazawule. He squeezes the strength of Black women out of his harrowing, maximalist film. Colman Domingo is Mister, Halle Bailey is Nettie, with Taraji P. Henson and Danielle Brooks helping the story along amid all the singing and dazzle.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Apple TV+ and elsewhere.\u003c/p>\n\u003ch2>‘Spider-Man: Across the Spider-Verse’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=cqGjhVJWtEg\u003c/p>\n\u003cp>1 nomination. Digital purchase or rental. Streams on Netflix. In theaters.\u003c/p>\n\u003cp>Welcome to an animated high-octane comic-book sequel that manages to work. In \u003cem>Spider Man: Across the Spider-Verse\u003c/em>, Miles Morales (voiced by Shameik Moore) is a 15-year-old better able to deal with his crime-fighting powers. Spider-Gwen is voiced by Hailee Steinfeld. By sequel, we mean the first half of the first sequel to \u003cem>Spider Man: Into the Spider-Verse\u003c/em>. There’s your cliffhanger alert.\u003c/p>\n\u003cp>Available for pay at Apple TV, Prime Video, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘May December’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=4VdAParM4h8\u003c/p>\n\u003cp>1 nomination. In theaters. Streams on Netflix.\u003c/p>\n\u003cp>The breakout star of Todd Haynes’ tense \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a> is Charles Melton of Reggie fame on TV’s \u003cem>Riverdale\u003c/em>. He’s the May to Julianne Moore’s December, with a whole lot of Natalie Portman thrown in. Inspired by the Mary Kay Letourneau case, Moore plays a ripped-from-the-headlines woman who went to prison over an affair with a seventh-grader she later marries. Portman’s character comes for a visit as she studies how to play Moore in a movie. Things, as they say, fall apart. Although the film’s performances weren’t honored with nominations, the screenplay for \u003cem>May December\u003c/em> was.\u003c/p>\n\u003ch2>‘Rustin’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=EuZ-UONInl4\u003c/p>\n\u003cp>1 nomination. Streams on Netflix.\u003c/p>\n\u003cp>Who engineered the 1963 March on Washington? Bayard Rustin, somebody lots of people knew nothing about before \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> came along in George C. Wolfe’s \u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>. With verve, Domingo digs into the experience of a Black gay man in the racist and homophobic 1960s. Cameos abound: Jeffrey Wright, Adrienne Warren, Kevin Mambo, Audra McDonald, Chris Rock, Glynn Turman. Produced by former President Barack Obama and first lady Michelle Obama’s Higher Ground. Obama awarded Rustin a posthumous Presidential Medal of Freedom.\u003c/p>\n\u003ch2>‘20 Days in Mariupol’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=9H_Fg_5x4ME\u003c/p>\n\u003cp>1 nomination. Digital purchase or rental. \u003ca href=\"https://video.kqed.org/video/20-days-in-mariupol-x62itb/\">Streaming on KQED\u003c/a>. Also available in the PBS app and at \u003cem>Frontline\u003c/em> on YouTube.\u003c/p>\n\u003cp>A joint production by The Associated Press and PBS’ \u003cem>Frontline\u003c/em>, the documentary \u003ca href=\"https://www.kqed.org/arts/13931543/in-20-days-in-mariupol-documentary-the-horrors-of-war-are-illuminated\">\u003cem>20 Days in Mariupol\u003c/em>\u003c/a> has been met with critical acclaim and an audience award at the Sundance Film Festival. AP journalist Mstyslav Chernov directed the movie from 30 hours of footage shot in Mariupol in the opening days of the Ukraine war. Chernov and AP colleagues Evgeniy Maloletka, a photographer, and producer Vasilisa Stepanenko were the last international journalists in the city before escaping.\u003c/p>\n\u003cp>Available for pay at Prime Video, Google Play, Vudu and elsewhere. After screenings in dozens of cities, \u003cem>20 Days in Mariupol\u003c/em> airs on PBS stations in the U.S. beginning Tuesday.\u003c/p>\n\u003ch2>‘The Boy and the Heron’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=t5khm-VjEu4\u003c/p>\n\u003cp>1 nomination. \u003ca href=\"https://www.fandango.com/the-boy-and-the-heron-2023-232532/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Dreamy and enthralling, director Hayao Miyazaki and Studio Ghibli do it again. Well. The beautifully animated Japanese fantasy \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">\u003cem>The Boy and the Heron\u003c/em>\u003c/a> has young Mahito late in World War II mourning the death of his mother and encountering a talking and ornery gray heron he can’t get rid of. And there’s a very important tower.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The winner in the Oscar nominations race Tuesday after a bruising year for the film industry was \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a> with 13 nods, followed by the otherworldly \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a> with 11 and the period epic \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em> \u003c/a>with 10.\u003c/p>\n\u003cp>2023 was marred by strikes and work stoppages for the cinema world, throwing production and release schedules into chaos.\u003c/p>\n\u003cp>Looking to catch up ahead of the Academy Awards on March 10? Here’s how to watch:\u003c/p>\n\u003ch2>‘Oppenheimer’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bK6ldnjE3Y0'\n title='//www.youtube.com/embed/bK6ldnjE3Y0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>13 nominations. Digital purchase or rental. Streams on Peacock starting Feb. 16.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Christopher Nolan’s atomic opus \u003cem>Oppenheimer\u003c/em> received widespread critical acclaim and broke box office records. It’s half the Barbenheimer phenom with \u003cem>Barbie\u003c/em> from last July. The three-hour film, which is semi-trippy and flashback heavy, chronicles the trials and tribulations of the secret Manhattan Project’s J. Robert Oppenheimer (Cillian Murphy).\u003c/p>\n\u003cp>Available for pay at YouTube, Apple TV, Prime Video, Vudu, iTunes and Google Play and elsewhere.\u003c/p>\n\u003ch2>‘Poor Things’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RlbR5N6veqw'\n title='//www.youtube.com/embed/RlbR5N6veqw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>11 nominations. \u003ca href=\"https://www.fandango.com/poor-things-2023-231939/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>Think Frankenstein story, and his bride. Director Yorgos Lanthimos owes a debt to Emma Stone, his childlike and highly randy Bella, in \u003cem>Poor Things\u003c/em>. The comedy is dark and the vibe Victorian fantasy. And did we mention the sex? How Bella handles that activity has been the talk of film circles. No spoilers here but rest assured her consciousness is raised. Also stars Willem Dafoe and Mark Ruffalo.\u003c/p>\n\u003ch2>‘Killers of the Flower Moon’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EP34Yoxs3FQ'\n title='//www.youtube.com/embed/EP34Yoxs3FQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>10 nominations. Digital purchase. Streams on Apple TV+. Re-released in theaters on Jan. 26, 2024.\u003c/p>\n\u003cp>Martin Scorsese delves into the systematic killing of Osage Nation members for their oil-rich land in the 1920s in his drama \u003cem>Killers of the Flower Moon\u003c/em>. With a star-bright cast, including Lily Gladstone, Leonardo DiCaprio and Robert De Niro. Warning: Its running time is 3 hours and 26 minutes. There’s craft in every shot.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘Barbie’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pBk4NYhWNMM'\n title='//www.youtube.com/embed/pBk4NYhWNMM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>8 nominations. Digital purchase or rental. Streams on Max.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950821/greta-gerwig-oscars-snub\">Greta Gerwig\u003c/a>’s \u003cem>Barbie\u003c/em>, in the billion-dollar club at the box office, is a live-action musical comedy focused on the 64-year-old plastic doll in a range of iterations. It also took the globe by storm, culturally speaking. The film stars Margot Robbie and Ryan Gosling (as Just Ken). Robbie plays Stereotypical Barbie, who experiences an existential crisis but lands on the road to self-discovery.\u003c/p>\n\u003cp>Available for pay at iTunes, Apple TV, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘Maestro’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gJP2QblqLA0'\n title='//www.youtube.com/embed/gJP2QblqLA0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>7 nominations. Digital purchase or rental. Streams on Netflix.\u003c/p>\n\u003cp>With the help of a prosthetic nose, Bradley Cooper brings Leonard Bernstein alive in \u003ca href=\"https://www.kqed.org/arts/13938332/maestro-bradley-cooper-review\">\u003cem>Maestro\u003c/em>\u003c/a>, which he also directed. The famed conductor’s personal life and persona on stage benefit from Cooper’s energy, and chain smoking. Cooper got an assist from Carey Mulligan, who plays the actor Felicia Montealegre, Bernstein’s stylish wife.\u003c/p>\n\u003cp>Available for pay at Prime Video, Google Play, Vudu, YouTube and elsewhere.\u003c/p>\n\u003ch2>‘American Fiction’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/i0MbLCpYJPA'\n title='//www.youtube.com/embed/i0MbLCpYJPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>5 nominations. \u003ca href=\"https://www.fandango.com/american-fiction-2023-232613/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>Cord Jefferson’s directorial debut \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a> is what satire should be: funny while succinctly pointing at truths. Jeffrey Wright plays a frustrated academic up against the wall of what Black books must be to sell. He takes action. The film is also about families and the weight of their struggles. Wright is joined by a great supporting cast in Leslie Uggams, Erika Alexander, Issa Rae, Sterling K. Brown and Tracee Ellis Ross.\u003c/p>\n\u003ch2>‘Anatomy of a Fall’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FUXawkH-ONM'\n title='//www.youtube.com/embed/FUXawkH-ONM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>5 nominations. Digital purchase or rental.\u003c/p>\n\u003cp>Justine Triet’s \u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em>\u003c/a> took the Palme d’Or at the 76th Cannes Film Festival. It stars Sandra Hüller as a writer, Sandra, trying to prove her innocence in court in her husband’s death at their chalet in the French Alps. The verdict? We won’t tell. Did she or didn’t she? Triet wrote the film with her husband, Arthur Harari. “It’s OK, he’s alive,” she told The Associated Press’ Jake Coyle.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, Vudu, YouTube and elsewhere.\u003c/p>\n\u003ch2>‘The Holdovers’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AhKLpJmHhIg'\n title='//www.youtube.com/embed/AhKLpJmHhIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>5 nominations. Digital purchase. Streams on Peacock.\u003c/p>\n\u003cp>The Alexander Payne offering \u003cem>The Holdovers\u003c/em> is set at Christmastime, but its themes of loneliness and belonging resonate well beyond the holiday, wrapped in a comedic package. Set in 1970 over the holiday break at a boarding school, there’s plenty of nostalgia in the details. It stars Paul Giamatti in curmudgeonly glory as the teacher stuck minding Angus (Dominic Sessa) and other students with no place to go.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘The Zone of Interest’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GFNtVaAuVYY'\n title='//www.youtube.com/embed/GFNtVaAuVYY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>5 nominations. In theaters.\u003c/p>\n\u003cp>There’s another meaty role for Hüller in the Holocaust story\u003ca href=\"https://www.kqed.org/arts/13940387/the-zone-of-interest-movie-review\">\u003cem> The Zone of Interest\u003c/em>\u003c/a>, directed by Jonathan Glazer. She plays Hedwig, the wife of Rudolf Höss (Christian Friedel), the real-life, bloodthirsty commandant of Auschwitz. The action largely has Rudolf and Hedwig living their everyday family lives just a few steps from the ovens and trains that were instruments in the slaughter of millions of Jews. A story worth telling, considering their status as monsters? You decide.\u003c/p>\n\u003ch2>‘Past Lives’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kA244xewjcI'\n title='//www.youtube.com/embed/kA244xewjcI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2 nominations. Digital purchase or rental. Streams on Paramount+ starting Feb. 2.\u003c/p>\n\u003cp>Celine Song’s feature debut \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a> is a triumph for her as director and writer, and for Greta Lee, one of her stars. Largely autobiographical, it tells the story of childhood companions in Seoul who reunite and rekindle in New York years later, landing in a love triangle. The other thirds of the equation are played by Teo Yoo and John Magaro. It’s understated glory, inducing the best kind of tears: those come by honestly without massive manipulation.\u003c/p>\n\u003cp>Available for pay at iTunes, Google Play and elsewhere.\u003c/p>\n\u003ch2>‘Nyad’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3anCgVSQb3Q'\n title='//www.youtube.com/embed/3anCgVSQb3Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2 nominations. Streams on Netflix.\u003c/p>\n\u003cp>Annette Bening plays the never-say-die marathon open-water swimmer Diana Nyad and Jodie Foster portrays Nyad’s best friend and trainer, Bonnie Stoll. Enough said. \u003cem>\u003ca href=\"https://www.kqed.org/arts/13936754/nyad-movie-review-true-story-jodie-foster-swimming-annette-bening\">Nyad\u003c/a>\u003c/em> isn’t your average sports biopic. At age 60, Nyad decides to attempt as she did in her youth to swim the shark-infested ocean from Cuba to Miami. Nothing will stop her and lots of things try. A lesson in single-focus excellence.\u003c/p>\n\u003ch2>‘Society of the Snow’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pDak4qLyF4Q'\n title='//www.youtube.com/embed/pDak4qLyF4Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2 nominations. Streams on Netflix.\u003c/p>\n\u003cp>The story of an amateur Uruguay rugby team’s 1972 plane crash in the Andes as they traveled with relatives and friends to Chile for a match has been told on film many times. There were 45 on board. Sixteen survived after 72 days in the mountains. They faced biting cold, massive snowstorms, avalanches and starvation, the latter motivating them to eat the dead. In \u003cem>Society of the Snow\u003c/em>, J.A. Bayona wanted to honor the tragedy’s victims and survivors, including him. It’s bleak indeed, with a spirit of love and camaraderie.\u003c/p>\n\u003ch2>‘The Color Purple’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wPwzBUui1GA'\n title='//www.youtube.com/embed/wPwzBUui1GA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. Digital purchase or rental. In theaters.\u003c/p>\n\u003cp>It was a book (Alice Walker). It was a dramatic film (Whoopi Goldberg as Celie). It was a Broadway musical (Fantasia Barrino as Celie). This \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a> has Barrino back. It’s a musical, too, adapted from the stage version, and it’s directed by Blitz Bazawule. He squeezes the strength of Black women out of his harrowing, maximalist film. Colman Domingo is Mister, Halle Bailey is Nettie, with Taraji P. Henson and Danielle Brooks helping the story along amid all the singing and dazzle.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Apple TV+ and elsewhere.\u003c/p>\n\u003ch2>‘Spider-Man: Across the Spider-Verse’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cqGjhVJWtEg'\n title='//www.youtube.com/embed/cqGjhVJWtEg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. Digital purchase or rental. Streams on Netflix. In theaters.\u003c/p>\n\u003cp>Welcome to an animated high-octane comic-book sequel that manages to work. In \u003cem>Spider Man: Across the Spider-Verse\u003c/em>, Miles Morales (voiced by Shameik Moore) is a 15-year-old better able to deal with his crime-fighting powers. Spider-Gwen is voiced by Hailee Steinfeld. By sequel, we mean the first half of the first sequel to \u003cem>Spider Man: Into the Spider-Verse\u003c/em>. There’s your cliffhanger alert.\u003c/p>\n\u003cp>Available for pay at Apple TV, Prime Video, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘May December’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4VdAParM4h8'\n title='//www.youtube.com/embed/4VdAParM4h8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. In theaters. Streams on Netflix.\u003c/p>\n\u003cp>The breakout star of Todd Haynes’ tense \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a> is Charles Melton of Reggie fame on TV’s \u003cem>Riverdale\u003c/em>. He’s the May to Julianne Moore’s December, with a whole lot of Natalie Portman thrown in. Inspired by the Mary Kay Letourneau case, Moore plays a ripped-from-the-headlines woman who went to prison over an affair with a seventh-grader she later marries. Portman’s character comes for a visit as she studies how to play Moore in a movie. Things, as they say, fall apart. Although the film’s performances weren’t honored with nominations, the screenplay for \u003cem>May December\u003c/em> was.\u003c/p>\n\u003ch2>‘Rustin’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EuZ-UONInl4'\n title='//www.youtube.com/embed/EuZ-UONInl4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. Streams on Netflix.\u003c/p>\n\u003cp>Who engineered the 1963 March on Washington? Bayard Rustin, somebody lots of people knew nothing about before \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> came along in George C. Wolfe’s \u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>. With verve, Domingo digs into the experience of a Black gay man in the racist and homophobic 1960s. Cameos abound: Jeffrey Wright, Adrienne Warren, Kevin Mambo, Audra McDonald, Chris Rock, Glynn Turman. Produced by former President Barack Obama and first lady Michelle Obama’s Higher Ground. Obama awarded Rustin a posthumous Presidential Medal of Freedom.\u003c/p>\n\u003ch2>‘20 Days in Mariupol’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9H_Fg_5x4ME'\n title='//www.youtube.com/embed/9H_Fg_5x4ME'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. Digital purchase or rental. \u003ca href=\"https://video.kqed.org/video/20-days-in-mariupol-x62itb/\">Streaming on KQED\u003c/a>. Also available in the PBS app and at \u003cem>Frontline\u003c/em> on YouTube.\u003c/p>\n\u003cp>A joint production by The Associated Press and PBS’ \u003cem>Frontline\u003c/em>, the documentary \u003ca href=\"https://www.kqed.org/arts/13931543/in-20-days-in-mariupol-documentary-the-horrors-of-war-are-illuminated\">\u003cem>20 Days in Mariupol\u003c/em>\u003c/a> has been met with critical acclaim and an audience award at the Sundance Film Festival. AP journalist Mstyslav Chernov directed the movie from 30 hours of footage shot in Mariupol in the opening days of the Ukraine war. Chernov and AP colleagues Evgeniy Maloletka, a photographer, and producer Vasilisa Stepanenko were the last international journalists in the city before escaping.\u003c/p>\n\u003cp>Available for pay at Prime Video, Google Play, Vudu and elsewhere. After screenings in dozens of cities, \u003cem>20 Days in Mariupol\u003c/em> airs on PBS stations in the U.S. beginning Tuesday.\u003c/p>\n\u003ch2>‘The Boy and the Heron’\u003c/h2>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/t5khm-VjEu4'\n title='//www.youtube.com/embed/t5khm-VjEu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. \u003ca href=\"https://www.fandango.com/the-boy-and-the-heron-2023-232532/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Twenty years ago, the Grammy Award winning pop-punk trio \u003ca href=\"https://www.kqed.org/arts/12234613/live-review-green-day-drinks-from-the-fountain-of-youth-at-berkeleys-uc-theatre\">Green Day\u003c/a> released \u003cem>American Idiot\u003c/em> — their ambitious rock opera, a treatise on a world power in decline written by a band with cultural clout and consequently, political power. (It was angry and smart, and most importantly, hook-heavy — the catchiness no doubt a driving factor in its \u003ca href=\"https://www.kqed.org/arts/25374/american_idiot\">Broadway adaptation\u003c/a>.)\u003c/p>\n\u003cp>\u003cem>American Idiot\u003c/em> ushered in a new generation of loyal listeners — in some situations, the children of the initial fans who account for one of the over 10 million sales of their 1994 album \u003ca href=\"https://www.kqed.org/arts/13844052/vince-staples-and-green-day-talking-with-dookie-cover-artist-richie-bucher\">\u003cem>Dookie\u003c/em>\u003c/a> — offering a familiar language of dissidence for a generation just old enough to remember 9/11.\u003c/p>\n\u003cp>[aside postid='arts_13950805']In short: time moves on, but Green Day remains ferocious, allowing their listeners the opportunity to put language and music to their frustration. The targets of their ire are always the same: war, systemic injustices, political pundits. And on their 2024 album, \u003cem>Saviors\u003c/em>, their weapons are once again drawn.\u003c/p>\n\u003cp>Not that it was always this way. Prior to \u003cem>Saviors\u003c/em>, their 14th studio album, Green Day took a detour. Their last album, 2020’s \u003cem>Father of All…\u003c/em> was garage-y rock with the band’s characteristic fervor, but perhaps not their pop-punk sensibilities. This album is a return to form, in some ways, but free of any sense of being derivative. If you invented the wheel, what’s so wrong about letting it roll again?\u003c/p>\n\u003cp>\u003cem>Saviors\u003c/em>, alternatively, kicks off with the spirited rock ‘n’ roll of “The American Dream Is Killing Me,” taking aim at a litany of sociocultural issues in lyrics like “People on the street/ Unemployed and obsolete,” delivered in frontman Billie Joe Armstrong’s immediately recognizable nasal snarl. “Look Ma, No Brains!” is a return to their jubilant absurdity; “Grandma’s on the fentanyl now,” Armstrong sings on “Strange Days Are Here to Stay,” a song that suggests the apocalypse is now.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The fuzzed out, distorted guitars on “Living in the ’20s” ascend into a solo, as Armstrong chants about mass shootings. His voice unravels into a scream, with drummer Tré Cool, bassist Mike Dirnt and producer Rob Cavallo (who worked with the band on both \u003cem>Dookie\u003c/em>, and \u003cem>American Idiot\u003c/em>) controlling the chaos.\u003c/p>\n\u003cp>[aside postid='arts_13937865']There are loving moments here, too, as there are throughout Green Day’s discography — like in the swinging ’90s college radio rock sing-along “Bobby Sox.”\u003c/p>\n\u003cp>A few weeks before Green Day released \u003cem>Saviors\u003c/em>, they performed the song “American Idiot” on \u003cem>Dick Clark’s New Year’s Rockin’ Eve\u003c/em> swapping what was once a contentious line targeting the Bush administration into one with its eyes set on Trump. “I’m not a part of a redneck agenda,” became “I’m not part of a MAGA agenda,” and the internet was set aflame. If anything, the moment is evocative of \u003cem>Saviors\u003c/em>’ identity. It is an album built from the band’s earlier accomplishments, edited for the current moment — and likely a slightly older audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If parents consider punk a phase, perhaps this is evidence that frustrations — and speaking truth to power, however it aligns with your beliefs — is not.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twenty years ago, the Grammy Award winning pop-punk trio \u003ca href=\"https://www.kqed.org/arts/12234613/live-review-green-day-drinks-from-the-fountain-of-youth-at-berkeleys-uc-theatre\">Green Day\u003c/a> released \u003cem>American Idiot\u003c/em> — their ambitious rock opera, a treatise on a world power in decline written by a band with cultural clout and consequently, political power. (It was angry and smart, and most importantly, hook-heavy — the catchiness no doubt a driving factor in its \u003ca href=\"https://www.kqed.org/arts/25374/american_idiot\">Broadway adaptation\u003c/a>.)\u003c/p>\n\u003cp>\u003cem>American Idiot\u003c/em> ushered in a new generation of loyal listeners — in some situations, the children of the initial fans who account for one of the over 10 million sales of their 1994 album \u003ca href=\"https://www.kqed.org/arts/13844052/vince-staples-and-green-day-talking-with-dookie-cover-artist-richie-bucher\">\u003cem>Dookie\u003c/em>\u003c/a> — offering a familiar language of dissidence for a generation just old enough to remember 9/11.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In short: time moves on, but Green Day remains ferocious, allowing their listeners the opportunity to put language and music to their frustration. The targets of their ire are always the same: war, systemic injustices, political pundits. And on their 2024 album, \u003cem>Saviors\u003c/em>, their weapons are once again drawn.\u003c/p>\n\u003cp>Not that it was always this way. Prior to \u003cem>Saviors\u003c/em>, their 14th studio album, Green Day took a detour. Their last album, 2020’s \u003cem>Father of All…\u003c/em> was garage-y rock with the band’s characteristic fervor, but perhaps not their pop-punk sensibilities. This album is a return to form, in some ways, but free of any sense of being derivative. If you invented the wheel, what’s so wrong about letting it roll again?\u003c/p>\n\u003cp>\u003cem>Saviors\u003c/em>, alternatively, kicks off with the spirited rock ‘n’ roll of “The American Dream Is Killing Me,” taking aim at a litany of sociocultural issues in lyrics like “People on the street/ Unemployed and obsolete,” delivered in frontman Billie Joe Armstrong’s immediately recognizable nasal snarl. “Look Ma, No Brains!” is a return to their jubilant absurdity; “Grandma’s on the fentanyl now,” Armstrong sings on “Strange Days Are Here to Stay,” a song that suggests the apocalypse is now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are loving moments here, too, as there are throughout Green Day’s discography — like in the swinging ’90s college radio rock sing-along “Bobby Sox.”\u003c/p>\n\u003cp>A few weeks before Green Day released \u003cem>Saviors\u003c/em>, they performed the song “American Idiot” on \u003cem>Dick Clark’s New Year’s Rockin’ Eve\u003c/em> swapping what was once a contentious line targeting the Bush administration into one with its eyes set on Trump. “I’m not a part of a redneck agenda,” became “I’m not part of a MAGA agenda,” and the internet was set aflame. If anything, the moment is evocative of \u003cem>Saviors\u003c/em>’ identity. It is an album built from the band’s earlier accomplishments, edited for the current moment — and likely a slightly older audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If parents consider punk a phase, perhaps this is evidence that frustrations — and speaking truth to power, however it aligns with your beliefs — is not.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Lake Tahoe is a favorite getaway for Bay Area residents. With its gorgeous mountains, beaches and wildlife, there’s truly something for everyone in this corner of California. And one of those things was captured on a trail camera last week, in the middle of the night — coyote song in all of its majestic glory.\u003c/p>\n\u003cp>Let us come together now and marvel at its cadence and pitch. Let us try to comprehend why Lake Tahoe locals have (very generously) nicknamed local packs “The Singin’ Dawgs.” And let those of us with truly masochistic streaks keep this footage open on our phones to listen to before we fall asleep each night.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yVd5WhDcNfk\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Apparently, coyotes usually sound like this when they’re trying to warn other packs of their presence, or call back members of their group. In this case, and having watched this video several times with almost zero previous knowledge of coyote behavior, it looks an awful lot like Brian and Meredith are trying to wrangle Barbara and Todd home so they can go over the evening’s events. Clearly, the gossip was urgent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Isn’t nature healing?\u003c/p>\n\n",
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"title": "Greta Gerwig’s Oscars Snub Should Come as No Surprise",
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"content": "\u003cp>This years’ \u003ca href=\"https://www.kqed.org/arts/13950768/2024-oscar-nominations\">Oscar nominations have arrived\u003c/a>, and the most controversial snub by far is the exclusion of Greta Gerwig from the Best Director category for \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Last year, Gerwig pulled off the rare feat of making a movie both critically lauded and enormously commercially successful. (\u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">\u003cem>Barbie\u003c/em> broke the opening-weekend record for North American movie theaters\u003c/a> in 2023 with $162 million in ticket sales.) It was a visual and creative triumph which took a doll critiqued by feminists for decades and turned her into a patriarchy-smashing icon. Additionally, \u003cem>Barbie\u003c/em> contributed significantly to \u003ca href=\"https://www.npr.org/2023/08/11/1193283472/barbie-taylor-swift-beyonce\">the return of the monoculture\u003c/a> in 2023; it \u003ca href=\"https://www.kqed.org/arts/13939092/bay-area-trends-of-2023\">impacted pop culture\u003c/a> in so many indelible ways, it bordered on the obnoxious.\u003c/p>\n\u003cp>Still, it wasn’t enough for the Academy.\u003c/p>\n\u003cp>[aside postid='arts_13950768']Not only was Gerwig passed over for Best Director, but Barbie herself, Margot Robbie, was left out of the Best Actress category. This despite Ryan Gosling and America Ferrera getting nods in the Best Supporting Actor and Actress categories. Movie lovers, including MSNBC’s Jennifer Palmieri, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/greta-gerwig-barbie-2024-oscar-snub-backlash-1235804650/\">quickly took to social media to bemoan the snubs\u003c/a>.\u003c/p>\n\u003cp>“Both Gerwig and Robbie ignored,” \u003ca href=\"https://twitter.com/jmpalmieri/status/1749814660956828007\">Palmieri posted on X\u003c/a>. “It’s still so easy for Hollywood to overlook and discount artistic contributions of women — EVEN WHEN ITS THE POINT OF THE YEAR’S BIGGEST MOVIE! My God. It was nominated for best picture. Didn’t direct itself, friends!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/jmpalmieri/status/1749814660956828007\u003c/p>\n\u003cp>Is this an irritating turn of events? Yes. Did the Academy miss all of the (not-even-subtly-conveyed) lessons of the film, about the quiet injustices doled out to women due to sexism? Probably. Should any of us really be surprised? Despite Gerwig previously receiving a Best Director nomination for \u003cem>Lady Bird\u003c/em>? Absolutely not.\u003c/p>\n\u003cp>The Academy has always been a law unto itself; it has historically favored white men doing white man things. When it comes to female directors getting their due, the most we can hope for is a little tokenism. Justine Triet is this year’s, for \u003cem>Anatomy of a Fall\u003c/em> — and, in the Academy Awards’ entire 95-year history, she’s only the eighth woman to be nominated in the directing category. Just three of those have ever actually taken home the trophy: Kathryn Bigelow for \u003cem>The Hurt Locker\u003c/em> in 2009, Chloé Zhao for \u003cem>Nomadland\u003c/em> in 2020 and Jane Campion for \u003cem>The Year of the Dog\u003c/em> in 2021.\u003c/p>\n\u003cp>[aside postid='pop_105648']Consider also the Academy’s maddening habit of doling out awards to established giants at the expense of younger talent. Do we really think Leonardo DiCaprio did better work in \u003cem>The Revenant\u003c/em> (the movie he finally won for) than in \u003cem>What’s Eating Gilbert Grape?\u003c/em> (the first movie he was nominated for)? Would you rather Martin Scorsese have an Oscar for \u003cem>Raging Bull\u003c/em> or \u003cem>The Departed\u003c/em>? Most would say the former, but the Academy made him wait 26 years. What we end up with are Oscars doled out because it’s time for a major figure to have one, rather than the actual work at hand or its cultural impact.\u003c/p>\n\u003cp>(Perhaps Greta Gerwig will finally get her statue 30 years from now for a movie that does moderate box office and gets film nerds talking. But there are no guarantees that even the highest echelons of female talent will get there in the end — \u003ca href=\"https://www.kqed.org/pop/105648/why-does-the-academy-keep-denying-glenn-close-an-oscar\">Glenn Close has never won an Oscar\u003c/a>, despite being nominated as an actress eight times in the past 40 years.)\u003c/p>\n\u003cp>The truth is, the Oscars have rarely — if ever — reflected the will of the people. (No, not even since they expanded the Best Picture category to 10 nominees in 2009.) For a while, it seemed, people were nearly done with the Academy Awards altogether. In 2016, the hashtag \u003ca href=\"https://www.kqed.org/arts/13895845/neither-oscarssowhite-nor-oscarssomale-what-a-difference-a-pandemic-makes\">#OscarsSoWhite\u003c/a> dominated social media after two years of every single nominee in lead and supporting acting categories being white. The fact that \u003cem>Beasts of No Nation\u003c/em>, \u003cem>Straight Outta Compton\u003c/em> and \u003cem>Creed\u003c/em> were shut out of almost every category that year caused further ire.\u003c/p>\n\u003cp>[aside postID='arts_13938908']During the many discussions around #OscarsSoWhite, Spike Lee, Will Smith and Michael Moore boycotted the Oscars. A recurring conversation emerged: Black women, in particular, were being ignored by the Academy. Only 11 Black women have ever won an Oscar, none for directing. Last year, \u003ca href=\"https://www.buzzfeednews.com/article/leylamohammed/angela-bassett-jamie-lee-curtis-oscars-snubbed\">after Angela Bassett’s loss to Jamie Lee Curtis\u003c/a>, the Academy scrambled to correct its snafu by giving Bassett an honorary award a few months later.\u003c/p>\n\u003cp>The problem is, and always has been, who makes up the Academy. Consider this: Between 1929 and 2015, on average, only 16 percent of nominees in all Oscar categories were women. Why? As late as 2022, \u003ca href=\"https://www.statista.com/statistics/321286/voters-academy-awards-gender/\">women only accounted for one third of Academy voters\u003c/a> — and the number that year was 10 percent higher than the prior year. So I ask again: Is it really all that surprising that Greta Gerwig didn’t get a Best Director nod for \u003cem>Barbie\u003c/em>?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Academy is a mess that often finds itself woefully out of touch. Despite a variety of token efforts in the past decade, the Academy will continue to slip until women and people of color are appropriately represented in its ranks. For now, \u003cem>Barbie\u003c/em> is at least nominated for Best Adapted Screenplay — a chance for Gerwig to get her Oscar. Just don’t be surprised if you find yourself throwing your cocktail at the TV on March 12. If history is to repeat itself, that award will probably go to a movie much less pink and much less female.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This years’ \u003ca href=\"https://www.kqed.org/arts/13950768/2024-oscar-nominations\">Oscar nominations have arrived\u003c/a>, and the most controversial snub by far is the exclusion of Greta Gerwig from the Best Director category for \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Last year, Gerwig pulled off the rare feat of making a movie both critically lauded and enormously commercially successful. (\u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">\u003cem>Barbie\u003c/em> broke the opening-weekend record for North American movie theaters\u003c/a> in 2023 with $162 million in ticket sales.) It was a visual and creative triumph which took a doll critiqued by feminists for decades and turned her into a patriarchy-smashing icon. Additionally, \u003cem>Barbie\u003c/em> contributed significantly to \u003ca href=\"https://www.npr.org/2023/08/11/1193283472/barbie-taylor-swift-beyonce\">the return of the monoculture\u003c/a> in 2023; it \u003ca href=\"https://www.kqed.org/arts/13939092/bay-area-trends-of-2023\">impacted pop culture\u003c/a> in so many indelible ways, it bordered on the obnoxious.\u003c/p>\n\u003cp>Still, it wasn’t enough for the Academy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Not only was Gerwig passed over for Best Director, but Barbie herself, Margot Robbie, was left out of the Best Actress category. This despite Ryan Gosling and America Ferrera getting nods in the Best Supporting Actor and Actress categories. Movie lovers, including MSNBC’s Jennifer Palmieri, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/greta-gerwig-barbie-2024-oscar-snub-backlash-1235804650/\">quickly took to social media to bemoan the snubs\u003c/a>.\u003c/p>\n\u003cp>“Both Gerwig and Robbie ignored,” \u003ca href=\"https://twitter.com/jmpalmieri/status/1749814660956828007\">Palmieri posted on X\u003c/a>. “It’s still so easy for Hollywood to overlook and discount artistic contributions of women — EVEN WHEN ITS THE POINT OF THE YEAR’S BIGGEST MOVIE! My God. It was nominated for best picture. Didn’t direct itself, friends!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Is this an irritating turn of events? Yes. Did the Academy miss all of the (not-even-subtly-conveyed) lessons of the film, about the quiet injustices doled out to women due to sexism? Probably. Should any of us really be surprised? Despite Gerwig previously receiving a Best Director nomination for \u003cem>Lady Bird\u003c/em>? Absolutely not.\u003c/p>\n\u003cp>The Academy has always been a law unto itself; it has historically favored white men doing white man things. When it comes to female directors getting their due, the most we can hope for is a little tokenism. Justine Triet is this year’s, for \u003cem>Anatomy of a Fall\u003c/em> — and, in the Academy Awards’ entire 95-year history, she’s only the eighth woman to be nominated in the directing category. Just three of those have ever actually taken home the trophy: Kathryn Bigelow for \u003cem>The Hurt Locker\u003c/em> in 2009, Chloé Zhao for \u003cem>Nomadland\u003c/em> in 2020 and Jane Campion for \u003cem>The Year of the Dog\u003c/em> in 2021.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Consider also the Academy’s maddening habit of doling out awards to established giants at the expense of younger talent. Do we really think Leonardo DiCaprio did better work in \u003cem>The Revenant\u003c/em> (the movie he finally won for) than in \u003cem>What’s Eating Gilbert Grape?\u003c/em> (the first movie he was nominated for)? Would you rather Martin Scorsese have an Oscar for \u003cem>Raging Bull\u003c/em> or \u003cem>The Departed\u003c/em>? Most would say the former, but the Academy made him wait 26 years. What we end up with are Oscars doled out because it’s time for a major figure to have one, rather than the actual work at hand or its cultural impact.\u003c/p>\n\u003cp>(Perhaps Greta Gerwig will finally get her statue 30 years from now for a movie that does moderate box office and gets film nerds talking. But there are no guarantees that even the highest echelons of female talent will get there in the end — \u003ca href=\"https://www.kqed.org/pop/105648/why-does-the-academy-keep-denying-glenn-close-an-oscar\">Glenn Close has never won an Oscar\u003c/a>, despite being nominated as an actress eight times in the past 40 years.)\u003c/p>\n\u003cp>The truth is, the Oscars have rarely — if ever — reflected the will of the people. (No, not even since they expanded the Best Picture category to 10 nominees in 2009.) For a while, it seemed, people were nearly done with the Academy Awards altogether. In 2016, the hashtag \u003ca href=\"https://www.kqed.org/arts/13895845/neither-oscarssowhite-nor-oscarssomale-what-a-difference-a-pandemic-makes\">#OscarsSoWhite\u003c/a> dominated social media after two years of every single nominee in lead and supporting acting categories being white. The fact that \u003cem>Beasts of No Nation\u003c/em>, \u003cem>Straight Outta Compton\u003c/em> and \u003cem>Creed\u003c/em> were shut out of almost every category that year caused further ire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During the many discussions around #OscarsSoWhite, Spike Lee, Will Smith and Michael Moore boycotted the Oscars. A recurring conversation emerged: Black women, in particular, were being ignored by the Academy. Only 11 Black women have ever won an Oscar, none for directing. Last year, \u003ca href=\"https://www.buzzfeednews.com/article/leylamohammed/angela-bassett-jamie-lee-curtis-oscars-snubbed\">after Angela Bassett’s loss to Jamie Lee Curtis\u003c/a>, the Academy scrambled to correct its snafu by giving Bassett an honorary award a few months later.\u003c/p>\n\u003cp>The problem is, and always has been, who makes up the Academy. Consider this: Between 1929 and 2015, on average, only 16 percent of nominees in all Oscar categories were women. Why? As late as 2022, \u003ca href=\"https://www.statista.com/statistics/321286/voters-academy-awards-gender/\">women only accounted for one third of Academy voters\u003c/a> — and the number that year was 10 percent higher than the prior year. So I ask again: Is it really all that surprising that Greta Gerwig didn’t get a Best Director nod for \u003cem>Barbie\u003c/em>?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Academy is a mess that often finds itself woefully out of touch. Despite a variety of token efforts in the past decade, the Academy will continue to slip until women and people of color are appropriately represented in its ranks. For now, \u003cem>Barbie\u003c/em> is at least nominated for Best Adapted Screenplay — a chance for Gerwig to get her Oscar. Just don’t be surprised if you find yourself throwing your cocktail at the TV on March 12. If history is to repeat itself, that award will probably go to a movie much less pink and much less female.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Takeaways From the Oscar Nominations: Heavy Hitters Rewarded, Plus Some Surprises",
"headTitle": "Takeaways From the Oscar Nominations: Heavy Hitters Rewarded, Plus Some Surprises | KQED",
"content": "\u003cp>The Oscar nominations \u003ca href=\"https://www.npr.org/2024/01/23/1226291911/oscar-nominations-full-list-2024-academy-awards-oppenheimer-barbie\">were announced Tuesday morning,\u003c/a> and most of the heavy hitters were richly rewarded. A man was nominated for playing a doll; a woman was nominated for playing a baby (sort of). Ten pictures will vie to be considered best. Let’s talk about what happened.\u003c/p>\n\u003cfigure id=\"attachment_13950765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/oppenheimer_custom-fd7831f143e8f0c1ce5b2501e075edede609f851-e1706032770529.jpg\" alt=\"A white man wearing a suit stands in the desert and gazes up at the sky.\" width=\"1920\" height=\"1342\">\u003cfigcaption class=\"wp-caption-text\">‘Oppenheimer’ received 13 Oscar nominations. Above, Cillian Murphy as J. Robert Oppenheimer. \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>All hail ‘Oppenheimer’\u003c/h2>\n\u003cp>Whether Christopher Nolan is your speed or not, the Academy loves him. \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a>, his drama about the man who developed the atomic bomb, led all films with 13 nominations in both what are sometimes considered “major” categories (like best picture, best director, best actor and adapted screenplay) and “technical” categories (like sound, production design, and visual effects). It’s not a record; a couple of other films, including \u003cem>Titanic\u003c/em>, have received 14. Still, it’s a very big total. In another year, \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>’ 11 nominations or \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>’s 10 might have led the nominations. But not up against this kind of — forgive the phrase — explosive acclaim.\u003c/p>\n\u003cfigure id=\"attachment_13950767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950767\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/rev-1-tcp-05246_high_res_jpeg-39d035f3da6390febef1d0db9344ed0d5c3cab74-scaled-e1706032868144.jpe\" alt=\"Two Black women sit outdoors in the sun, their heads leaning on one another. They look dejected.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Sofia (Danielle Brooks) and Celie (Fantasia Barrino) in the 2023 reincarnation of ‘The Color Purple.’ Brooks was nominated for her supporting performance. \u003ccite>(Eli Adé/ Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A couple of contenders came up empty or nearly so\u003c/h2>\n\u003cp>There were a lot of films that elbowed their way into big nominations; that’s what you get when you start with 10 best picture nominees. But both \u003ca href=\"https://www.kqed.org/arts/13950482/ava-duvernay-origin-caste-our-discontents-isabel-wilkerson\">\u003cem>Origin\u003c/em>\u003c/a>, the latest film from director Ava DuVernay, and \u003ca href=\"https://www.kqed.org/arts/13939701/all-of-us-strangers-review-andrew-scott-paul-mescal\">\u003cem>All of Us Strangers\u003c/em>\u003c/a>, the love story starring Andrew Scott and Paul Mescal, were left out of the nominations. \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a> musical adaptation was nominated only for Danielle Brooks’ supporting performance — a richly deserved nod, by the way.\u003c/p>\n\u003cfigure id=\"attachment_13950772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/killers_of_the_flower_moon_photo_0101_custom-5f825ca5758ef8a2b1dac0cf1112b1c4ed07dac7-scaled-e1706032979687.jpg\" alt=\"An Indigenous woman and a white man in a suit sit at a heavy wood dining table. China cabinets line the wall behind them.\" width=\"1920\" height=\"1202\">\u003cfigcaption class=\"wp-caption-text\">Many of the acting nominees are first-timers, including Lily Gladstone, shown here with Leonardo DiCaprio in ‘Killers of the Flower Moon.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A lot of the acting nominees are first-timers\u003c/h2>\n\u003cp>There are 10 first-time acting nominees: Emily Blunt (\u003cem>Oppenheimer\u003c/em>), Danielle Brooks (\u003cem>The Color Purple\u003c/em>), Sterling K. Brown (\u003ca href=\"https://www.kqed.org/arts/13938160\">\u003cem>American Fiction\u003c/em>\u003c/a>), \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> (\u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>), America Ferrera (\u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>), Lily Gladstone (\u003cem>Killers of the Flower Moon\u003c/em>), Sandra Hüller (\u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em>\u003c/a>), Cillian Murphy (\u003cem>Oppenheimer\u003c/em>), Da’Vine Joy Randolph (\u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>) and Jeffrey Wright (\u003cem>American Fiction\u003c/em>). They’re a fascinating mix of familiar good actors who you might be surprised are first-timers (Blunt, Domingo, Wright, Murphy), folks who did great work on television before they got much recognition in film (Ferrera, Brown, Brooks), and people who probably feel like relative newcomers to a lot of Oscar voters even though they are emphatically not (Gladstone, Randolph, Hüller).\u003c/p>\n\u003cfigure id=\"attachment_13950774\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950774\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/anatomy-of-a-fall-cannes_custom-677310d4f9219b221154d99206c40220c5d6759a-scaled-e1706033081360.jpg\" alt=\"A white woman stands wearing warm clothing, a snow-capped mountain in the distance. A man is at her side, turned away from her.\" width=\"1920\" height=\"1079\">\u003cfigcaption class=\"wp-caption-text\">French filmmaker Justine Triet was nominated for best director for ‘Anatomy of a Fall,’ about a writer (played by Sandra Hüller, above) accused of murdering her husband. \u003ccite>(NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>One woman director is in, a couple of others are out\u003c/h2>\n\u003cp>French filmmaker Justine Triet was nominated for best director for \u003cem>Anatomy of a Fall\u003c/em>, the devastating story of a woman suspected of being responsible for the death of her husband. But both Greta Gerwig, who directed the much-nominated \u003cem>Barbie\u003c/em>, and Celine Song, who directed the beautiful best picture nominee \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>, were left out of the category. Both their lead actresses, Margot Robbie and Greta Lee, went without nominations in that category, too.\u003c/p>\n\u003cfigure id=\"attachment_13950775\" class=\"wp-caption aligncenter\" style=\"max-width: 2395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950775\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948.jpg\" alt=\"Two images side by side. One of a smiling blonde white woman in a pink dress, the other of a serious man sitting squarely at a brown desk.\" width=\"2395\" height=\"1347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948.jpg 2395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1920x1080.jpg 1920w\" sizes=\"(max-width: 2395px) 100vw, 2395px\">\u003cfigcaption class=\"wp-caption-text\">Remember Barbenheimer? \u003ccite>(Jaap Buitendijk, Warner Bros. / Melinda Sue Gordon, Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbenheimer turned out fine for everybody\u003c/h2>\n\u003cp>It’s funny to look back now and remember that \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">the showdown between \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em>\u003c/a>, because they opened the same weekend, was ever treated as any kind of either-or competition that would have a single victor. They both made a ton of money, though \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">\u003cem>Barbie\u003c/em> made more\u003c/a>; they both received a bunch of Oscar nominations, though \u003cem>Oppenheimer\u003c/em> received more. (\u003cem>Barbie\u003c/em> had eight, including one for Ryan Gosling’s extraordinarily silly supporting work as Ken. More true comedy nominations, please!) They were very different kinds of “event” pictures we could stand to have more of: well-made, surprising, vibrant and memorable, in completely different ways.\u003c/p>\n\u003cfigure id=\"attachment_13950777\" class=\"wp-caption aligncenter\" style=\"max-width: 2348px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950777\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90.jpg\" alt=\"A woman in 1940-era clothing stands in a walled garden clutching a baby. A dog stands behind them.\" width=\"2348\" height=\"1306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90.jpg 2348w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-2048x1139.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1920x1068.jpg 1920w\" sizes=\"(max-width: 2348px) 100vw, 2348px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Hüller plays a mother who lives next door to Auschwitz in ‘The Zone of Interest.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>International films continue to perform well\u003c/h2>\n\u003cp>In 2018, Alfonso Cuarón’s \u003cem>Roma\u003c/em> was only the fifth non-English-language film to ever be nominated for both best international film and best picture. But just since then, there have been four more: \u003cem>Parasite\u003c/em>, \u003cem>Drive My Car\u003c/em>, \u003cem>All Quiet on the Western Front\u003c/em> and now \u003ca href=\"https://www.kqed.org/arts/13940387/the-zone-of-interest-movie-review\">\u003cem>The Zone of Interest\u003c/em>\u003c/a>, the disturbing study of a family living happily just outside the walls of Auschwitz, where the father is commandant. The short version? There’s no longer any reason to suspect that a film with subtitles won’t be nominated for best picture, which is a great development.\u003c/p>\n\u003cfigure id=\"attachment_13950779\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ij_dod_dtlr2_uhd_r709f_stills_230405.088296-1-_custom-454eb63e13f95f1d3be680076bcb27ac7f602a10-scaled-e1706033430838.jpg\" alt=\"An older white man wearing a distinctive hat sits in a vehicle looking worried. Behind him, a woman and tween child sit.\" width=\"1920\" height=\"803\">\u003cfigcaption class=\"wp-caption-text\">‘Indiana Jones and the Dial of Destiny’ starring Harrison Ford (above) brought composer John Williams his 54th Oscar nomination. \u003ccite>(Lucasfilm Ltd.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>John Williams and Thelma Schoonmaker set (or keep extending) records\u003c/h2>\n\u003cp>Williams, who has written much of the most beloved rousing movie music of the last 60 or so years, received his 54th nomination for the score of \u003cem>\u003ca href=\"https://www.kqed.org/arts/13930931/harrison-ford-gets-a-swashbuckling-sendoff-in-indiana-jones-and-the-dial-of-destiny\">Indiana Jones and the Dial of Destiny\u003c/a>\u003c/em>. It’s more nominations than any other living person has. And Schoonmaker, longtime collaborator of Martin Scorsese, became the most nominated editor ever when she was recognized for the ninth time, for his film \u003cem>Killers of the Flower Moon\u003c/em>. (She’s won for \u003cem>Raging Bull\u003c/em>, \u003cem>The Aviator\u003c/em> and \u003cem>The Departed\u003c/em>.) Both Williams and Schoonmaker are examples of essential collaborators without whom celebrated directors could not do their work, whether they’re making tragic epics or swashbuckling adventures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2024 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Oscar nominations \u003ca href=\"https://www.npr.org/2024/01/23/1226291911/oscar-nominations-full-list-2024-academy-awards-oppenheimer-barbie\">were announced Tuesday morning,\u003c/a> and most of the heavy hitters were richly rewarded. A man was nominated for playing a doll; a woman was nominated for playing a baby (sort of). Ten pictures will vie to be considered best. Let’s talk about what happened.\u003c/p>\n\u003cfigure id=\"attachment_13950765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950765\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/oppenheimer_custom-fd7831f143e8f0c1ce5b2501e075edede609f851-e1706032770529.jpg\" alt=\"A white man wearing a suit stands in the desert and gazes up at the sky.\" width=\"1920\" height=\"1342\">\u003cfigcaption class=\"wp-caption-text\">‘Oppenheimer’ received 13 Oscar nominations. Above, Cillian Murphy as J. Robert Oppenheimer. \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>All hail ‘Oppenheimer’\u003c/h2>\n\u003cp>Whether Christopher Nolan is your speed or not, the Academy loves him. \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a>, his drama about the man who developed the atomic bomb, led all films with 13 nominations in both what are sometimes considered “major” categories (like best picture, best director, best actor and adapted screenplay) and “technical” categories (like sound, production design, and visual effects). It’s not a record; a couple of other films, including \u003cem>Titanic\u003c/em>, have received 14. Still, it’s a very big total. In another year, \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>’ 11 nominations or \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>’s 10 might have led the nominations. But not up against this kind of — forgive the phrase — explosive acclaim.\u003c/p>\n\u003cfigure id=\"attachment_13950767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950767\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/rev-1-tcp-05246_high_res_jpeg-39d035f3da6390febef1d0db9344ed0d5c3cab74-scaled-e1706032868144.jpe\" alt=\"Two Black women sit outdoors in the sun, their heads leaning on one another. They look dejected.\" width=\"1920\" height=\"1440\">\u003cfigcaption class=\"wp-caption-text\">Sofia (Danielle Brooks) and Celie (Fantasia Barrino) in the 2023 reincarnation of ‘The Color Purple.’ Brooks was nominated for her supporting performance. \u003ccite>(Eli Adé/ Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A couple of contenders came up empty or nearly so\u003c/h2>\n\u003cp>There were a lot of films that elbowed their way into big nominations; that’s what you get when you start with 10 best picture nominees. But both \u003ca href=\"https://www.kqed.org/arts/13950482/ava-duvernay-origin-caste-our-discontents-isabel-wilkerson\">\u003cem>Origin\u003c/em>\u003c/a>, the latest film from director Ava DuVernay, and \u003ca href=\"https://www.kqed.org/arts/13939701/all-of-us-strangers-review-andrew-scott-paul-mescal\">\u003cem>All of Us Strangers\u003c/em>\u003c/a>, the love story starring Andrew Scott and Paul Mescal, were left out of the nominations. \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a> musical adaptation was nominated only for Danielle Brooks’ supporting performance — a richly deserved nod, by the way.\u003c/p>\n\u003cfigure id=\"attachment_13950772\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950772\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/killers_of_the_flower_moon_photo_0101_custom-5f825ca5758ef8a2b1dac0cf1112b1c4ed07dac7-scaled-e1706032979687.jpg\" alt=\"An Indigenous woman and a white man in a suit sit at a heavy wood dining table. China cabinets line the wall behind them.\" width=\"1920\" height=\"1202\">\u003cfigcaption class=\"wp-caption-text\">Many of the acting nominees are first-timers, including Lily Gladstone, shown here with Leonardo DiCaprio in ‘Killers of the Flower Moon.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A lot of the acting nominees are first-timers\u003c/h2>\n\u003cp>There are 10 first-time acting nominees: Emily Blunt (\u003cem>Oppenheimer\u003c/em>), Danielle Brooks (\u003cem>The Color Purple\u003c/em>), Sterling K. Brown (\u003ca href=\"https://www.kqed.org/arts/13938160\">\u003cem>American Fiction\u003c/em>\u003c/a>), \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> (\u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>), America Ferrera (\u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>), Lily Gladstone (\u003cem>Killers of the Flower Moon\u003c/em>), Sandra Hüller (\u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em>\u003c/a>), Cillian Murphy (\u003cem>Oppenheimer\u003c/em>), Da’Vine Joy Randolph (\u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>) and Jeffrey Wright (\u003cem>American Fiction\u003c/em>). They’re a fascinating mix of familiar good actors who you might be surprised are first-timers (Blunt, Domingo, Wright, Murphy), folks who did great work on television before they got much recognition in film (Ferrera, Brown, Brooks), and people who probably feel like relative newcomers to a lot of Oscar voters even though they are emphatically not (Gladstone, Randolph, Hüller).\u003c/p>\n\u003cfigure id=\"attachment_13950774\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950774\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/anatomy-of-a-fall-cannes_custom-677310d4f9219b221154d99206c40220c5d6759a-scaled-e1706033081360.jpg\" alt=\"A white woman stands wearing warm clothing, a snow-capped mountain in the distance. A man is at her side, turned away from her.\" width=\"1920\" height=\"1079\">\u003cfigcaption class=\"wp-caption-text\">French filmmaker Justine Triet was nominated for best director for ‘Anatomy of a Fall,’ about a writer (played by Sandra Hüller, above) accused of murdering her husband. \u003ccite>(NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>One woman director is in, a couple of others are out\u003c/h2>\n\u003cp>French filmmaker Justine Triet was nominated for best director for \u003cem>Anatomy of a Fall\u003c/em>, the devastating story of a woman suspected of being responsible for the death of her husband. But both Greta Gerwig, who directed the much-nominated \u003cem>Barbie\u003c/em>, and Celine Song, who directed the beautiful best picture nominee \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>, were left out of the category. Both their lead actresses, Margot Robbie and Greta Lee, went without nominations in that category, too.\u003c/p>\n\u003cfigure id=\"attachment_13950775\" class=\"wp-caption aligncenter\" style=\"max-width: 2395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950775\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948.jpg\" alt=\"Two images side by side. One of a smiling blonde white woman in a pink dress, the other of a serious man sitting squarely at a brown desk.\" width=\"2395\" height=\"1347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948.jpg 2395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/barbie-oppenheimer_wide-c10222cd8e257474847e3ee7754df9e035860948-1920x1080.jpg 1920w\" sizes=\"(max-width: 2395px) 100vw, 2395px\">\u003cfigcaption class=\"wp-caption-text\">Remember Barbenheimer? \u003ccite>(Jaap Buitendijk, Warner Bros. / Melinda Sue Gordon, Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbenheimer turned out fine for everybody\u003c/h2>\n\u003cp>It’s funny to look back now and remember that \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">the showdown between \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em>\u003c/a>, because they opened the same weekend, was ever treated as any kind of either-or competition that would have a single victor. They both made a ton of money, though \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">\u003cem>Barbie\u003c/em> made more\u003c/a>; they both received a bunch of Oscar nominations, though \u003cem>Oppenheimer\u003c/em> received more. (\u003cem>Barbie\u003c/em> had eight, including one for Ryan Gosling’s extraordinarily silly supporting work as Ken. More true comedy nominations, please!) They were very different kinds of “event” pictures we could stand to have more of: well-made, surprising, vibrant and memorable, in completely different ways.\u003c/p>\n\u003cfigure id=\"attachment_13950777\" class=\"wp-caption aligncenter\" style=\"max-width: 2348px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950777\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90.jpg\" alt=\"A woman in 1940-era clothing stands in a walled garden clutching a baby. A dog stands behind them.\" width=\"2348\" height=\"1306\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90.jpg 2348w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1020x567.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-768x427.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1536x854.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-2048x1139.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/zoneofinterst_custom-034c8ae0b103675db59066bfc0650c9a69499f90-1920x1068.jpg 1920w\" sizes=\"(max-width: 2348px) 100vw, 2348px\">\u003cfigcaption class=\"wp-caption-text\">Sandra Hüller plays a mother who lives next door to Auschwitz in ‘The Zone of Interest.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>International films continue to perform well\u003c/h2>\n\u003cp>In 2018, Alfonso Cuarón’s \u003cem>Roma\u003c/em> was only the fifth non-English-language film to ever be nominated for both best international film and best picture. But just since then, there have been four more: \u003cem>Parasite\u003c/em>, \u003cem>Drive My Car\u003c/em>, \u003cem>All Quiet on the Western Front\u003c/em> and now \u003ca href=\"https://www.kqed.org/arts/13940387/the-zone-of-interest-movie-review\">\u003cem>The Zone of Interest\u003c/em>\u003c/a>, the disturbing study of a family living happily just outside the walls of Auschwitz, where the father is commandant. The short version? There’s no longer any reason to suspect that a film with subtitles won’t be nominated for best picture, which is a great development.\u003c/p>\n\u003cfigure id=\"attachment_13950779\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ij_dod_dtlr2_uhd_r709f_stills_230405.088296-1-_custom-454eb63e13f95f1d3be680076bcb27ac7f602a10-scaled-e1706033430838.jpg\" alt=\"An older white man wearing a distinctive hat sits in a vehicle looking worried. Behind him, a woman and tween child sit.\" width=\"1920\" height=\"803\">\u003cfigcaption class=\"wp-caption-text\">‘Indiana Jones and the Dial of Destiny’ starring Harrison Ford (above) brought composer John Williams his 54th Oscar nomination. \u003ccite>(Lucasfilm Ltd.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>John Williams and Thelma Schoonmaker set (or keep extending) records\u003c/h2>\n\u003cp>Williams, who has written much of the most beloved rousing movie music of the last 60 or so years, received his 54th nomination for the score of \u003cem>\u003ca href=\"https://www.kqed.org/arts/13930931/harrison-ford-gets-a-swashbuckling-sendoff-in-indiana-jones-and-the-dial-of-destiny\">Indiana Jones and the Dial of Destiny\u003c/a>\u003c/em>. It’s more nominations than any other living person has. And Schoonmaker, longtime collaborator of Martin Scorsese, became the most nominated editor ever when she was recognized for the ninth time, for his film \u003cem>Killers of the Flower Moon\u003c/em>. (She’s won for \u003cem>Raging Bull\u003c/em>, \u003cem>The Aviator\u003c/em> and \u003cem>The Departed\u003c/em>.) Both Williams and Schoonmaker are examples of essential collaborators without whom celebrated directors could not do their work, whether they’re making tragic epics or swashbuckling adventures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "dave-eggers-wins-top-childrens-literature-award-for-the-eyes-and-the-impossible",
"title": "Dave Eggers Wins Top Children’s Literature Award for ‘The Eyes and the Impossible’",
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"content": "\u003cp>The top awards for children’s literature in 2024 were \u003ca href=\"https://www.ala.unikron.com/\">announced Monday\u003c/a> at the American Library Association’s annual Youth Media Awards. Author Dave Eggers won the John Newbery Medal, which is given to the most distinguished American children’s book published the previous year, for his middle grade book \u003cem>The Eyes and the Impossible\u003c/em>, which was illustrated by Shawn Harris. Author and illustrator Vashti Harrison won the Randolph Caldecott Medal for the most distinguished American picture book for children, for her book \u003cem>Big\u003c/em>.\u003c/p>\n\u003cp>In an interview with \u003ca href=\"https://www.npr.org/2023/05/09/1175071465/author-dave-eggers-channels-a-stray-dog-for-his-new-book\">\u003cem>All Things Considered\u003c/em>\u003c/a> last May, Eggers said that writing from the voice of a stray dog, as he does in \u003cem>The Eyes and the Impossible\u003c/em>, was “the most sort of liberating and joyful kind of writing I’ve ever done.”\u003c/p>\n\u003cfigure id=\"attachment_13950701\" class=\"wp-caption aligncenter\" style=\"max-width: 1028px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950701\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM.png\" alt=\"A book cover featuring an illustration of a dog running through the woods.\" width=\"1028\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM.png 1028w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM-800x945.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM-1020x1205.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM-160x189.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM-768x907.png 768w\" sizes=\"(max-width: 1028px) 100vw, 1028px\">\u003cfigcaption class=\"wp-caption-text\">‘The Eyes and the Impossible.’ \u003ccite>(Knopf Books for Young Readers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harrison, in her own \u003ca href=\"https://www.npr.org/2023/05/02/1173477768/author-illustrator-vashti-harrison-wants-her-book-and-the-word-big-to-affirm-kid\">\u003cem>All Things Considered\u003c/em>\u003c/a> interview last May, said that the impetus for \u003cem>Big\u003c/em>, which follows a little girl growing up, was “to make a story that followed a child on a journey towards self-love.” Both \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=260\">\u003cem>The Eyes and the Impossible\u003c/em>\u003c/a> and \u003ca href=\"#ks/#year=2023&book=47\">\u003cem>Big \u003c/em>\u003c/a>were also named as two of NPR’s \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=260\">Books We Love\u003c/a> in 2023.\u003c/p>\n\u003cp>[aside postid='arts_13950449']Harrison is the first Black woman to win the Caldecott Medal; her book \u003cem>Big\u003c/em> was also awarded both Coretta Scott King author and illustrator honors on Monday as well.\u003c/p>\n\u003cp>Five other Newbery honor books were also named Monday: \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=7\">\u003cem>Eagle Drums\u003c/em>,\u003c/a> written and illustrated by Nasuġraq Rainey Hopson; \u003cem>Elf Dog and Owl Head\u003c/em>, written by M.T. Anderson and illustrated by Junyi Wu; \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=164\">\u003cem>Mexikid: A Graphic Memoir\u003c/em>, \u003c/a>written and illustrated by Pedro Martín; \u003cem>Simon Sort of Says\u003c/em>, written by Erin Bow; and \u003cem>The Many Assassinations of Samir, the Seller of Dreams\u003c/em>, written by Daniel Nayeri and illustrated by Daniel Miyares.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Four other books took Caldecott honors: \u003cem>In Every Life\u003c/em>, illustrated and written by Marla Frazee; \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=135\">\u003cem>Jovita Wore Pants: The Story of a Mexican Freedom Fighter\u003c/em>,\u003c/a> illustrated by Molly Mendoza and written by Aida Salazar; \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=325\">\u003cem>There Was a Party for Langston\u003c/em>,\u003c/a> illustrated by Jerome Pumphrey and Jarrett Pumphrey, and written by Jason Reynolds; and \u003cem>The Truth About Dragons\u003c/em>, illustrated by Hanna Cha, and written by Julie Leung.\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=Dave+Eggers+wins+Newbery%2C+Vashti+Harrison+wins+Caldecott+in+2024+kids%27+lit+prizes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "The San Francisco-based author won the John Newbery Medal for his tale about a stray dog.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The top awards for children’s literature in 2024 were \u003ca href=\"https://www.ala.unikron.com/\">announced Monday\u003c/a> at the American Library Association’s annual Youth Media Awards. Author Dave Eggers won the John Newbery Medal, which is given to the most distinguished American children’s book published the previous year, for his middle grade book \u003cem>The Eyes and the Impossible\u003c/em>, which was illustrated by Shawn Harris. Author and illustrator Vashti Harrison won the Randolph Caldecott Medal for the most distinguished American picture book for children, for her book \u003cem>Big\u003c/em>.\u003c/p>\n\u003cp>In an interview with \u003ca href=\"https://www.npr.org/2023/05/09/1175071465/author-dave-eggers-channels-a-stray-dog-for-his-new-book\">\u003cem>All Things Considered\u003c/em>\u003c/a> last May, Eggers said that writing from the voice of a stray dog, as he does in \u003cem>The Eyes and the Impossible\u003c/em>, was “the most sort of liberating and joyful kind of writing I’ve ever done.”\u003c/p>\n\u003cfigure id=\"attachment_13950701\" class=\"wp-caption aligncenter\" style=\"max-width: 1028px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950701\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM.png\" alt=\"A book cover featuring an illustration of a dog running through the woods.\" width=\"1028\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM.png 1028w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM-800x945.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM-1020x1205.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM-160x189.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM-768x907.png 768w\" sizes=\"(max-width: 1028px) 100vw, 1028px\">\u003cfigcaption class=\"wp-caption-text\">‘The Eyes and the Impossible.’ \u003ccite>(Knopf Books for Young Readers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harrison, in her own \u003ca href=\"https://www.npr.org/2023/05/02/1173477768/author-illustrator-vashti-harrison-wants-her-book-and-the-word-big-to-affirm-kid\">\u003cem>All Things Considered\u003c/em>\u003c/a> interview last May, said that the impetus for \u003cem>Big\u003c/em>, which follows a little girl growing up, was “to make a story that followed a child on a journey towards self-love.” Both \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=260\">\u003cem>The Eyes and the Impossible\u003c/em>\u003c/a> and \u003ca href=\"#ks/#year=2023&book=47\">\u003cem>Big \u003c/em>\u003c/a>were also named as two of NPR’s \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=260\">Books We Love\u003c/a> in 2023.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Harrison is the first Black woman to win the Caldecott Medal; her book \u003cem>Big\u003c/em> was also awarded both Coretta Scott King author and illustrator honors on Monday as well.\u003c/p>\n\u003cp>Five other Newbery honor books were also named Monday: \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=7\">\u003cem>Eagle Drums\u003c/em>,\u003c/a> written and illustrated by Nasuġraq Rainey Hopson; \u003cem>Elf Dog and Owl Head\u003c/em>, written by M.T. Anderson and illustrated by Junyi Wu; \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=164\">\u003cem>Mexikid: A Graphic Memoir\u003c/em>, \u003c/a>written and illustrated by Pedro Martín; \u003cem>Simon Sort of Says\u003c/em>, written by Erin Bow; and \u003cem>The Many Assassinations of Samir, the Seller of Dreams\u003c/em>, written by Daniel Nayeri and illustrated by Daniel Miyares.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Four other books took Caldecott honors: \u003cem>In Every Life\u003c/em>, illustrated and written by Marla Frazee; \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=135\">\u003cem>Jovita Wore Pants: The Story of a Mexican Freedom Fighter\u003c/em>,\u003c/a> illustrated by Molly Mendoza and written by Aida Salazar; \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=325\">\u003cem>There Was a Party for Langston\u003c/em>,\u003c/a> illustrated by Jerome Pumphrey and Jarrett Pumphrey, and written by Jason Reynolds; and \u003cem>The Truth About Dragons\u003c/em>, illustrated by Hanna Cha, and written by Julie Leung.\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=Dave+Eggers+wins+Newbery%2C+Vashti+Harrison+wins+Caldecott+in+2024+kids%27+lit+prizes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I try not to be too dogmatic these days about telling people that there are certain movies they should see only on the big screen. That said, if there is one movie right now that you should see in a theater if you can, it’s the transfixing new drama \u003cem>Inside the Yellow Cocoon Shell\u003c/em>, from the Vietnamese writer and director Phạm Thiên Ân.\u003c/p>\n\u003cp>It’s the kind of film that envelops you with its gorgeous images and hypnotic rhythms, and it requires close, wide-awake attention to work its peculiar magic. Give it that attention, and you may find it as overwhelming as I did — an experience that makes you feel as if you’ve been quietly transported to another world.\u003c/p>\n\u003cp>[aside postid='arts_13950482']The story begins in Saigon in 2018, at a bustling outdoor dining area next door to a soccer game. Amid the crowd, three young men are having a meal and some heavy spiritual conversation. Two of them talk about matters of faith and destiny, while a third one, named Thien, mostly remains silent and looks none too interested in the discussion. Suddenly, there’s a loud crash, and the camera pans sideways to reveal the wreckage of a fatal motorbike collision. Nearly everyone runs over to see if they can help — everyone, that is, except Thien, who remains at his table, lost in thought.\u003c/p>\n\u003cp>It’s as if Thien, who’s played by the actor Le Phong Vu, doesn’t realize yet that he’s the protagonist of this movie, or that his life is about to take a major swerve. A few hours later, Thien is informed that the woman killed in the accident was none other than his sister-in-law, Teresa. Is it some cruel coincidence that he was there when it happened, but showed such indifference? Was it an act of divine grace that spared the life of Teresa’s 5-year-old son, Dao, who survived the crash with barely a scrape?\u003c/p>\n\u003cp>Either way, Thien must deal with the fallout by temporarily taking care of his nephew. And so begins a mysterious journey into the Vietnamese countryside, where Thien and Dao attend memorial services for Teresa, who was an observant Catholic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along the way, Thien reunites with old friends, including an old flame who’s now a nun. He tries to find his brother, Teresa’s estranged husband, who apparently hasn’t been seen for years. But it gradually becomes clear that Thien isn’t just looking for a person. He’s lost, too — and now he’s searching for himself.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IqdAUaqbhmk\u003c/p>\n\u003cp>The beauty of \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is the way director Phạm invites us to search alongside Thien. Most of the movie is composed in long, unbroken takes, to quietly mesmerizing effect: By refusing to cut away or break his story into easily digestible segments, Phạm leaves you feeling as though you’re experiencing life through his characters’ eyes.\u003c/p>\n\u003cp>There’s one extraordinary shot that runs more than 20 minutes, in which Thien rides his bike down a dirt road, stops at the home of a village elder and goes inside for some conversation. You’re struck at first by the jaw-dropping virtuosity of the camerawork, but after a while, you forget about the technique and are simply caught up in the older man’s story. He talks about his lifelong efforts to perform acts of goodness and decency, in repentance for the violence he committed as a soldier during the Vietnam War.\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13940387']Inside the Yellow Cocoon Shell\u003c/em> is deeply invested in questions of good and evil, mortality and immortality. But while the movie offers a fascinating portrait of Vietnamese Christianity, unfolding in village homes crowded with Jesus paintings and figurines, it never suggests that the truth can be found within one religious tradition or doctrine. Taking in this movie, with its stunning landscapes and soundscapes, I was often reminded of the Thai filmmaker Apichatpong Weerasethakul, whose films, like \u003ca href=\"https://www.npr.org/2022/05/13/1098496509/memoria-is-a-marvelously-strange-sonic-detective-story\">\u003cem>Memoria\u003c/em> \u003c/a>or \u003cem>Syndromes and a Century\u003c/em>, are steeped in his Buddhist worldview.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Thien’s journey continues, the narrative seems to slip between past and present, dream and reality, in ways that are baffling but also intoxicating. What matters here, finally, isn’t whether Thien finds the answers to his questions; what matters is that, after so many years of apparent apathy, he’s asking those questions at all. \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is an entrancing work of art, but it’s also wise enough to leave its deepest mysteries unsolved.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Inside+the+Yellow+Cocoon+Shell%27+is+a+film+where+a+big+screen+makes+a+big+difference&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along the way, Thien reunites with old friends, including an old flame who’s now a nun. He tries to find his brother, Teresa’s estranged husband, who apparently hasn’t been seen for years. But it gradually becomes clear that Thien isn’t just looking for a person. He’s lost, too — and now he’s searching for himself.\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/IqdAUaqbhmk'\n title='//www.youtube.com/embed/IqdAUaqbhmk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The beauty of \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is the way director Phạm invites us to search alongside Thien. Most of the movie is composed in long, unbroken takes, to quietly mesmerizing effect: By refusing to cut away or break his story into easily digestible segments, Phạm leaves you feeling as though you’re experiencing life through his characters’ eyes.\u003c/p>\n\u003cp>There’s one extraordinary shot that runs more than 20 minutes, in which Thien rides his bike down a dirt road, stops at the home of a village elder and goes inside for some conversation. You’re struck at first by the jaw-dropping virtuosity of the camerawork, but after a while, you forget about the technique and are simply caught up in the older man’s story. He talks about his lifelong efforts to perform acts of goodness and decency, in repentance for the violence he committed as a soldier during the Vietnam War.\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>",
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"content": "\u003cp>Words like “important” and “vital” are thrown around possibly a little too much in film criticism. It’s not that we don’t mean it — it’s just that sometimes we (ok, I) can get a bit excited. And when watching and reviewing good films in real time, it’s impossible to know what is yet to come. Will there be something else that makes that superlative seem silly in retrospect? Often times, yes.\u003c/p>\n\u003cp>Ava DuVernay’s new film \u003cem>Origin\u003c/em> is that something else. It is a powerful and artistic interpretation of an academic book that was anything but an obvious candidate for a narrative feature.\u003c/p>\n\u003cp>[aside postid='arts_13858815']The book in question is\u003cem> Caste: The Origins of Our Discontents\u003c/em>, in which Pulitzer Prize-winning author Isabel Wilkerson offers an overriding theory about power and hierarchy and systemic dehumanization in social structures, connecting the Black experience in America to the Dalits of India and Jewish people in Nazi Germany. \u003cem>The New York Times\u003c/em> reviewer called it one of the most powerful non-fiction books he’d ever encountered and “the keynote nonfiction book of the American century thus far.”\u003c/p>\n\u003cp>That \u003cem>Caste\u003c/em> was appealing to DuVernay, who has made documentaries like \u003cem>13th\u003c/em>, connecting slavery to mass incarceration of Black men, is not surprising. What’s she’s done with it is. Instead of rehashing the facts of the book, DuVernay has turned \u003cem>Caste\u003c/em> into an investigative, fictionalized drama in which we follow the character Isabel Wilkerson as she puts the pieces together while her life crumbles.\u003c/p>\n\u003cp>With an unconventional structure, in which we are often transported to different stories in different times, in the American South, Nazi Germany and early 20th century India, \u003cem>Origin\u003c/em> is nonetheless alarmingly effective, a riveting and haunting journey to a kind of enlightenment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s27ETxdCUqw\u003c/p>\n\u003cp>Wilkerson is played beautifully by Aunjanue Ellis-Taylor, an actor deep enough to engage with the academic and intellectual inquiries of the film, and charismatic enough to make what sounds like homework absorbing. Hers is the kind of 360-degree Black woman that we don’t see leading films very often: She is at once confident and full of doubt and vulnerability, accomplished but searching, determined and still wary. And she’s unafraid to pursue her hunch that everyone, civilians and book editors alike, seems to be telling her isn’t worth it.\u003c/p>\n\u003cp>This is a character who is surrounded by love when we meet her, with a fairly perfect and supportive husband (Jon Bernthal), her aging mother Ruby (Emily Yancy) and a cousin/confidant in Marion (Niecy Nash-Betts). She is not immediately interested in an assignment about Trayvon Martin, and is a bit stuck knowing that whatever she does, she’ll have to give herself over fully to it. In \u003cem>Origin\u003c/em>, a push comes in the form of loss and her research takes on a vital urgency to, not to be too hyperbolic, figure out why everything is rotten before she too leaves the earth.\u003c/p>\n\u003cp>[aside postid='arts_13940387']DuVernay takes us into her findings as Wilkerson learns about a group of Harvard students, two Black, two white, who integrate themselves into a segregated Southern community to study it, a Nazi party member who fell in love with a Jewish woman, and an Indian intellectual who rose out of his lowly caste and advocated for Dalit rights. They feel a bit like different movies. But while it might not be the most elegantly stitched together anthology, it works on a gut level. DuVernay and Ellis-Taylor commit to the big swing, and audiences who give it a chance may find themselves changed — or at least a little more curious, a little more alert — because of it.\u003c/p>\n\u003cp>Is it premature to say that \u003cem>Origin\u003c/em> might just be DuVernay’s magnum opus? Well, perhaps. But hopefully it’s the start of a vibrant and bold new era of storytelling for her, with those pesky wrinkles in time firmly in the rearview mirror.\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>‘Origin’ opens in the Bay Area on Jan. 17, 2024. It is released nationwide on Jan. 19.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The book in question is\u003cem> Caste: The Origins of Our Discontents\u003c/em>, in which Pulitzer Prize-winning author Isabel Wilkerson offers an overriding theory about power and hierarchy and systemic dehumanization in social structures, connecting the Black experience in America to the Dalits of India and Jewish people in Nazi Germany. \u003cem>The New York Times\u003c/em> reviewer called it one of the most powerful non-fiction books he’d ever encountered and “the keynote nonfiction book of the American century thus far.”\u003c/p>\n\u003cp>That \u003cem>Caste\u003c/em> was appealing to DuVernay, who has made documentaries like \u003cem>13th\u003c/em>, connecting slavery to mass incarceration of Black men, is not surprising. What’s she’s done with it is. Instead of rehashing the facts of the book, DuVernay has turned \u003cem>Caste\u003c/em> into an investigative, fictionalized drama in which we follow the character Isabel Wilkerson as she puts the pieces together while her life crumbles.\u003c/p>\n\u003cp>With an unconventional structure, in which we are often transported to different stories in different times, in the American South, Nazi Germany and early 20th century India, \u003cem>Origin\u003c/em> is nonetheless alarmingly effective, a riveting and haunting journey to a kind of enlightenment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>DuVernay takes us into her findings as Wilkerson learns about a group of Harvard students, two Black, two white, who integrate themselves into a segregated Southern community to study it, a Nazi party member who fell in love with a Jewish woman, and an Indian intellectual who rose out of his lowly caste and advocated for Dalit rights. They feel a bit like different movies. But while it might not be the most elegantly stitched together anthology, it works on a gut level. DuVernay and Ellis-Taylor commit to the big swing, and audiences who give it a chance may find themselves changed — or at least a little more curious, a little more alert — because of it.\u003c/p>\n\u003cp>Is it premature to say that \u003cem>Origin\u003c/em> might just be DuVernay’s magnum opus? Well, perhaps. But hopefully it’s the start of a vibrant and bold new era of storytelling for her, with those pesky wrinkles in time firmly in the rearview mirror.\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>‘Origin’ opens in the Bay Area on Jan. 17, 2024. It is released nationwide on Jan. 19.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the third of \u003cem>The Godfather\u003c/em> movies, the aging Michael Corleone is trying to rein in his young nephew Vincent, a hothead who’s burning to murder some guy who crossed him. “Never hate your enemies,” Michael tells him sagely, “It clouds your judgment.”\u003c/p>\n\u003cp>This philosophy gets put to the test in \u003cem>Criminal Record\u003c/em>, an enjoyable new crime series on AppleTV+, about two smart, driven London cops who become archrivals. It stars two of the best British actors on TV: Cush Jumbo, whom you’ll know as Lucca Quinn on \u003ca href=\"https://www.npr.org/2016/05/09/477330290/7-years-later-good-wife-ends-as-it-began-with-betrayal-and-uncertainty\">\u003cem>The Good Wife\u003c/em>\u003c/a> and \u003cem>The Good Fight\u003c/em>, and Peter Capaldi, of \u003ca href=\"https://www.npr.org/2017/12/25/573415852/doctor-who-says-goodbye-to-peter-capaldi-as-show-prepares-for-first-female-docto\">\u003cem>Doctor Who\u003c/em>\u003c/a> and \u003cem>The Thick of It\u003c/em> fame. Their characters wage a battle that goes beyond the simply personal to touch on questions about the ethics, and politics, of police work.\u003c/p>\n\u003cp>[aside postid='arts_13940189']Jumbo plays Detective Sergeant June Lenker, a biracial woman in a largely white police station. She overhears an emergency call in which a terrified woman says that her boyfriend bragged about once killing another woman and getting away with it — the wrong man has been imprisoned for the crime. Taking this claim seriously, June checks the records and decides the victim of this injustice is a Black man named Errol Mathis.\u003c/p>\n\u003cp>Doing her due diligence, she visits the officer who handled the original case a decade ago. That’s Capaldi’s character, Det. Chief Inspector Daniel Hegarty, a man as self-contained and calculating as June is headlong and passionate. Bridling at her implication that he might’ve jailed an innocent man, he scoffs at her impulsiveness in reading so much into an anonymous call.\u003c/p>\n\u003cp>Naturally, the two take an instant dislike to one another, and over the next seven episodes, they wage guerrilla war. Convinced Hegarty is not telling the truth, June secretly throws herself into the Mathis case in ways that violate department protocol; meanwhile Hegarty uses his wiles — and dodgy underlings — to stop her from finding information that will cause him trouble. Knowing she’s over-eager, he places snares in her path to discredit her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G_sohSQWHvg\u003c/p>\n\u003cp>Like so many cop shows these days, \u003cem>Criminal Record\u003c/em> aspires to being more than an ordinary police procedural. To that end, both of its antagonists must deal with confusing personal lives. While Hegarty wrangles a troubled daughter and reckless cronies, June often feels stranded. At home, she has a nice white husband who doesn’t always see his own unconscious biases. At work, she’s treated with various degrees of bigotry by old-school white male cops; meanwhile, some fellow Black officers allege June is being favored because of her lighter skin.\u003c/p>\n\u003cp>Now, I’d like to be able to say that \u003cem>Criminal Record\u003c/em> offers the revelatory vividness of acclaimed hits like \u003ca href=\"https://www.npr.org/2023/05/23/1177647906/happy-valley-review\">\u003cem>Happy Valley\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\">\u003cem>Mare of Easttown\u003c/em>\u003c/a>, but, in fact, the show’s creator, Paul Rutman, doesn’t dig as deep as he should. He touches on tricky themes, like white supremacist cops, then drops them without fully playing out their implications.\u003c/p>\n\u003cp>[aside postid='arts_13940076']But the show is elevated by its leads. Jumbo is a charismatically sleek actress who’s sturdy enough to hold her own with Capaldi, a cagey old scene stealer who revels in the chance to play an unreadable tactician like Hegarty. Where Jumbo’s June carries her integrity like a flaming torch, it’s less clear what we’re to make of the hatchet-faced Hegarty, whose air of poised mastery feels like an attempt to contain chaos. He’s the more interesting character because we don’t know what makes him tick. Is he corrupt? Is he a racist who treated Mathis unjustly because he’s Black? Or could he simply be protecting his reputation for being a great detective?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As usually happens in crime stories, the climax is not wholly satisfying — the twists are too neatly tied. \u003cem>Criminal Record\u003c/em> hits its peak in the middle episodes when both June and Hegarty are at their most frazzled and devious. While hatred may indeed cloud a person’s judgment, a story is always more fun when its antagonists crackle with genuine dislike.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=High-power+detectives+clash+over+a+questionable+conviction+in+%27Criminal+Record%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Jumbo plays Detective Sergeant June Lenker, a biracial woman in a largely white police station. She overhears an emergency call in which a terrified woman says that her boyfriend bragged about once killing another woman and getting away with it — the wrong man has been imprisoned for the crime. Taking this claim seriously, June checks the records and decides the victim of this injustice is a Black man named Errol Mathis.\u003c/p>\n\u003cp>Doing her due diligence, she visits the officer who handled the original case a decade ago. That’s Capaldi’s character, Det. Chief Inspector Daniel Hegarty, a man as self-contained and calculating as June is headlong and passionate. Bridling at her implication that he might’ve jailed an innocent man, he scoffs at her impulsiveness in reading so much into an anonymous call.\u003c/p>\n\u003cp>Naturally, the two take an instant dislike to one another, and over the next seven episodes, they wage guerrilla war. Convinced Hegarty is not telling the truth, June secretly throws herself into the Mathis case in ways that violate department protocol; meanwhile Hegarty uses his wiles — and dodgy underlings — to stop her from finding information that will cause him trouble. Knowing she’s over-eager, he places snares in her path to discredit her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the show is elevated by its leads. Jumbo is a charismatically sleek actress who’s sturdy enough to hold her own with Capaldi, a cagey old scene stealer who revels in the chance to play an unreadable tactician like Hegarty. Where Jumbo’s June carries her integrity like a flaming torch, it’s less clear what we’re to make of the hatchet-faced Hegarty, whose air of poised mastery feels like an attempt to contain chaos. He’s the more interesting character because we don’t know what makes him tick. Is he corrupt? Is he a racist who treated Mathis unjustly because he’s Black? Or could he simply be protecting his reputation for being a great detective?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As usually happens in crime stories, the climax is not wholly satisfying — the twists are too neatly tied. \u003cem>Criminal Record\u003c/em> hits its peak in the middle episodes when both June and Hegarty are at their most frazzled and devious. While hatred may indeed cloud a person’s judgment, a story is always more fun when its antagonists crackle with genuine dislike.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=High-power+detectives+clash+over+a+questionable+conviction+in+%27Criminal+Record%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Six Takeaways From the Return of the Emmys",
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"content": "\u003cp>The 75th Emmy Awards offered up nothing in the way of real surprise; practically every prize went to the frontrunner. Perhaps the closest the night came to a moment worth an eyebrow-raise was the In Memoriam segment that included a mournful rendition of the \u003cem>Friends \u003c/em>theme song. Obviously, a very well-meaning attempt to recognize Matthew Perry, but that is not a song that translates into tears. The delay of this ceremony from September to now also meant that a lot of these frontrunners are fresh off Golden Globe and Critics’ Choice awards, making their wins seem even a little more obvious.\u003c/p>\n\u003cp>Still, like every Emmy night, there were some notable developments.\u003c/p>\n\u003cp>1. Three big shows dominated the major categories given out Monday night: \u003cem>Succession \u003c/em>in drama, \u003cem>The Bear \u003c/em>in comedy, and \u003cem>Beef \u003c/em>in limited series. All three won the big prize in their category as best series. All three won both directing and writing awards. All three won multiple acting awards — two for \u003cem>Beef \u003c/em>(its two leads), three for \u003cem>The Bear \u003c/em>(its three principals), and three for \u003cem>Succession \u003c/em>(three members of its gazillion-person cast). Only four wins out of the 21 handed out in these three categories went to any other shows: Jennifer Coolidge for \u003cem>The White Lotus\u003c/em>, Paul Walter Hauser for \u003cem>Black Bird\u003c/em>, Quinta Brunson for \u003cem>Abbott Elementary\u003c/em> and Niecy Nash-Betts for \u003cem>Dahmer — Monster: The Jeffrey Dahmer Story\u003c/em>. It seemed like maybe \u003cem>Ted Lasso \u003c/em>might be in the race for its (likely) final season, or \u003cem>The Last Of Us \u003c/em>might make a strong showing for its adaptation of a stunning video game. But it was not to be. This was a night for the favorites to fully dominate.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vbmxLOnrRbU\u003c/p>\n\u003cp>2. Coolidge’s win for her supporting work in \u003cem>The White Lotus \u003c/em>wasn’t unexpected, given that she won last year, but along with the rest of the night, it did come as a real blow to \u003cem>Better Call Saul \u003c/em>fans, myself included. Many people who hoped against hope that Rhea Seehorn would win the trophy in her last shot for the work she did as Kim Wexler. In fact, \u003cem>Saul\u003c/em> — a show a lot of its admirers think is better than \u003cem>Breaking Bad\u003c/em>, from which it was spun off — won no Emmys at all. It ends an acclaimed six-season run with 53 nominations and no awards. Perhaps that’s only fitting for a show that’s about a bottom-feeder and repeat loser like Jimmy McGill, but those who know, know. \u003cem>Especially\u003c/em> about Rhea Seehorn.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k_wz0SEH6Vg\u003c/p>\n\u003cp>3. In place of the orchestra playing people off to trim runaway speeches, they decided this year to have host Anthony Anderson’s mother stand up in the audience and start yelling at them. The moment she did it to Jennifer Coolidge, it was more than clear that this was going to be terribly awkward. The producers didn’t continue with it, fortunately. It’s not clear whether they ever intended to. Perhaps they didn’t, or perhaps they instantly realized it was not going to land the way they hoped. Seriously, just play the music.[aside postid='arts_13940099']\u003c/p>\n\u003cp>4. It’s often been the case that awards shows include a good number of Black actors as presenters, or as hosts like Anderson, but then don’t actually reward their work. Not so with these Emmys. Three of the first four women to take the stage as winners — Ayo Edebiri, Quinta Brunson, and Niecy Nash-Betts — were Black, and the ceremony’s look back at 75 years of Emmys included beloved icons like Arsenio Hall and Marla Gibbs as well as influential shows like \u003cem>Good Times\u003c/em> and \u003cem>Martin\u003c/em>. Anderson called it “like MLK Day and Juneteenth rolled into one.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jOJNgHgKnFs\u003c/p>\n\u003cp>5. Most coverage of the Emmys goes to a handful of major categories, but there’s always plenty going on up and down the list. One story of note: With a win for his special \u003cem>Elton John Live: Farewell from Dodger Stadium\u003c/em>, Elton John reached a made-up status that it’s hard not to admire anyway — the EGOT.\u003c/p>\n\u003cp>6. At the 75th Emmys, it made sense to do a lot of remembering of the TV of the past. Some of this worked really well, like getting to see old sets (or rough approximations of old sets) or reunions, like the one between Rob Reiner and Sally Struthers. Some of it was a little effortful, like Anderson doing a skit with Dylan McDermott about \u003cem>American Horror Story\u003c/em>. But on a generous curve of how “and now, we salute television!” stuff usually goes, it gets a solid B-plus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UANVcCKl_Ck\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=Six+takeaways+from+the+return+of+the+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 75th Emmy Awards offered up nothing in the way of real surprise; practically every prize went to the frontrunner. Perhaps the closest the night came to a moment worth an eyebrow-raise was the In Memoriam segment that included a mournful rendition of the \u003cem>Friends \u003c/em>theme song. Obviously, a very well-meaning attempt to recognize Matthew Perry, but that is not a song that translates into tears. The delay of this ceremony from September to now also meant that a lot of these frontrunners are fresh off Golden Globe and Critics’ Choice awards, making their wins seem even a little more obvious.\u003c/p>\n\u003cp>Still, like every Emmy night, there were some notable developments.\u003c/p>\n\u003cp>1. Three big shows dominated the major categories given out Monday night: \u003cem>Succession \u003c/em>in drama, \u003cem>The Bear \u003c/em>in comedy, and \u003cem>Beef \u003c/em>in limited series. All three won the big prize in their category as best series. All three won both directing and writing awards. All three won multiple acting awards — two for \u003cem>Beef \u003c/em>(its two leads), three for \u003cem>The Bear \u003c/em>(its three principals), and three for \u003cem>Succession \u003c/em>(three members of its gazillion-person cast). Only four wins out of the 21 handed out in these three categories went to any other shows: Jennifer Coolidge for \u003cem>The White Lotus\u003c/em>, Paul Walter Hauser for \u003cem>Black Bird\u003c/em>, Quinta Brunson for \u003cem>Abbott Elementary\u003c/em> and Niecy Nash-Betts for \u003cem>Dahmer — Monster: The Jeffrey Dahmer Story\u003c/em>. It seemed like maybe \u003cem>Ted Lasso \u003c/em>might be in the race for its (likely) final season, or \u003cem>The Last Of Us \u003c/em>might make a strong showing for its adaptation of a stunning video game. But it was not to be. This was a night for the favorites to fully dominate.\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/vbmxLOnrRbU'\n title='//www.youtube.com/embed/vbmxLOnrRbU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2. Coolidge’s win for her supporting work in \u003cem>The White Lotus \u003c/em>wasn’t unexpected, given that she won last year, but along with the rest of the night, it did come as a real blow to \u003cem>Better Call Saul \u003c/em>fans, myself included. Many people who hoped against hope that Rhea Seehorn would win the trophy in her last shot for the work she did as Kim Wexler. In fact, \u003cem>Saul\u003c/em> — a show a lot of its admirers think is better than \u003cem>Breaking Bad\u003c/em>, from which it was spun off — won no Emmys at all. It ends an acclaimed six-season run with 53 nominations and no awards. Perhaps that’s only fitting for a show that’s about a bottom-feeder and repeat loser like Jimmy McGill, but those who know, know. \u003cem>Especially\u003c/em> about Rhea Seehorn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>4. It’s often been the case that awards shows include a good number of Black actors as presenters, or as hosts like Anderson, but then don’t actually reward their work. Not so with these Emmys. Three of the first four women to take the stage as winners — Ayo Edebiri, Quinta Brunson, and Niecy Nash-Betts — were Black, and the ceremony’s look back at 75 years of Emmys included beloved icons like Arsenio Hall and Marla Gibbs as well as influential shows like \u003cem>Good Times\u003c/em> and \u003cem>Martin\u003c/em>. Anderson called it “like MLK Day and Juneteenth rolled into 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/jOJNgHgKnFs'\n title='//www.youtube.com/embed/jOJNgHgKnFs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>5. Most coverage of the Emmys goes to a handful of major categories, but there’s always plenty going on up and down the list. One story of note: With a win for his special \u003cem>Elton John Live: Farewell from Dodger Stadium\u003c/em>, Elton John reached a made-up status that it’s hard not to admire anyway — the EGOT.\u003c/p>\n\u003cp>6. At the 75th Emmys, it made sense to do a lot of remembering of the TV of the past. Some of this worked really well, like getting to see old sets (or rough approximations of old sets) or reunions, like the one between Rob Reiner and Sally Struthers. Some of it was a little effortful, like Anderson doing a skit with Dylan McDermott about \u003cem>American Horror Story\u003c/em>. But on a generous curve of how “and now, we salute television!” stuff usually goes, it gets a solid B-plus.\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/UANVcCKl_Ck'\n title='//www.youtube.com/embed/UANVcCKl_Ck'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Six+takeaways+from+the+return+of+the+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "For Dry January, Some Great Songs About Not Drinking",
"headTitle": "For Dry January, Some Great Songs About Not Drinking | KQED",
"content": "\u003cp>For those who’ve discovered that Dry January has been more excruciating than expected, we have help: a dive into great songs that explore sobriety.\u003c/p>\n\u003cp>“I’m coming up on five years sober so this is all extremely personal to me,” says music critic Sasha Frere-Jones, who worked at \u003cem>The New Yorker\u003c/em> for a decade. His 2023 memoir \u003cem>Earlier\u003c/em> reflects on his coming of age in New York City, his trajectory as a writer and musician, his family and his recovery from alcohol abuse.\u003c/p>\n\u003cp>[aside postid='arts_13940247']Even as someone actively working a 12 step program, Frere-Jones says his first instinct was to reject the idea of good songs about not drinking.\u003c/p>\n\u003cp>“Music sort of makes me drunk, and I don’t want to think about sobriety when I listen to music,” he says. “Don’t preach to me. Don’t tell me what to do. I don’t want that in my music.”\u003c/p>\n\u003cp>He associated drinking with certain artists he loved, such as Elliott Smith.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That was my guy,” he says. “I don’t think anyone has ever written about drinking better than Elliott.” In “\u003ca href=\"https://www.youtube.com/watch?v=n5g-91mwiNs\">Between The Bars”\u003c/a> Smith appears to be singing to the alcohol itself: “Drink up, baby, look at the stars / I’ll kiss you again, between the bars / When I’m where I’m seeing you there with your hands in the air / Waiting to finally be caught.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n5g-91mwiNs\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/12973085/two-decades-after-its-release-elliott-smiths-eitheror-is-still-both\">Elliott Smith\u003c/a>, along with musicians such as \u003ca href=\"https://www.kqed.org/pop/tag/amy-winehouse\">Amy Winehouse\u003c/a>, was known for music that seemed to romanticize abusing alcohol and drugs. It should go without saying that both of them are dead, after years of heartbreaking addiction.\u003c/p>\n\u003ch2>\u003cstrong>So what are the good sobriety songs?\u003c/strong>\u003c/h2>\n\u003cp>When asked to identify good songs about not drinking, Frere-Jones was at first stumped. Then he remembered \u003ca href=\"https://www.youtube.com/watch?v=gsAu-nOg3Tw\">“Straight Edge,” by Minor Threat, \u003c/a>the Washington, D.C., punk band founded in 1980 by Ian MacKaye. It mocks the predictability and commercialism of using drugs and alcohol to escape the world.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gsAu-nOg3Tw\u003c/p>\n\u003cp>“It’s such an amazing piece of music.” Frere-Jones says. “The reason we talk about straight edge punks is because of this song. And I am roughly the age that Ian MacKaye is. He sang it as a teenager and I heard it as a teenager.”\u003c/p>\n\u003cp>Many years later, during a horrible time of his life, Frere-Jones was in a hospital psychiatric ward when he first heard the song \u003ca href=\"https://www.youtube.com/watch?v=dG_BWKHRx8s\">“I’m Blessed,” by Charlie Wilson\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dG_BWKHRx8s\u003c/p>\n\u003cp>“We would all get together and they would play us songs,” he remembers. “And it was grim. A lot of people in that room were in extremely bad shape. And this amazing woman kept playing ‘I’m Blessed.’ And the first time I heard it, I was like, ‘Lady, this is a little too cheerful.’”\u003c/p>\n\u003cp>“But then I fell in love with the song,” he continues. “I had to get over myself and absorb it as a song. I know Charlie’s story and I think it is a sobriety song.”\u003c/p>\n\u003cp>[aside postid='arts_13940429']Charlie Wilson was the successful lead singer of the \u003ca href=\"https://www.npr.org/artists/1052300888/the-gap-band\">Gap Band\u003c/a>, known for crossover R&B hits in the late 1970s. Then he became addicted to alcohol, cocaine and crack.\u003c/p>\n\u003cp>“He ended up very unhoused,” Frere-Jones says. “He ended up in really, really dire, dire straits, like no-joke stuff. He suffered greatly when he was using.”\u003c/p>\n\u003cp>But the singer met a drug counselor he ended up marrying. He has remained sober for decades. “And he’s just so happy. [‘I’m Blessed’] definitely makes being sober sound pretty great,” Frere-Jones says.\u003c/p>\n\u003ch2>\u003cstrong>Sobriety as a state of mind\u003c/strong>\u003c/h2>\n\u003cp>He suggests the best known sobriety song may be \u003ca href=\"https://www.youtube.com/watch?v=nJ3ZM8FDBlg\">Pink’s “Sober.”\u003c/a> Her 2009 pop hit was also nominated for a Grammy. Pink has been open about her past substance abuse, and the song refers to it, with lyrics such as, “Why do I feel this party’s over?/ No pain inside/ You’re like perfection/ But how do I feel this good sober?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nJ3ZM8FDBlg\u003c/p>\n\u003cp>“I don’t think there’s anyone who has gotten sober who doesn’t understand every single word of this song,” Frere-Jones notes. “And it’s also really good because it goes back and forth, from the specific to the general. Also, I just love Pink and I think it’s catchy. I’m inclined to believe anything Pink says.”\u003c/p>\n\u003cp>Pink is among a surprising number of celebrity musicians, all women, who have written songs entitled “Sober” in the past few years. They include \u003ca href=\"https://www.youtube.com/watch?v=_jNWHOf5gpA\">Kelly Clarkson,\u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=vORIohoI4m0\"> Demi Lovato,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=Nj5o7kFH6u4\">Selena Gomez \u003c/a>and \u003ca href=\"https://www.youtube.com/watch?v=UvgigkaSCZA\">Lorde\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Be4ci589Guk\u003c/p>\n\u003cp>“I did not expect there to be so many songs simply called, ‘Sober,’” Frere-Jones admits. “A lot of them are using sober or sobriety as a metaphor or state of mind. It’s interesting, the gender divide. I mean, I don’t think we have that many male pop stars, to be frank. But the men don’t have songs called ‘Sober.’”\u003c/p>\n\u003cp>Frere-Jones suggests these musicians may be staring down the shame and stigma of addiction. “I feel like women are just, in general, stronger and more honest,” he says. “I’m not surprised that the women are more like, ‘Yeah, I got sober, here’s my song,’ and the guys have to be like, ‘What’s a clever way of saying this?’”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vORIohoI4m0&t=2s\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=vORIohoI4m0\">The Demi Lovato one\u003c/a> is really pretty raw,” he adds. “It almost isn’t a song. It’s like a Tumblr post, and I mean that in the most admiring way. I feel like her public [struggles] have been very agonized, really agitated and touching. And in some ways, [the song is] one of the most important because if it’s too euphemistic, people ignore it. Demi Lovato is just like saying it out loud, in plain language. And I think that’s really powerful.”\u003c/p>\n\u003ch2>\u003cstrong>Songs of recovery\u003c/strong>\u003c/h2>\n\u003cp>If you want to hear both men and women singing about sobriety, you will find that in country music. “Rap and country are two great American genres in that they contain the most evidence of daily life, and they often are where things show up the fastest,” Frere-Jones says. He describes Kenny Chesney’s 1998 hit, \u003ca href=\"https://www.youtube.com/watch?v=jqo0aVgKHRo\">“That’s Why I’m Here,” \u003c/a>as “the single most AA meeting song I’ve ever heard,” a joyful song about recovery.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jqo0aVgKHRo\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=zSmOvYzSeaQ\">Aerosmith’s “Amazing,”\u003c/a> by Steven Tyler, is another buoyant song about how sobriety feels.\u003c/p>\n\u003cp>“We say it in meetings and we don’t say it in the world enough,” Frere-Jones observes. “Like, bro, you’re not going to be white knuckling. You’re not thinking about what you’re missing. You’re living this incredibly juicy, pleasurable, amazing life.”\u003c/p>\n\u003cp>Maybe, he adds, sober musicians should be writing more songs about that.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zSmOvYzSeaQ\u003c/p>\n\u003cp>“There should be like, songs about having sex sober. There should be songs about ‘… and then I had all my money when I woke up in the morning ’cause I didn’t spend it.’ And complete gratitude.”\u003c/p>\n\u003cp>There is one sober song Sasha Frere-Jones especially wishes he could hear — the one Elliott Smith did not live long enough to write, about how good it feels to be sober and alive.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Edited for the radio and web by \u003c/em>\u003ca href=\"https://www.npr.org/people/349241810/rose-friedman\">\u003cem>Rose Friedman\u003c/em>\u003c/a>\u003cem>, produced for the web by \u003c/em>\u003ca href=\"https://www.npr.org/people/348743704/beth-novey\">\u003cem>Beth Novey\u003c/em>\u003c/a>\u003cem>.\u003c/em>\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=For+Dry+January%2C+we+ask+a+music+critic+for+great+songs+about+not+drinking&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Plenty of songs celebrate drinking. But what about music that finds joy in — well, not drinking? Music critic Sasha Frere-Jones reflects upon a few songs that have been meaningful to his sobriety.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For those who’ve discovered that Dry January has been more excruciating than expected, we have help: a dive into great songs that explore sobriety.\u003c/p>\n\u003cp>“I’m coming up on five years sober so this is all extremely personal to me,” says music critic Sasha Frere-Jones, who worked at \u003cem>The New Yorker\u003c/em> for a decade. His 2023 memoir \u003cem>Earlier\u003c/em> reflects on his coming of age in New York City, his trajectory as a writer and musician, his family and his recovery from alcohol abuse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even as someone actively working a 12 step program, Frere-Jones says his first instinct was to reject the idea of good songs about not drinking.\u003c/p>\n\u003cp>“Music sort of makes me drunk, and I don’t want to think about sobriety when I listen to music,” he says. “Don’t preach to me. Don’t tell me what to do. I don’t want that in my music.”\u003c/p>\n\u003cp>He associated drinking with certain artists he loved, such as Elliott Smith.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That was my guy,” he says. “I don’t think anyone has ever written about drinking better than Elliott.” In “\u003ca href=\"https://www.youtube.com/watch?v=n5g-91mwiNs\">Between The Bars”\u003c/a> Smith appears to be singing to the alcohol itself: “Drink up, baby, look at the stars / I’ll kiss you again, between the bars / When I’m where I’m seeing you there with your hands in the air / Waiting to finally be caught.”\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/n5g-91mwiNs'\n title='//www.youtube.com/embed/n5g-91mwiNs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/12973085/two-decades-after-its-release-elliott-smiths-eitheror-is-still-both\">Elliott Smith\u003c/a>, along with musicians such as \u003ca href=\"https://www.kqed.org/pop/tag/amy-winehouse\">Amy Winehouse\u003c/a>, was known for music that seemed to romanticize abusing alcohol and drugs. It should go without saying that both of them are dead, after years of heartbreaking addiction.\u003c/p>\n\u003ch2>\u003cstrong>So what are the good sobriety songs?\u003c/strong>\u003c/h2>\n\u003cp>When asked to identify good songs about not drinking, Frere-Jones was at first stumped. Then he remembered \u003ca href=\"https://www.youtube.com/watch?v=gsAu-nOg3Tw\">“Straight Edge,” by Minor Threat, \u003c/a>the Washington, D.C., punk band founded in 1980 by Ian MacKaye. It mocks the predictability and commercialism of using drugs and alcohol to escape 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/gsAu-nOg3Tw'\n title='//www.youtube.com/embed/gsAu-nOg3Tw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s such an amazing piece of music.” Frere-Jones says. “The reason we talk about straight edge punks is because of this song. And I am roughly the age that Ian MacKaye is. He sang it as a teenager and I heard it as a teenager.”\u003c/p>\n\u003cp>Many years later, during a horrible time of his life, Frere-Jones was in a hospital psychiatric ward when he first heard the song \u003ca href=\"https://www.youtube.com/watch?v=dG_BWKHRx8s\">“I’m Blessed,” by Charlie Wilson\u003c/a>.\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/dG_BWKHRx8s'\n title='//www.youtube.com/embed/dG_BWKHRx8s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We would all get together and they would play us songs,” he remembers. “And it was grim. A lot of people in that room were in extremely bad shape. And this amazing woman kept playing ‘I’m Blessed.’ And the first time I heard it, I was like, ‘Lady, this is a little too cheerful.’”\u003c/p>\n\u003cp>“But then I fell in love with the song,” he continues. “I had to get over myself and absorb it as a song. I know Charlie’s story and I think it is a sobriety song.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Charlie Wilson was the successful lead singer of the \u003ca href=\"https://www.npr.org/artists/1052300888/the-gap-band\">Gap Band\u003c/a>, known for crossover R&B hits in the late 1970s. Then he became addicted to alcohol, cocaine and crack.\u003c/p>\n\u003cp>“He ended up very unhoused,” Frere-Jones says. “He ended up in really, really dire, dire straits, like no-joke stuff. He suffered greatly when he was using.”\u003c/p>\n\u003cp>But the singer met a drug counselor he ended up marrying. He has remained sober for decades. “And he’s just so happy. [‘I’m Blessed’] definitely makes being sober sound pretty great,” Frere-Jones says.\u003c/p>\n\u003ch2>\u003cstrong>Sobriety as a state of mind\u003c/strong>\u003c/h2>\n\u003cp>He suggests the best known sobriety song may be \u003ca href=\"https://www.youtube.com/watch?v=nJ3ZM8FDBlg\">Pink’s “Sober.”\u003c/a> Her 2009 pop hit was also nominated for a Grammy. Pink has been open about her past substance abuse, and the song refers to it, with lyrics such as, “Why do I feel this party’s over?/ No pain inside/ You’re like perfection/ But how do I feel this good sober?”\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/nJ3ZM8FDBlg'\n title='//www.youtube.com/embed/nJ3ZM8FDBlg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I don’t think there’s anyone who has gotten sober who doesn’t understand every single word of this song,” Frere-Jones notes. “And it’s also really good because it goes back and forth, from the specific to the general. Also, I just love Pink and I think it’s catchy. I’m inclined to believe anything Pink says.”\u003c/p>\n\u003cp>Pink is among a surprising number of celebrity musicians, all women, who have written songs entitled “Sober” in the past few years. They include \u003ca href=\"https://www.youtube.com/watch?v=_jNWHOf5gpA\">Kelly Clarkson,\u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=vORIohoI4m0\"> Demi Lovato,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=Nj5o7kFH6u4\">Selena Gomez \u003c/a>and \u003ca href=\"https://www.youtube.com/watch?v=UvgigkaSCZA\">Lorde\u003c/a>.\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/Be4ci589Guk'\n title='//www.youtube.com/embed/Be4ci589Guk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I did not expect there to be so many songs simply called, ‘Sober,’” Frere-Jones admits. “A lot of them are using sober or sobriety as a metaphor or state of mind. It’s interesting, the gender divide. I mean, I don’t think we have that many male pop stars, to be frank. But the men don’t have songs called ‘Sober.’”\u003c/p>\n\u003cp>Frere-Jones suggests these musicians may be staring down the shame and stigma of addiction. “I feel like women are just, in general, stronger and more honest,” he says. “I’m not surprised that the women are more like, ‘Yeah, I got sober, here’s my song,’ and the guys have to be like, ‘What’s a clever way of saying this?’”\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/vORIohoI4m0'\n title='//www.youtube.com/embed/vORIohoI4m0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=vORIohoI4m0\">The Demi Lovato one\u003c/a> is really pretty raw,” he adds. “It almost isn’t a song. It’s like a Tumblr post, and I mean that in the most admiring way. I feel like her public [struggles] have been very agonized, really agitated and touching. And in some ways, [the song is] one of the most important because if it’s too euphemistic, people ignore it. Demi Lovato is just like saying it out loud, in plain language. And I think that’s really powerful.”\u003c/p>\n\u003ch2>\u003cstrong>Songs of recovery\u003c/strong>\u003c/h2>\n\u003cp>If you want to hear both men and women singing about sobriety, you will find that in country music. “Rap and country are two great American genres in that they contain the most evidence of daily life, and they often are where things show up the fastest,” Frere-Jones says. He describes Kenny Chesney’s 1998 hit, \u003ca href=\"https://www.youtube.com/watch?v=jqo0aVgKHRo\">“That’s Why I’m Here,” \u003c/a>as “the single most AA meeting song I’ve ever heard,” a joyful song about recovery.\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/jqo0aVgKHRo'\n title='//www.youtube.com/embed/jqo0aVgKHRo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=zSmOvYzSeaQ\">Aerosmith’s “Amazing,”\u003c/a> by Steven Tyler, is another buoyant song about how sobriety feels.\u003c/p>\n\u003cp>“We say it in meetings and we don’t say it in the world enough,” Frere-Jones observes. “Like, bro, you’re not going to be white knuckling. You’re not thinking about what you’re missing. You’re living this incredibly juicy, pleasurable, amazing life.”\u003c/p>\n\u003cp>Maybe, he adds, sober musicians should be writing more songs about that.\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/zSmOvYzSeaQ'\n title='//www.youtube.com/embed/zSmOvYzSeaQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“There should be like, songs about having sex sober. There should be songs about ‘… and then I had all my money when I woke up in the morning ’cause I didn’t spend it.’ And complete gratitude.”\u003c/p>\n\u003cp>There is one sober song Sasha Frere-Jones especially wishes he could hear — the one Elliott Smith did not live long enough to write, about how good it feels to be sober and alive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A woman wakes up in the middle of a country road in her nightgown, surrounded by green fields and a group of curious cows. She walks home in the freezing morning air, barefoot and bloody, only to enter her living room and find a painting of Jesus with a kitchen knife driven through one eye. (“That’s not good,” she mumbles to herself. “Sorry Jesus.”) Moments later, the woman is stunned and horrified to discover a dead body in her home. As a chronic sleepwalker she has no idea how it got there.\u003c/p>\n\u003cp>These are the striking opening scenes of new six-part Showtime/Paramount+ series, \u003cem>The Woman in the Wall\u003c/em>. (The show originally aired in the U.K. last summer on BBC One.) The woman at the center of the chaos is Lorna Brady, played with a jagged rawness by \u003cem>The Affair\u003c/em>’s Ruth Wilson. Lorna lives in a small (fictional) Irish town named Kilkinure, where she works as a seamstress. She also lives on the edge of dysfunction; she’s so overwhelmed by the emotional and mental fallout of former traumas that they violently erupt from her while she sleeps. Lorna’s anguish stems from being one of a handful of women in town who survived a local Magdalene laundry.\u003c/p>\n\u003cp>[aside postid='arts_13940112']For those unfamiliar with Ireland’s Magdalene laundries, \u003cem>The Woman in the Wall\u003c/em> offers a fast and deeply effective education. Some real-life history: Between 1767 and 1996, the Magdalene laundries (originally “asylums”), run by Catholic nuns, took in girls across Ireland who were considered somehow wayward. These young women and children were forced into unpaid work in grueling conditions, denied a formal education and deprived of many basic necessities. Some of these girls were single and pregnant, some were mentally ill, and others still were victims of sexual abuse. Babies born in the laundries were routinely taken from their mothers and adopted out without consent. \u003ca href=\"https://www.bbc.com/news/world-europe-21510281\">It took until 2013 for an Irish prime minister to formally apologize to survivors\u003c/a>.\u003c/p>\n\u003cp>In \u003cem>The Woman in the Wall\u003c/em>, the women who survived torturous adolescences in those institutions are now living with the scars of lost childhoods, missing children and years of unsupported grief. Each is isolated and destabilized by their own pain, but none quite so visibly as Lorna. After a priest involved with the laundry, Father Percy Sheehan, is murdered in Dublin and his abandoned car shows up in Kilkinure, a detective arrives in town with a lot of questions for the women — and some laundry-related agonies of his own.\u003c/p>\n\u003cp>Detective Sergeant Colman Akande (played by Daryl McCormack with an imposing vulnerability) quickly begins to suspect that Lorna had something to do with Father Percy’s murder. Delightfully, the compelling cat and mouse game that ensues between them spirals into ever-more-unpredictable territory as the series progresses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pl4vuGH2ljk\u003c/p>\n\u003cp>\u003cem>The Woman in the Wall\u003c/em> is a twisty, occasionally harrowing series that starts with two whodunits, but ultimately presents a multitude of mysteries to be unraveled. As a crime thriller, it is captivatingly paced. As a personal drama, it is empathetically and realistically drawn. But the real power at the heart of \u003cem>The Woman in the Wall\u003c/em> is its roots in real, heartrending events that Ireland continues to grapple with today.\u003c/p>\n\u003cp>The scale of the damage wrought by the Magdalene laundries is almost impossible to grasp in a theoretical sense. What \u003cem>The Woman in the Wall\u003c/em> does so well is humanize the women and children caught up in that cruel system. It doesn’t matter that these are fictional characters — everything that happens to them in the series rings true. Compounding that realism is the sense of shame and silence that hangs over Kilkinure’s entire community throughout the show. The local Garda’s willfully bumbling behavior in the present reflects previous decades of neglect. So, so many turned a blind eye to evil, or worse, were complicit.\u003c/p>\n\u003cp>[aside postid='arts_13939982']\u003cem>The Woman in the Wall\u003c/em> is not the first project that has attempted to capture the enormity of the suffering caused by the Magdalene laundries. The 2002 movie \u003ca href=\"https://www.imdb.com/title/tt0318411/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_the%2520magdalene\">\u003cem>The Magdalene Sisters\u003c/em>\u003c/a> was a solid attempt to shine a light on those hidden chapters of Irish history. In 2009, the documentary \u003ca href=\"https://www.youtube.com/watch?v=Y4VAdN7HaxQ\">\u003cem>The Forgotten Maggies\u003c/em>\u003c/a> prompted a furor in Ireland and provided testimonies that likely inspired some of the details in this series.\u003c/p>\n\u003cp>Though it takes some creative liberties, the manner in which \u003cem>The Woman in the Wall\u003c/em> unfolds speaks to just how complex and painful it has been to unravel and expose the depravity of what went on in the religious institutions at the center of this story. The series also, importantly, stands as a pertinent reminder of what happens when pregnant people are robbed of their own bodily autonomy. It’s not always an easy watch, but \u003cem>The Woman in the Wall\u003c/em> is consistently impossible to look away from — a degree of attention Ireland’s real-life laundry survivors have long deserved.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003cem>‘The Woman in the Wall’ begins streaming on Showtime on Jan. 19. Paramount+ subscribers with a Showtime add-on can also view it starting Jan. 19.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pl4vuGH2ljk'\n title='//www.youtube.com/embed/pl4vuGH2ljk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Woman in the Wall\u003c/em> is a twisty, occasionally harrowing series that starts with two whodunits, but ultimately presents a multitude of mysteries to be unraveled. As a crime thriller, it is captivatingly paced. As a personal drama, it is empathetically and realistically drawn. But the real power at the heart of \u003cem>The Woman in the Wall\u003c/em> is its roots in real, heartrending events that Ireland continues to grapple with today.\u003c/p>\n\u003cp>The scale of the damage wrought by the Magdalene laundries is almost impossible to grasp in a theoretical sense. What \u003cem>The Woman in the Wall\u003c/em> does so well is humanize the women and children caught up in that cruel system. It doesn’t matter that these are fictional characters — everything that happens to them in the series rings true. Compounding that realism is the sense of shame and silence that hangs over Kilkinure’s entire community throughout the show. The local Garda’s willfully bumbling behavior in the present reflects previous decades of neglect. So, so many turned a blind eye to evil, or worse, were complicit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Woman in the Wall\u003c/em> is not the first project that has attempted to capture the enormity of the suffering caused by the Magdalene laundries. The 2002 movie \u003ca href=\"https://www.imdb.com/title/tt0318411/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_the%2520magdalene\">\u003cem>The Magdalene Sisters\u003c/em>\u003c/a> was a solid attempt to shine a light on those hidden chapters of Irish history. In 2009, the documentary \u003ca href=\"https://www.youtube.com/watch?v=Y4VAdN7HaxQ\">\u003cem>The Forgotten Maggies\u003c/em>\u003c/a> prompted a furor in Ireland and provided testimonies that likely inspired some of the details in this series.\u003c/p>\n\u003cp>Though it takes some creative liberties, the manner in which \u003cem>The Woman in the Wall\u003c/em> unfolds speaks to just how complex and painful it has been to unravel and expose the depravity of what went on in the religious institutions at the center of this story. The series also, importantly, stands as a pertinent reminder of what happens when pregnant people are robbed of their own bodily autonomy. It’s not always an easy watch, but \u003cem>The Woman in the Wall\u003c/em> is consistently impossible to look away from — a degree of attention Ireland’s real-life laundry survivors have long deserved.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003cem>‘The Woman in the Wall’ begins streaming on Showtime on Jan. 19. Paramount+ subscribers with a Showtime add-on can also view it starting Jan. 19.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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},
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}
},
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"id": "bbc-world-service",
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"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",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"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",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"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": {
"site": "radio",
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},
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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": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "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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},
"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",
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"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": {
"site": "news",
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"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.",
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