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"content": "\u003cp>Deep into the run of the new series \u003cem>Mr. & Mrs. Smith\u003c/em>, John and Jane (Donald Glover and Maya Erskine), spies and partners, are partaking in a foot chase. You know, like couples do. She is all in black, in the manner of a classic operative on casual Friday: smart tailored pants, a tank top with a short jacket, practical flat shoes. A simple gold pendant glints under her throat, and her long, dark hair hangs loose. He is all in white: the snug pants of a guy who works out, and a close-fit turtleneck that looks so soft and luscious you could put a scoop of it on top of a slice of pie. His sandy, ankle-high shoes and handsome short beard are photoshoot ready, but he is working.\u003c/p>\n\u003cp>They are running full-out, dodging pedestrians, then flying up sets of stairs. Their work is shady, so they evade the police. They pause now and then to fight when they have to, and then they go on.\u003c/p>\n\u003cp>It’s \u003cem>cool\u003c/em>.\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13951349']\u003c/em>It’s not cool like \u003cem>great\u003c/em>, not cool like \u003cem>nifty\u003c/em>, not cool like \u003cem>terrific\u003c/em>. It’s cool like Cary Grant if he ever sprinted. Cool like Pam Grier, or like Steve McQueen without the bike, maybe Shaft if he had his own character-driven cable half-hour that raised eyebrows when the Emmys called it a comedy.\u003c/p>\n\u003cp>\u003cem>Mr. & Mrs. Smith\u003c/em> was created by Glover with Francesca Sloane, a writer on \u003cem>Atlanta \u003c/em>and \u003cem>Fargo\u003c/em>, after the departure of his original collaborator, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-news/phoebe-waller-bridge-amazon-deal-exiting-mr-and-mrs-smith-series-1235524838/\">Phoebe Waller-Bridge\u003c/a>. As a side note, it’s a fascinating exercise imagining what that version might have looked like, a joint venture between those two idiosyncratic talents who have both already had \u003ca href=\"https://www.rottentomatoes.com/tv/fleabag\">great success in\u003c/a> signature projects that rely heavily on their singular voices. Unlike Sloane’s, Waller-Bridge’s career isn’t linked to his; they would have met as something like industry equals. It’s striking, and maybe a little bit darkly funny, that Waller-Bridge likened the collaboration to a marriage that didn’t work out, given the premise. It’s nice to hope no one got hurt, and given what a satisfying final project Glover and Sloane have created, easy to chalk it up to the complexities of partnering for a particular job. Sometimes it works out, sometimes you burn hot and then flame out, and sometimes you wind up … well, wherever you wind up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CZ0B22z22pI\u003c/p>\n\u003cp>The series is loosely based on the 2005 film of the same name that’s probably more famous as a \u003ca href=\"https://ew.com/article/2005/05/30/tabloid-drama-behind-mr-mrs-smith/\">chapter in the Brad Pitt and Angelina Jolie story\u003c/a> than as a film. “Loosely,” here, means that only the barest bones of the premise — “sexy married spies” — survive. In this version, John and Jane (Glover and Erskine) are strangers who have been matched by the secretive agency that employs them both, sending them on missions that they often don’t even understand: they have to follow this person or deliver this package or tap that phone. Their names are not John and Jane Smith, but they have agreed to abandon their true identities and pretend to be a real married couple, an efficient pair that can work together for the benefit of their reclusive boss.\u003c/p>\n\u003cp>Some of the time, this is a mission-of-the-week show in which the backdrop for the adventure changes shape and the mood shifts. There are those chases on city streets, but there is also (how could there not be?) a fancy gala where they dress up and are impossibly glamorous. Red dress, check. Tux, check (with a twist, you’ll see). There is a trip to a snowy paradise in the Italian Dolomites, so that they can ride a ski lift together, wear their hottest winter gear, and be colorful splashes on what look like endless white mountains. There’s Lake Como. There had to be Lake Como, didn’t there?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AsaMWxppznk\u003c/p>\n\u003cp>\u003cem>Mr. & Mrs. Smith\u003c/em> also uses a specific idea to build each episode, as \u003cem>Atlanta \u003c/em>does, rather than treating the season only as a segmented linear plot. One is structured around couples’ therapy. One is a dinner party story where they meet and befriend another couple. There’s an installment where Jane feels threatened by another woman in a couple of different ways, which plays out largely through their conversations with her.\u003c/p>\n\u003cp>[aside postid='arts_13951126']It’s an incisive — and sometimes sad — character study of these two messy people who take a quick liking to each other in the passionate, limited, fearful, lustful and precarious way that makes sense to them. It’s not clear whether a healthy relationship can possibly happen for Jane and John, and it’s certainly not clear whether having one would be a good idea.\u003c/p>\n\u003cp>But even with the scenery and style, this is the engine of the show: the bewitching chemistry, which is sexy and comic but also dramatic and emotional, between Glover and Erskine. In a funny early scene when their attraction is new but evident, he appears without his shirt on, and she comments impassively: “You lost your shirt.” A minute later, he starts nervously explaining why he doesn’t have a shirt on, which takes away from his attempts to make it seem like he just \u003cem>happens \u003c/em>not to have a shirt on.\u003c/p>\n\u003cfigure id=\"attachment_13951376\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951376\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_220624_leedav_00080rc_3000_wide-33b354cb21f5017cb643d1076483fede18ed7cce-scaled-e1706818592426.jpg\" alt=\"A muscular and shirtless Black man.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Donald Glover as John Smith. \u003ccite>(David Lee/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He has been caught in a vulnerable moment of vanity that illuminates maybe the biggest difference between them when they’re getting to know each other: they’re both very attractive, but she doesn’t preen at him the way he sometimes does at her; they approach attraction differently. He’s cool but would prefer to be warm; she’s cool but would prefer to be cold. It’s an intriguing dynamic, and it shifts several times over these eight well-paced episodes. Who is confident and who is not, both in the relationship and at work, is a question that takes some smart turns.\u003c/p>\n\u003cp>[aside postid='arts_13951218']Both stars slip smoothly into this mode, the action-romcom, even though it’s different from their best-known work. Glover has played true goofballs (\u003cem>Community\u003c/em>), and on \u003cem>Atlanta\u003c/em>, his central character of Earn was uncertain and often ambivalent. John’s slick layer of confidence, even though it covers insecurities and unrealized dreams, calls on different skills, as does the frequency with which you see him get in fights.\u003c/p>\n\u003cp>Erskine’s breakthrough with mainstream (or mainstream-ish) audiences was \u003cem>PEN15\u003c/em>, an \u003ca href=\"https://www.npr.org/2020/09/20/913969600/pen15-is-back-and-girlhood-is-still-painfully-awkward\">inventive show\u003c/a> in which she and Anna Konkle played 13-year-olds going through the pains of adolescence, surrounded by actually adolescent actors. A lot of the pain of \u003cem>PEN15 \u003c/em>was driven by her awkwardness, her \u003cem>lack \u003c/em>of cool. But Jane is constantly sneaking through houses and, yes, running through the streets, and Erskine seems at home here, too.\u003c/p>\n\u003cp>Alongside our main characters, you’ll see a roster of guest stars in larger and smaller roles that rivals \u003ca href=\"https://www.npr.org/2023/01/25/1151052867/poker-face-review-natasha-lyonne-rian-johnson\">\u003cem>Poker Face\u003c/em>\u003c/a> for its marvelous abundance that’s almost ostentatious: John Turturro, Michaela Coel, Sarah Paulson, Parker Posey! Sharon Horgan, Alexander Skarsgård! Ron Perlman! Paul Dano! It just keeps on going, and they all seem to be having a spectacularly good time. Dano, in particular, is an actor who can be sweet or wicked, and who can be creepy or winning, which makes him perfect for this story in which it’s hard to say, ever, who anybody really is.\u003c/p>\n\u003cfigure id=\"attachment_13951377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_220926_leedav_00244rc_3000_wide-a5694ae72f8968e805b7afa3f26c04dd6be4c561-scaled-e1706818669817.jpg\" alt=\"A Asian woman stands n a kitchen holding up a large automatic weapon.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Maya Erskine plays Jane, who is not to be trifled with. \u003ccite>(David Lee/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What a delight to watch something smart and deeply felt that’s also so fizzy and funny. And on top of that, it’s stylish and great-looking. It’s shot like the inventive prestige comedy-drama it often is; Hiro Murai, whose bona fides from \u003ca href=\"https://www.npr.org/2016/09/17/494390868/donald-glover-explores-a-surreal-feel-in-atlanta\">\u003cem>Atlanta\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2023/04/14/1169643470/barry-season-4-review-hbo-bill-hader\">\u003cem>Barry \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2023/06/23/1184000989/the-bear-season-2-review\">\u003cem>The Bear\u003c/em>\u003c/a> couldn’t be more persuasive, directs the first two episodes. But in the best way, it also looks a little like a cologne ad, or like a retro heist movie. You may come away moved or amused, and you may also come away trying to source John’s cozy shawl-collared jacket.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s hard to say whether they want a second season; the door is left open … ish? It depends, perhaps, on your capacity for optimism. It won’t be incomplete without one; that’s the most important thing. It’s the nature of partnerships, no? Sometimes they last, and sometimes they don’t, and sometimes the book closes even though it could have continued. And that, too, can depend on whether you believe hard enough.\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=%27Mr.+%26+Mrs.+Smith%27+are+back+%E2%80%94+so+are+the+fights+and+bewitching+on-screen+chemistry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\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/CZ0B22z22pI'\n title='//www.youtube.com/embed/CZ0B22z22pI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The series is loosely based on the 2005 film of the same name that’s probably more famous as a \u003ca href=\"https://ew.com/article/2005/05/30/tabloid-drama-behind-mr-mrs-smith/\">chapter in the Brad Pitt and Angelina Jolie story\u003c/a> than as a film. “Loosely,” here, means that only the barest bones of the premise — “sexy married spies” — survive. In this version, John and Jane (Glover and Erskine) are strangers who have been matched by the secretive agency that employs them both, sending them on missions that they often don’t even understand: they have to follow this person or deliver this package or tap that phone. Their names are not John and Jane Smith, but they have agreed to abandon their true identities and pretend to be a real married couple, an efficient pair that can work together for the benefit of their reclusive boss.\u003c/p>\n\u003cp>Some of the time, this is a mission-of-the-week show in which the backdrop for the adventure changes shape and the mood shifts. There are those chases on city streets, but there is also (how could there not be?) a fancy gala where they dress up and are impossibly glamorous. Red dress, check. Tux, check (with a twist, you’ll see). There is a trip to a snowy paradise in the Italian Dolomites, so that they can ride a ski lift together, wear their hottest winter gear, and be colorful splashes on what look like endless white mountains. There’s Lake Como. There had to be Lake Como, didn’t there?\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AsaMWxppznk'\n title='//www.youtube.com/embed/AsaMWxppznk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Mr. & Mrs. Smith\u003c/em> also uses a specific idea to build each episode, as \u003cem>Atlanta \u003c/em>does, rather than treating the season only as a segmented linear plot. One is structured around couples’ therapy. One is a dinner party story where they meet and befriend another couple. There’s an installment where Jane feels threatened by another woman in a couple of different ways, which plays out largely through their conversations with her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s an incisive — and sometimes sad — character study of these two messy people who take a quick liking to each other in the passionate, limited, fearful, lustful and precarious way that makes sense to them. It’s not clear whether a healthy relationship can possibly happen for Jane and John, and it’s certainly not clear whether having one would be a good idea.\u003c/p>\n\u003cp>But even with the scenery and style, this is the engine of the show: the bewitching chemistry, which is sexy and comic but also dramatic and emotional, between Glover and Erskine. In a funny early scene when their attraction is new but evident, he appears without his shirt on, and she comments impassively: “You lost your shirt.” A minute later, he starts nervously explaining why he doesn’t have a shirt on, which takes away from his attempts to make it seem like he just \u003cem>happens \u003c/em>not to have a shirt on.\u003c/p>\n\u003cfigure id=\"attachment_13951376\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951376\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_220624_leedav_00080rc_3000_wide-33b354cb21f5017cb643d1076483fede18ed7cce-scaled-e1706818592426.jpg\" alt=\"A muscular and shirtless Black man.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Donald Glover as John Smith. \u003ccite>(David Lee/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He has been caught in a vulnerable moment of vanity that illuminates maybe the biggest difference between them when they’re getting to know each other: they’re both very attractive, but she doesn’t preen at him the way he sometimes does at her; they approach attraction differently. He’s cool but would prefer to be warm; she’s cool but would prefer to be cold. It’s an intriguing dynamic, and it shifts several times over these eight well-paced episodes. Who is confident and who is not, both in the relationship and at work, is a question that takes some smart turns.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Both stars slip smoothly into this mode, the action-romcom, even though it’s different from their best-known work. Glover has played true goofballs (\u003cem>Community\u003c/em>), and on \u003cem>Atlanta\u003c/em>, his central character of Earn was uncertain and often ambivalent. John’s slick layer of confidence, even though it covers insecurities and unrealized dreams, calls on different skills, as does the frequency with which you see him get in fights.\u003c/p>\n\u003cp>Erskine’s breakthrough with mainstream (or mainstream-ish) audiences was \u003cem>PEN15\u003c/em>, an \u003ca href=\"https://www.npr.org/2020/09/20/913969600/pen15-is-back-and-girlhood-is-still-painfully-awkward\">inventive show\u003c/a> in which she and Anna Konkle played 13-year-olds going through the pains of adolescence, surrounded by actually adolescent actors. A lot of the pain of \u003cem>PEN15 \u003c/em>was driven by her awkwardness, her \u003cem>lack \u003c/em>of cool. But Jane is constantly sneaking through houses and, yes, running through the streets, and Erskine seems at home here, too.\u003c/p>\n\u003cp>Alongside our main characters, you’ll see a roster of guest stars in larger and smaller roles that rivals \u003ca href=\"https://www.npr.org/2023/01/25/1151052867/poker-face-review-natasha-lyonne-rian-johnson\">\u003cem>Poker Face\u003c/em>\u003c/a> for its marvelous abundance that’s almost ostentatious: John Turturro, Michaela Coel, Sarah Paulson, Parker Posey! Sharon Horgan, Alexander Skarsgård! Ron Perlman! Paul Dano! It just keeps on going, and they all seem to be having a spectacularly good time. Dano, in particular, is an actor who can be sweet or wicked, and who can be creepy or winning, which makes him perfect for this story in which it’s hard to say, ever, who anybody really is.\u003c/p>\n\u003cfigure id=\"attachment_13951377\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/mams_s1_ut_1_220926_leedav_00244rc_3000_wide-a5694ae72f8968e805b7afa3f26c04dd6be4c561-scaled-e1706818669817.jpg\" alt=\"A Asian woman stands n a kitchen holding up a large automatic weapon.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Maya Erskine plays Jane, who is not to be trifled with. \u003ccite>(David Lee/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What a delight to watch something smart and deeply felt that’s also so fizzy and funny. And on top of that, it’s stylish and great-looking. It’s shot like the inventive prestige comedy-drama it often is; Hiro Murai, whose bona fides from \u003ca href=\"https://www.npr.org/2016/09/17/494390868/donald-glover-explores-a-surreal-feel-in-atlanta\">\u003cem>Atlanta\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2023/04/14/1169643470/barry-season-4-review-hbo-bill-hader\">\u003cem>Barry \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2023/06/23/1184000989/the-bear-season-2-review\">\u003cem>The Bear\u003c/em>\u003c/a> couldn’t be more persuasive, directs the first two episodes. But in the best way, it also looks a little like a cologne ad, or like a retro heist movie. You may come away moved or amused, and you may also come away trying to source John’s cozy shawl-collared jacket.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s hard to say whether they want a second season; the door is left open … ish? It depends, perhaps, on your capacity for optimism. It won’t be incomplete without one; that’s the most important thing. It’s the nature of partnerships, no? Sometimes they last, and sometimes they don’t, and sometimes the book closes even though it could have continued. And that, too, can depend on whether you believe hard enough.\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=%27Mr.+%26+Mrs.+Smith%27+are+back+%E2%80%94+so+are+the+fights+and+bewitching+on-screen+chemistry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "New Series ‘Genius: MLK/X’ Recognizes Both Men’s Civil Rights Contributions",
"headTitle": "New Series ‘Genius: MLK/X’ Recognizes Both Men’s Civil Rights Contributions | KQED",
"content": "\u003cp>Much has been written about the one-and-only time the Rev. Martin Luther King Jr. and Malcolm X met. It was on March 26, 1964, and the two civil rights leaders were both in Washington for a Senate debate on the Civil Rights Act.\u003c/p>\n\u003cp>The moment is also depicted in the new installment of National Geographic’s \u003cem>Genius\u003c/em> anthology series called \u003cem>Genius: MLK /X\u003c/em>, premiering Thursday. This is the fourth series.\u003c/p>\n\u003cp>[aside postid='arts_13823377']Kelvin Harrison Jr. (King) and Aaron Pierre (Malcolm X) now can be at ease about being scheduled to shoot the scene on the first day of filming. At the time, it was intimidating.\u003c/p>\n\u003cp>“I was like, what kind of prank are the producers trying to play on us?” recalled Harrison. “We barely even knew what we were doing yet.\u003c/p>\n\u003cp>“We kind of went into separate corners … and we didn’t really see each other until that moment. What you see is us seeing each other for the first time in character,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Looking back, Pierre thinks it was a smart scheduling decision.\u003c/p>\n\u003cp>“Had we had four months (of shooting) under our belt, I think we might have gone into that differently, but we had no choice but to just lean into the present moment,” he said.\u003c/p>\n\u003cp>Executive producers Gina Prince-Bythewood and Reggie Rock Bythewood kept a photo of the real-life introduction on their two sons’ walls while they were growing up. Their hope is that with \u003cem>Genius: MLK/X\u003c/em>, viewers will recognize the contributions of both men to civil rights and U.S. history.\u003c/p>\n\u003cp>“One misconception is that we’re told we have to choose. Either you align with Malcolm or you align with Martin, you know, but our offering is that we need both,” said Bythewood. “While they challenged each other, they also learned from each other, and they were aligned in many ways.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2O2JZ7ZYgYc\u003c/p>\n\u003cp>Past seasons of \u003cem>Genius\u003c/em> have covered Albert Einstein, Pablo Picasso and Aretha Franklin. \u003cem>Genius: MLK /X\u003c/em> examines each man’s origin story and what led them to make the choices they did to lead a movement.\u003c/p>\n\u003cp>“We know the speeches. We know the interviews. We know the famous moments. But we wanted to explore what happened in the lead-up to those moments and what made these men believe they had the capacity to do the things they did,” said Pierre.\u003c/p>\n\u003cp>[aside postid='arts_13854299']For accuracy, the producers and writers held a two-week “think take” for eight hours a day. Scholars, activists and people who were involved in the Civil Rights Movement were invited. They dug into the men’s personal lives, mental health and more. Bythewood says they discussed things they wouldn’t have ever gotten from history books. “Some of these scholars even debated each other,” he said. “As writers we were like: ‘This is a goldmine.’”\u003c/p>\n\u003cp>Another priority: to “amplify” Coretta Scott King and Betty Shabazz, who were married to King and X.\u003c/p>\n\u003cp>“Too often they’re thought of as just the wives or the sidekick. They were so integral not only to the genius of the two men, but to the movement itself,” said Prince-Bythewood.\u003c/p>\n\u003cp>The fifth episode of the series tells each woman’s backstory and how they evolved into leaders.\u003c/p>\n\u003cp>“We shine a powerful, beautiful light on those women and the equal role they played in these movements,” said Pierre. “I think that’s something really special.”\u003c/p>\n\u003cp>Harrison says he originally believed he was not up for the challenge of playing King.\u003c/p>\n\u003cp>“I said no at first,” Harrison said. “The producers asked me to read the first episode at least, and I met with them and expressed my feeling of basically imposter syndrome, that I didn’t think I had what it takes to do it. They said, ‘That’s the reason why we want you to do it, because at the age that Dr. King was, when he had to step into this big movement, he also didn’t know if he had what it took.’”\u003c/p>\n\u003cp>For Pierre, he hopes that people finish this \u003cem>Genius\u003c/em> installment with a fresh understanding of Malcolm X, a man who he says, “there is a considerable amount of misinformation about.”\u003c/p>\n\u003cp>[aside postid='arts_13819139']“Malcolm X, el-Hajj Malik el-Shabazz, he operated from a place of love. He operated from a place of light. He wasn’t advocating someone to see out physical confrontation. He was advocating for the cause of his deep love for his family, his friends, his community, his loved ones, anyone in the world that looked like him,” Pierre said.\u003c/p>\n\u003cp>The series is premiering at a time when Black history is threatened in schools and key moments are being removed from curriculums.\u003c/p>\n\u003cp>“There are places across the country where the ‘Letter from Birmingham Jail’ is banned. \u003cem>The Autobiography of Malcolm X\u003c/em> is challenged. But this is American history,” said Bythewood.\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>‘Genius: MLK/X’ begins streaming Feb. 1, 2024 on \u003ca href=\"https://www.natgeotv.com/za/shows/natgeo/genius\">National Geographic\u003c/a>, and the next day on \u003ca href=\"https://www.hulu.com/series/genius-mlkx-3f12de0d-5bcf-4ad1-8a33-162bce2f1647\">Hulu\u003c/a> and \u003ca href=\"https://ondisneyplus.disney.com/show/genius-mlk-x\">Disney+\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kelvin Harrison Jr. (King) and Aaron Pierre (Malcolm X) now can be at ease about being scheduled to shoot the scene on the first day of filming. At the time, it was intimidating.\u003c/p>\n\u003cp>“I was like, what kind of prank are the producers trying to play on us?” recalled Harrison. “We barely even knew what we were doing yet.\u003c/p>\n\u003cp>“We kind of went into separate corners … and we didn’t really see each other until that moment. What you see is us seeing each other for the first time in character,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Looking back, Pierre thinks it was a smart scheduling decision.\u003c/p>\n\u003cp>“Had we had four months (of shooting) under our belt, I think we might have gone into that differently, but we had no choice but to just lean into the present moment,” he said.\u003c/p>\n\u003cp>Executive producers Gina Prince-Bythewood and Reggie Rock Bythewood kept a photo of the real-life introduction on their two sons’ walls while they were growing up. Their hope is that with \u003cem>Genius: MLK/X\u003c/em>, viewers will recognize the contributions of both men to civil rights and U.S. history.\u003c/p>\n\u003cp>“One misconception is that we’re told we have to choose. Either you align with Malcolm or you align with Martin, you know, but our offering is that we need both,” said Bythewood. “While they challenged each other, they also learned from each other, and they were aligned in many ways.”\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/2O2JZ7ZYgYc'\n title='//www.youtube.com/embed/2O2JZ7ZYgYc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Past seasons of \u003cem>Genius\u003c/em> have covered Albert Einstein, Pablo Picasso and Aretha Franklin. \u003cem>Genius: MLK /X\u003c/em> examines each man’s origin story and what led them to make the choices they did to lead a movement.\u003c/p>\n\u003cp>“We know the speeches. We know the interviews. We know the famous moments. But we wanted to explore what happened in the lead-up to those moments and what made these men believe they had the capacity to do the things they did,” said Pierre.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For accuracy, the producers and writers held a two-week “think take” for eight hours a day. Scholars, activists and people who were involved in the Civil Rights Movement were invited. They dug into the men’s personal lives, mental health and more. Bythewood says they discussed things they wouldn’t have ever gotten from history books. “Some of these scholars even debated each other,” he said. “As writers we were like: ‘This is a goldmine.’”\u003c/p>\n\u003cp>Another priority: to “amplify” Coretta Scott King and Betty Shabazz, who were married to King and X.\u003c/p>\n\u003cp>“Too often they’re thought of as just the wives or the sidekick. They were so integral not only to the genius of the two men, but to the movement itself,” said Prince-Bythewood.\u003c/p>\n\u003cp>The fifth episode of the series tells each woman’s backstory and how they evolved into leaders.\u003c/p>\n\u003cp>“We shine a powerful, beautiful light on those women and the equal role they played in these movements,” said Pierre. “I think that’s something really special.”\u003c/p>\n\u003cp>Harrison says he originally believed he was not up for the challenge of playing King.\u003c/p>\n\u003cp>“I said no at first,” Harrison said. “The producers asked me to read the first episode at least, and I met with them and expressed my feeling of basically imposter syndrome, that I didn’t think I had what it takes to do it. They said, ‘That’s the reason why we want you to do it, because at the age that Dr. King was, when he had to step into this big movement, he also didn’t know if he had what it took.’”\u003c/p>\n\u003cp>For Pierre, he hopes that people finish this \u003cem>Genius\u003c/em> installment with a fresh understanding of Malcolm X, a man who he says, “there is a considerable amount of misinformation about.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Malcolm X, el-Hajj Malik el-Shabazz, he operated from a place of love. He operated from a place of light. He wasn’t advocating someone to see out physical confrontation. He was advocating for the cause of his deep love for his family, his friends, his community, his loved ones, anyone in the world that looked like him,” Pierre said.\u003c/p>\n\u003cp>The series is premiering at a time when Black history is threatened in schools and key moments are being removed from curriculums.\u003c/p>\n\u003cp>“There are places across the country where the ‘Letter from Birmingham Jail’ is banned. \u003cem>The Autobiography of Malcolm X\u003c/em> is challenged. But this is American history,” said Bythewood.\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>‘Genius: MLK/X’ begins streaming Feb. 1, 2024 on \u003ca href=\"https://www.natgeotv.com/za/shows/natgeo/genius\">National Geographic\u003c/a>, and the next day on \u003ca href=\"https://www.hulu.com/series/genius-mlkx-3f12de0d-5bcf-4ad1-8a33-162bce2f1647\">Hulu\u003c/a> and \u003ca href=\"https://ondisneyplus.disney.com/show/genius-mlk-x\">Disney+\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Taylor Swift, BTS, Drake and More May Have Their Music Taken Off TikTok",
"headTitle": "Why Taylor Swift, BTS, Drake and More May Have Their Music Taken Off TikTok | KQED",
"content": "\u003cp>Universal Music Group \u003ca href=\"https://www.universalmusic.com/an-open-letter-to-the-artist-and-songwriter-community-why-we-must-call-time-out-on-tiktok/\">has threatened to remove\u003c/a> all of the music it owns from TikTok, unless the streaming platform agrees to more favorable terms for its vast catalog.\u003c/p>\n\u003cp>Negotiations between the social media giant and the world’s largest music company have intensified as they’ve worked to hammer out a new contract, says Tatiana Cirisano, a music industry analyst at Midia Research. The current one expires on Jan. 31, 2024.\u003c/p>\n\u003cp>[aside postid='arts_13936325']“UMG is kind of taking the nuclear option of removing all their music and trying to prove … that TikTok couldn’t exist if it didn’t have their catalog,” she says.\u003c/p>\n\u003cp>Early Wednesday morning, UMG released what it called “\u003ca href=\"https://www.universalmusic.com/an-open-letter-to-the-artist-and-songwriter-community-why-we-must-call-time-out-on-tiktok/\">An Open Letter to the Artist And Songwriter Community\u003c/a> — Why We Must Call Time Out On TikTok.” The letter, one suspects, is actually for music fans and tech watchdogs as well.\u003c/p>\n\u003cp>“In our contract renewal discussions, we have been pressing them on three critical issues,” the letter says of TikTok, noting the issues include protection against AI-generated recordings, online safety issues for users and higher compensation for its artists and songwriters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“With respect to the issue of artist and songwriter compensation,” the letter continues, “TikTok proposed paying our artists and songwriters at a rate that is a fraction of the rate that similarly situated major social platforms pay. Today, as an indication of how little TikTok compensates artists and songwriters, despite its massive and growing user base, rapidly rising advertising revenue and increasing reliance on music-based content, TikTok accounts for only about 1% of our total revenue. Ultimately TikTok is trying to build a music-based business, without paying fair value for the music.”\u003c/p>\n\u003cp>[aside postid='arts_13931533']Compensation is the big sticking point here, says Cirisano. “I would also point out that this is probably going to do more for Universal Music Group as a company than it is for any of their individual artists and songwriters,” she says.\u003c/p>\n\u003cp>In \u003ca href=\"https://twitter.com/TikTokComms/status/1752539546233843884?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1752539546233843884%7Ctwgr%5E9258156bd65d97b97e65ff72d32edcba3d1bf95a%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fiframe.nbcnews.com%2F7MnRSi3%3F_showcaption%3Dtrueapp%3D1\">a statement on social media\u003c/a>, TikTok accused UMG of promoting “false narratives and rhetoric” and of putting “greed above the interests of their artist and songwriter.”\u003c/p>\n\u003cp>“TikTok has been able to reach ‘artist-first’ agreements with every other label and publisher,” it says. “Clearly, Universal’s self-serving actions are not in the best interests of artists, songwriters and fans.”\u003c/p>\n\u003cp>Cirisano says the idea of TikTok building what UMG calls a “music-based business” has some merit. TikTok used to be just a place where artists could get exposure and market their music, she says. But the platform and its users are evolving.\u003c/p>\n\u003cp>“It’s becoming sort of a form of music consumption in its own right,” she says. “This is a space where especially young people are going on and listening to music … as they’re consuming. It’s a completely different experience than, say, adding a song to your Instagram story or things that were happening in the past.”\u003c/p>\n\u003cp>[aside postid='arts_13929332']The dispute should not overly affect the well-being or popularity of the labels’ roster of celebrity artists, she adds, which includes Taylor Swift, Lady Gaga and Elton John. But for the many other musicians whose work has become a part of TikTok’s fabric, there are larger implications for the future.\u003c/p>\n\u003cp>“There’s this really fast growing sector of independent artists and what is commonly referred to as ‘the long tail’ that are also releasing their music to streaming services and competing for attention,” she says, referring to all of the other music floating around that’s available to be used. “There’s a lot of other music that TikTok users have access to beyond the major label catalog than they would have five or 10 years ago. UMG is still the most powerful player here, but I think those dynamics have shifted a little bit.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>TikTok and other social media platforms, she says, are where new fandom and cultures are being built — and the music industry’s power players are wary of being left behind.\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=Taylor+Swift%2C+Drake%2C+BTS+and+more+may+have+their+music+taken+off+TikTok+%E2%80%94+here%27s+why&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“UMG is kind of taking the nuclear option of removing all their music and trying to prove … that TikTok couldn’t exist if it didn’t have their catalog,” she says.\u003c/p>\n\u003cp>Early Wednesday morning, UMG released what it called “\u003ca href=\"https://www.universalmusic.com/an-open-letter-to-the-artist-and-songwriter-community-why-we-must-call-time-out-on-tiktok/\">An Open Letter to the Artist And Songwriter Community\u003c/a> — Why We Must Call Time Out On TikTok.” The letter, one suspects, is actually for music fans and tech watchdogs as well.\u003c/p>\n\u003cp>“In our contract renewal discussions, we have been pressing them on three critical issues,” the letter says of TikTok, noting the issues include protection against AI-generated recordings, online safety issues for users and higher compensation for its artists and songwriters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Compensation is the big sticking point here, says Cirisano. “I would also point out that this is probably going to do more for Universal Music Group as a company than it is for any of their individual artists and songwriters,” she says.\u003c/p>\n\u003cp>In \u003ca href=\"https://twitter.com/TikTokComms/status/1752539546233843884?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1752539546233843884%7Ctwgr%5E9258156bd65d97b97e65ff72d32edcba3d1bf95a%7Ctwcon%5Es1_&ref_url=https%3A%2F%2Fiframe.nbcnews.com%2F7MnRSi3%3F_showcaption%3Dtrueapp%3D1\">a statement on social media\u003c/a>, TikTok accused UMG of promoting “false narratives and rhetoric” and of putting “greed above the interests of their artist and songwriter.”\u003c/p>\n\u003cp>“TikTok has been able to reach ‘artist-first’ agreements with every other label and publisher,” it says. “Clearly, Universal’s self-serving actions are not in the best interests of artists, songwriters and fans.”\u003c/p>\n\u003cp>Cirisano says the idea of TikTok building what UMG calls a “music-based business” has some merit. TikTok used to be just a place where artists could get exposure and market their music, she says. But the platform and its users are evolving.\u003c/p>\n\u003cp>“It’s becoming sort of a form of music consumption in its own right,” she says. “This is a space where especially young people are going on and listening to music … as they’re consuming. It’s a completely different experience than, say, adding a song to your Instagram story or things that were happening in the past.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The dispute should not overly affect the well-being or popularity of the labels’ roster of celebrity artists, she adds, which includes Taylor Swift, Lady Gaga and Elton John. But for the many other musicians whose work has become a part of TikTok’s fabric, there are larger implications for the future.\u003c/p>\n\u003cp>“There’s this really fast growing sector of independent artists and what is commonly referred to as ‘the long tail’ that are also releasing their music to streaming services and competing for attention,” she says, referring to all of the other music floating around that’s available to be used. “There’s a lot of other music that TikTok users have access to beyond the major label catalog than they would have five or 10 years ago. UMG is still the most powerful player here, but I think those dynamics have shifted a little bit.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>TikTok and other social media platforms, she says, are where new fandom and cultures are being built — and the music industry’s power players are wary of being left behind.\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=Taylor+Swift%2C+Drake%2C+BTS+and+more+may+have+their+music+taken+off+TikTok+%E2%80%94+here%27s+why&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Don’t Miss the Latest ‘Feud’ – Between Truman Capote and NYC’s Society Ladies",
"headTitle": "Don’t Miss the Latest ‘Feud’ – Between Truman Capote and NYC’s Society Ladies | KQED",
"content": "\u003cp>In 2017, the FX network presented the first edition of Ryan Murphy’s \u003cem>Feud\u003c/em>, an anthology series dramatizing infamous real-life conflicts. The inaugural edition was called \u003ca href=\"https://www.kqed.org/pop/33377/bette-davis-v-joan-crawford-the-hateful-history-behind-old-hollywoods-nastiest-feud\">\u003cem>Feud: Bette and Joan\u003c/em>\u003c/a>, and detailed the intense rivalry between Hollywood stars Bette Davis and Joan Crawford. Now, seven years later, the second installment of \u003cem>Feud \u003c/em>finally has arrived.\u003c/p>\n\u003cp>FX is promoting \u003cem>Feud: Capote vs. the Swans\u003c/em> as “the original \u003cem>Real Housewives\u003c/em>,” but it’s a lot deeper than that — and infinitely more watchable. Based on the book \u003ca href=\"https://www.penguinrandomhouse.com/books/658463/capotes-women-by-laurence-leamer/\">\u003cem>Capote’s Women\u003c/em>\u003c/a> by Laurence Leamer, this eight-part series tells of Truman Capote’s friendships with, and betrayals of, New York’s most prominent society women — the ladies who lunch.\u003c/p>\n\u003cp>[aside postid='arts_13951126']Jon Robin Baitz, who created the ABC series \u003cem>Brothers & Sisters\u003c/em>, developed and wrote this edition of \u003cem>Feud\u003c/em> for television — and Gus Van Sant directed most episodes, with others directed by Jennifer Lynch and Max Winkler. However, it’s the names in front of the camera, not behind, who demand most of the attention here. Tom Hollander, from the most recent season of \u003cem>The White Lotus\u003c/em>, plays Capote — and captures him so that Capote is a character, not a caricature.\u003c/p>\n\u003cp>And the women playing the swans all get their turns to shine, in a cast list that’s almost laughably talented and lengthy. Naomi Watts plays Babe Paley, the wife of CBS chairman Bill Paley. Calista Flockhart plays Lee Radziwill, the sister of Jackie Kennedy. Other socialites are played — rivetingly well — by Diane Lane, Chloë Sevigny, \u003ca href=\"https://www.kqed.org/pop/88718/serena-williams-pregnancy-shoot-may-never-have-happened-without-demi-moores-trailblazing\">Demi Moore\u003c/a> and Molly Ringwald. \u003ca href=\"https://video.kqed.org/video/treat-williams-on-the-acting-process-with-sidney-lumet-1swutc/\">Treat Williams\u003c/a>, who died last year, is featured in his final role, as Bill Paley.\u003c/p>\n\u003cp>Even Jessica Lange, who starred as Joan Crawford in the previous \u003cem>Feud\u003c/em> series, and helped jump-start Murphy’s TV empire by starring in the first few outings of his earliest anthology series, \u003cem>American Horror Story\u003c/em>, is here. She makes a few guest appearances playing Truman’s late mother — and she’s haunting, in more ways than one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YabKNs66eeg\u003c/p>\n\u003cp>\u003cem>Feud: Capote vs. the Swans\u003c/em> jumps around in time, showing the characters before and after \u003cem>Esquire \u003c/em>magazine published a chapter of Capote’s in-progress book in 1975. It was a thinly veiled exposé of the preening, privileged women he called “the Swans” — and it hurt them deeply. But drama and pain were not new to most of these women.\u003c/p>\n\u003cp>[aside postid='arts_13950974']The first \u003cem>Feud \u003c/em>miniseries veered at times into camp, but \u003cem>Capote vs. the Swans \u003c/em>takes its story more seriously. It’s got the loving details of a \u003ca href=\"https://www.npr.org/2019/09/19/762260318/downton-abbey-returns-for-an-extravagant-new-film\">\u003cem>Downton Abbey\u003c/em>\u003c/a> or an \u003ca href=\"https://www.npr.org/2011/04/08/135207548/upstairs-downstairs-takes-a-new-step-back-in-time\">\u003cem>Upstairs, Downstairs \u003c/em>\u003c/a>— lots of lingering shots of the food and the fashion and the jewels — but this drama is almost exclusively upstairs. And Baitz and Van Sant, in particular, frame things beautifully.\u003c/p>\n\u003cp>Capote’s famous Black and White masquerade ball, in 1966, is the subject of the entire third episode — and it’s shot, almost completely, in black and white. That’s because the \u003ca href=\"https://www.npr.org/2015/03/06/391269387/albert-maysles-pioneering-documentary-filmmaker-dies\">Maysles brothers\u003c/a> were filming a documentary about Capote that same year, which allows \u003cem>Feud \u003c/em>to adopt that perspective to interview some of the Swans about their literary acquaintance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Capote vs. the Swans \u003c/em>deserves our attention. It’s a good drama, a compelling story with a powerhouse cast — and in this new installment of \u003cem>Feud\u003c/em>, they all do some very powerful work.\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=Don%27t+miss+the+latest+%27Feud%27+%E2%80%93+between+Truman+Capote+and+NYC%27s+society+ladies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2017, the FX network presented the first edition of Ryan Murphy’s \u003cem>Feud\u003c/em>, an anthology series dramatizing infamous real-life conflicts. The inaugural edition was called \u003ca href=\"https://www.kqed.org/pop/33377/bette-davis-v-joan-crawford-the-hateful-history-behind-old-hollywoods-nastiest-feud\">\u003cem>Feud: Bette and Joan\u003c/em>\u003c/a>, and detailed the intense rivalry between Hollywood stars Bette Davis and Joan Crawford. Now, seven years later, the second installment of \u003cem>Feud \u003c/em>finally has arrived.\u003c/p>\n\u003cp>FX is promoting \u003cem>Feud: Capote vs. the Swans\u003c/em> as “the original \u003cem>Real Housewives\u003c/em>,” but it’s a lot deeper than that — and infinitely more watchable. Based on the book \u003ca href=\"https://www.penguinrandomhouse.com/books/658463/capotes-women-by-laurence-leamer/\">\u003cem>Capote’s Women\u003c/em>\u003c/a> by Laurence Leamer, this eight-part series tells of Truman Capote’s friendships with, and betrayals of, New York’s most prominent society women — the ladies who lunch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Jon Robin Baitz, who created the ABC series \u003cem>Brothers & Sisters\u003c/em>, developed and wrote this edition of \u003cem>Feud\u003c/em> for television — and Gus Van Sant directed most episodes, with others directed by Jennifer Lynch and Max Winkler. However, it’s the names in front of the camera, not behind, who demand most of the attention here. Tom Hollander, from the most recent season of \u003cem>The White Lotus\u003c/em>, plays Capote — and captures him so that Capote is a character, not a caricature.\u003c/p>\n\u003cp>And the women playing the swans all get their turns to shine, in a cast list that’s almost laughably talented and lengthy. Naomi Watts plays Babe Paley, the wife of CBS chairman Bill Paley. Calista Flockhart plays Lee Radziwill, the sister of Jackie Kennedy. Other socialites are played — rivetingly well — by Diane Lane, Chloë Sevigny, \u003ca href=\"https://www.kqed.org/pop/88718/serena-williams-pregnancy-shoot-may-never-have-happened-without-demi-moores-trailblazing\">Demi Moore\u003c/a> and Molly Ringwald. \u003ca href=\"https://video.kqed.org/video/treat-williams-on-the-acting-process-with-sidney-lumet-1swutc/\">Treat Williams\u003c/a>, who died last year, is featured in his final role, as Bill Paley.\u003c/p>\n\u003cp>Even Jessica Lange, who starred as Joan Crawford in the previous \u003cem>Feud\u003c/em> series, and helped jump-start Murphy’s TV empire by starring in the first few outings of his earliest anthology series, \u003cem>American Horror Story\u003c/em>, is here. She makes a few guest appearances playing Truman’s late mother — and she’s haunting, in more ways than one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The first \u003cem>Feud \u003c/em>miniseries veered at times into camp, but \u003cem>Capote vs. the Swans \u003c/em>takes its story more seriously. It’s got the loving details of a \u003ca href=\"https://www.npr.org/2019/09/19/762260318/downton-abbey-returns-for-an-extravagant-new-film\">\u003cem>Downton Abbey\u003c/em>\u003c/a> or an \u003ca href=\"https://www.npr.org/2011/04/08/135207548/upstairs-downstairs-takes-a-new-step-back-in-time\">\u003cem>Upstairs, Downstairs \u003c/em>\u003c/a>— lots of lingering shots of the food and the fashion and the jewels — but this drama is almost exclusively upstairs. And Baitz and Van Sant, in particular, frame things beautifully.\u003c/p>\n\u003cp>Capote’s famous Black and White masquerade ball, in 1966, is the subject of the entire third episode — and it’s shot, almost completely, in black and white. That’s because the \u003ca href=\"https://www.npr.org/2015/03/06/391269387/albert-maysles-pioneering-documentary-filmmaker-dies\">Maysles brothers\u003c/a> were filming a documentary about Capote that same year, which allows \u003cem>Feud \u003c/em>to adopt that perspective to interview some of the Swans about their literary acquaintance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Capote vs. the Swans \u003c/em>deserves our attention. It’s a good drama, a compelling story with a powerhouse cast — and in this new installment of \u003cem>Feud\u003c/em>, they all do some very powerful work.\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=Don%27t+miss+the+latest+%27Feud%27+%E2%80%93+between+Truman+Capote+and+NYC%27s+society+ladies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13951072\" class=\"wp-caption aligncenter\" style=\"max-width: 1570px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951072\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM.png\" alt=\"Close up of two 1940s-era pilots stand on the tarmac under blue skies.\" width=\"1570\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM.png 1570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-1020x689.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-1536x1037.png 1536w\" sizes=\"(max-width: 1570px) 100vw, 1570px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler and Callum Turner in ‘Masters of the Air.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1990s,\u003ca href=\"https://www.npr.org/2022/11/09/1134314093/steven-spielberg-fabelmans\"> Steven Spielberg\u003c/a> directed two unforgettably powerful films about World War II: \u003cem>Schindler’s List\u003c/em>, in 1993, and \u003cem>Saving Private Ryan\u003c/em>, in 1998. \u003cem>Saving Private Ryan \u003c/em>starred \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\">Tom Hanks\u003c/a>, and Hanks and Spielberg weren’t through with their obsession with World War II dramas; they were just beginning.\u003c/p>\n\u003cp>[aside postid='arts_13950974']Teaming with Gary Goetzman, they produced two impressive, captivating HBO miniseries about World War II: \u003cem>Band of Brothers, \u003c/em>in 2001, followed nine years later by \u003ca href=\"https://www.npr.org/2010/03/11/124499816/hanks-spielberg-strike-out-for-the-pacific\">\u003cem>The Pacific\u003c/em>\u003c/a>\u003cem>.\u003c/em> Both miniseries did what \u003cem>Saving Private Ryan \u003c/em>also had accomplished so brilliantly: They allowed the audience to experience the intensity and brutality of wartime. Not just allowed us, but forced us, in unrelenting battle sequences that gave new meaning to the phrase “you are there.”\u003c/p>\n\u003cp>Those dramas also delivered large helpings of surprise, and of loss. We got to know, and care deeply about, their soldiers and marines — and then, without warning, many of them were taken away from us.\u003c/p>\n\u003cp>\u003cem>Masters of the Air\u003c/em> is the newest entry in this World War II project by Spielberg, Hanks and company. It’s every bit equal to, and boasts precisely the same strengths as, those previous offerings. It’s presented by Apple TV+ this time, rolled out weekly after the Jan. 26 two-episode premiere. And because \u003cem>Masters of the Air\u003c/em>, like \u003cem>Band of Brothers\u003c/em> and \u003cem>The Pacific,\u003c/em> is a limited miniseries, even the main characters are at risk of dying at any time — and some do.\u003c/p>\n\u003cp>Two of the primary characters share a similar nickname — a confusing gimmick that’s explained early on. There’s Gale “Buck” Cleven, played by Austin Butler, and John “Bucky” Egan, played by Callum Turner. Bucky had the nickname first, and gave the shorter name, “Buck,” to his friend just to annoy him — until it stuck. Bucky is a loudmouth hothead; Buck is more quiet and private. But they’re good friends, and great pilots.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Butler empowers Buck with the undeniable charisma of an old-fashioned movie star, like a bomber pilot-James Dean. Butler’s breakout starring role was as Elvis Presley in \u003ca href=\"https://www.npr.org/2022/06/23/1106734497/elvis-review-baz-luhrmann\">\u003cem>Elvis\u003c/em>\u003c/a>\u003cem>,\u003c/em> and here, even without the trappings of show-biz flash and glitz, he’s just as magnetic.\u003c/p>\n\u003cp>But Butler’s not carrying this story, or fighting this war, alone. Turner’s Bucky matches him throughout — and so does Anthony Boyle, who plays a young navigator named Harry Crosby. And a lot more players contribute greatly: This is a large cast, doing justice to a very big story.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lA-1JCRguZ0\u003c/p>\n\u003cp>\u003cem>Masters of the Air \u003c/em>is based on the book by Donald L. Miller. Several talented directors traded off working on various episodes, but all were adapted for TV by screenwriter John Orloff. His narrative not only follows the leading characters during World War II, but makes time, over its nine episodes, to weave in such familiar wartime narratives as the \u003ca href=\"https://www.npr.org/2011/04/11/135177510/tuskegee-airmen-rock-stars-of-american-history\">Tuskegee Airmen\u003c/a> and the Great Escape. Lots of time is spent airborne, in one thrilling mission after another, but there also are scenes set in briefing rooms, barracks, rest and recreation spots, even German prisoner of war camps.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13940076']Masters of the Air \u003c/em>finds drama in all those places. And it’s nice to know that this miniseries, like its predecessors, is being rolled out in weekly installments. These hours of television are like the Air Force missions themselves: They’re such intense experiences, it’s nice to have a little time between them to reflect … and to breathe.\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=Spielberg+and+Hanks+take+to+the+World+War+II+skies+in+%27Masters+of+the+Air%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13951072\" class=\"wp-caption aligncenter\" style=\"max-width: 1570px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951072\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM.png\" alt=\"Close up of two 1940s-era pilots stand on the tarmac under blue skies.\" width=\"1570\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM.png 1570w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-1020x689.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-26-at-11.40.31-AM-1536x1037.png 1536w\" sizes=\"(max-width: 1570px) 100vw, 1570px\">\u003cfigcaption class=\"wp-caption-text\">Austin Butler and Callum Turner in ‘Masters of the Air.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the 1990s,\u003ca href=\"https://www.npr.org/2022/11/09/1134314093/steven-spielberg-fabelmans\"> Steven Spielberg\u003c/a> directed two unforgettably powerful films about World War II: \u003cem>Schindler’s List\u003c/em>, in 1993, and \u003cem>Saving Private Ryan\u003c/em>, in 1998. \u003cem>Saving Private Ryan \u003c/em>starred \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\">Tom Hanks\u003c/a>, and Hanks and Spielberg weren’t through with their obsession with World War II dramas; they were just beginning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Teaming with Gary Goetzman, they produced two impressive, captivating HBO miniseries about World War II: \u003cem>Band of Brothers, \u003c/em>in 2001, followed nine years later by \u003ca href=\"https://www.npr.org/2010/03/11/124499816/hanks-spielberg-strike-out-for-the-pacific\">\u003cem>The Pacific\u003c/em>\u003c/a>\u003cem>.\u003c/em> Both miniseries did what \u003cem>Saving Private Ryan \u003c/em>also had accomplished so brilliantly: They allowed the audience to experience the intensity and brutality of wartime. Not just allowed us, but forced us, in unrelenting battle sequences that gave new meaning to the phrase “you are there.”\u003c/p>\n\u003cp>Those dramas also delivered large helpings of surprise, and of loss. We got to know, and care deeply about, their soldiers and marines — and then, without warning, many of them were taken away from us.\u003c/p>\n\u003cp>\u003cem>Masters of the Air\u003c/em> is the newest entry in this World War II project by Spielberg, Hanks and company. It’s every bit equal to, and boasts precisely the same strengths as, those previous offerings. It’s presented by Apple TV+ this time, rolled out weekly after the Jan. 26 two-episode premiere. And because \u003cem>Masters of the Air\u003c/em>, like \u003cem>Band of Brothers\u003c/em> and \u003cem>The Pacific,\u003c/em> is a limited miniseries, even the main characters are at risk of dying at any time — and some do.\u003c/p>\n\u003cp>Two of the primary characters share a similar nickname — a confusing gimmick that’s explained early on. There’s Gale “Buck” Cleven, played by Austin Butler, and John “Bucky” Egan, played by Callum Turner. Bucky had the nickname first, and gave the shorter name, “Buck,” to his friend just to annoy him — until it stuck. Bucky is a loudmouth hothead; Buck is more quiet and private. But they’re good friends, and great pilots.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Butler empowers Buck with the undeniable charisma of an old-fashioned movie star, like a bomber pilot-James Dean. Butler’s breakout starring role was as Elvis Presley in \u003ca href=\"https://www.npr.org/2022/06/23/1106734497/elvis-review-baz-luhrmann\">\u003cem>Elvis\u003c/em>\u003c/a>\u003cem>,\u003c/em> and here, even without the trappings of show-biz flash and glitz, he’s just as magnetic.\u003c/p>\n\u003cp>But Butler’s not carrying this story, or fighting this war, alone. Turner’s Bucky matches him throughout — and so does Anthony Boyle, who plays a young navigator named Harry Crosby. And a lot more players contribute greatly: This is a large cast, doing justice to a very big story.\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/lA-1JCRguZ0'\n title='//www.youtube.com/embed/lA-1JCRguZ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Masters of the Air \u003c/em>is based on the book by Donald L. Miller. Several talented directors traded off working on various episodes, but all were adapted for TV by screenwriter John Orloff. His narrative not only follows the leading characters during World War II, but makes time, over its nine episodes, to weave in such familiar wartime narratives as the \u003ca href=\"https://www.npr.org/2011/04/11/135177510/tuskegee-airmen-rock-stars-of-american-history\">Tuskegee Airmen\u003c/a> and the Great Escape. Lots of time is spent airborne, in one thrilling mission after another, but there also are scenes set in briefing rooms, barracks, rest and recreation spots, even German prisoner of war camps.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Masters of the Air \u003c/em>finds drama in all those places. And it’s nice to know that this miniseries, like its predecessors, is being rolled out in weekly installments. These hours of television are like the Air Force missions themselves: They’re such intense experiences, it’s nice to have a little time between them to reflect … and to breathe.\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=Spielberg+and+Hanks+take+to+the+World+War+II+skies+in+%27Masters+of+the+Air%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Tótem’ Invites You to a Family Birthday Party — But Death Has RSVP’d, Too",
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"content": "\u003cp>There’s a scene in the movie adaption of \u003ca href=\"https://www.npr.org/2023/11/11/1212467268/michael-cunninghams-new-novel-is-his-first-in-almost-a-decade\">Michael Cunningham\u003c/a>‘s novel \u003cem>The Hours\u003c/em> when Virginia Woolf is talking to her husband, Leonard, about the book that would become \u003cem>Mrs. Dalloway\u003c/em>. After she tells him she’s going to kill off a major character, Leonard asks her why. “Someone has to die,” she replies, “in order that the rest of us should value life more.”\u003c/p>\n\u003cp>The same tango between life and death takes center stage in \u003cem>Tótem\u003c/em>, the radiant second feature by the terrific Mexican filmmaker Lila Avilés. Set over the course of a single, life-changing day, this ensemble film thrums with a lively, chaotic intimacy. Heartrending without being sentimental, it offers an even more touching vision of Mexican family life than you got in \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">Alfonso Cuarón\u003c/a>‘s \u003ca href=\"https://www.npr.org/2018/11/30/672194755/overly-orchestrated-roma-is-an-epic-of-everyday-life-in-mexico\">\u003cem>Roma\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13950649']Our heroine is Sol — played by Naíma Sentíes — a 7-year-old girl who, unlike most movie kids, is neither cute nor sassy but exudes a natural watchfulness and gravity. As the action begins, she’s surrounded by brightly colored balloons in a car with her mother, who tells her to hold her breath and make a wish. Sol wishes “for daddy not to die.” It’s not clear whether she knows what his dying really means.\u003c/p>\n\u003cp>We soon reach her grandfather’s, a large middle-class house where the family is preparing to have a birthday party for Sol’s father, Tona (Mateo García Elizondo), a 30-something artist who’s being devoured by a terminal disease. Sol keeps asking to see him but is told she must wait. The emaciated Tona remains sequestered with his nurse, fighting pain and mustering the energy to face the guests who keep arriving to celebrate him.\u003c/p>\n\u003cp>Sol passes the time watching the adults. While her aunt Alejandra is busy dyeing her hair, her other aunt Nuri is making a cake that looks like a Van Gogh painting, lubricating her efforts with glasses of wine. Out in the garden, grandpa is obsessively pruning a bonsai that he will give to Tona as a present, though both know this gift will outlive the recipient.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the hours go by, the house gets fuller and rowdier — complete with family bickering and in-jokes — yet we never forget that Death is also a guest at the party. At one point, Sol takes her mom’s phone and asks Siri, “How will the world end?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3zTLbBUJTeE\u003c/p>\n\u003cp>Whenever I tell my friends they just have to see \u003cem>Tótem\u003c/em>, they always say something like, “Wow, a movie about death. Sounds fun!” In fact, the movie isn’t remotely funereal. Avilés fills its fleeting 95 minutes with all sorts of nifty stuff. There are scorpions and drones, a scene-stealing cat, a spirited pantomime from a Donizetti opera, even a visit from a scamming psychic who Alejandra has hired to cleanse the negative spirits from the house. “I also sell Tupperware,” she announces.\u003c/p>\n\u003cp>[aside postid='arts_13950901']Avilés first came on the world scene with her 2018 feature debut, \u003cem>The Chambermaid\u003c/em>, a smart, witty story about a woman doing drudge work at a luxury hotel in Mexico City that felt as inhuman as the spaceship in \u003cem>2001\u003c/em>. She spreads her wings even wider in \u003cem>Tótem\u003c/em>, which tackles many more characters and traces more flickering emotions.\u003c/p>\n\u003cp>In following Sol’s long day’s journey into night, when the birthday boy finally appears and she finally gets to see her father, Avilés deftly juggles Sol’s childish view with the complexity of what the adults are going through. Graced with Diego Tenorio’s luminous camerawork, Avilés moves from character to character with enormous delicacy, revealing gossamer threads of personal connection and, like a crack portraitist, catching faces at their most revealing. Like Woolf, she’s attuned to the richness of the fleeting moment.\u003c/p>\n\u003cp>Even as we feel Tona’s pain, and the pain of those who yearn to forget they’re going to lose him, Avilés fills \u003cem>Tótem\u003c/em> with the pulsing fecundity of the natural order — gaudy flowers and busy insects, sly cats and dopey-faced goldfish, not to mention the human beings who have assembled to soften their grief. At the heart of it all is Sol, who comes to a piercing awareness of the thrilling and chilling polarity of being alive. In the end, \u003cem>Tótem\u003c/em> isn’t really a movie about death. It’s a movie about living.\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=%27T%C3%B3tem%27+invites+you+to+a+family+birthday+party+%E2%80%94+but+Death+has+RSVP%27d%2C+too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>‘Tótem’ is released nationwide on Jan. 26, 2024.\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the hours go by, the house gets fuller and rowdier — complete with family bickering and in-jokes — yet we never forget that Death is also a guest at the party. At one point, Sol takes her mom’s phone and asks Siri, “How will the world end?”\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/3zTLbBUJTeE'\n title='//www.youtube.com/embed/3zTLbBUJTeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Whenever I tell my friends they just have to see \u003cem>Tótem\u003c/em>, they always say something like, “Wow, a movie about death. Sounds fun!” In fact, the movie isn’t remotely funereal. Avilés fills its fleeting 95 minutes with all sorts of nifty stuff. There are scorpions and drones, a scene-stealing cat, a spirited pantomime from a Donizetti opera, even a visit from a scamming psychic who Alejandra has hired to cleanse the negative spirits from the house. “I also sell Tupperware,” she announces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Avilés first came on the world scene with her 2018 feature debut, \u003cem>The Chambermaid\u003c/em>, a smart, witty story about a woman doing drudge work at a luxury hotel in Mexico City that felt as inhuman as the spaceship in \u003cem>2001\u003c/em>. She spreads her wings even wider in \u003cem>Tótem\u003c/em>, which tackles many more characters and traces more flickering emotions.\u003c/p>\n\u003cp>In following Sol’s long day’s journey into night, when the birthday boy finally appears and she finally gets to see her father, Avilés deftly juggles Sol’s childish view with the complexity of what the adults are going through. Graced with Diego Tenorio’s luminous camerawork, Avilés moves from character to character with enormous delicacy, revealing gossamer threads of personal connection and, like a crack portraitist, catching faces at their most revealing. Like Woolf, she’s attuned to the richness of the fleeting moment.\u003c/p>\n\u003cp>Even as we feel Tona’s pain, and the pain of those who yearn to forget they’re going to lose him, Avilés fills \u003cem>Tótem\u003c/em> with the pulsing fecundity of the natural order — gaudy flowers and busy insects, sly cats and dopey-faced goldfish, not to mention the human beings who have assembled to soften their grief. At the heart of it all is Sol, who comes to a piercing awareness of the thrilling and chilling polarity of being alive. In the end, \u003cem>Tótem\u003c/em> isn’t really a movie about death. It’s a movie about living.\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=%27T%C3%B3tem%27+invites+you+to+a+family+birthday+party+%E2%80%94+but+Death+has+RSVP%27d%2C+too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>‘Tótem’ is released nationwide on Jan. 26, 2024.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Nicole Kidman Leads an Ensemble of Privileged, Disconnected American ‘Expats’",
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"content": "\u003cp>Nicole Kidman has done a lot of different things in film: she’s been a horny schemer in \u003cem>Malice\u003c/em>, a strong-willed young Irish immigrant in \u003cem>Far and Away\u003c/em>, she was even Virginia Woolf in \u003cem>The Hours\u003c/em>. But in television, she specializes in women who are rich and haunted. Haunted by a nightmarish marriage in \u003cem>Big Little Lies\u003c/em>, haunted by the possibility that her husband is a murderer in \u003cem>The Undoing\u003c/em>, and now haunted by a tragedy in \u003cem>Expats\u003c/em>, the splashy Amazon series adapted from Janice Y.K. Lee’s 2016 novel \u003cem>The Expatriates\u003c/em>, about three American women who are not from Hong Kong, but live there.\u003c/p>\n\u003cp>Kidman plays Margaret, a landscape architect. When we meet her, Margaret seems to be in a fog, barely engaged with her son and daughter, or with her husband, Clarke (Brian Tee). Clarke’s job is the reason the family has come from New York to Hong Kong, and at the opening of the series, he’s secretly seeking comfort in a church because something bad has happened. When an innocent question about a child named “Gus” causes Margaret to flee a room, the nature of that something bad begins to emerge.\u003c/p>\n\u003cp>[aside postid='arts_13950422']Hilary (Sarayu Blue) lives in the same fancy building as Margaret, and it’s clear they’ve been friends, although now, there is tension between them. Margaret has hurt Hilary somehow, and Hilary is finding it difficult to reconcile. Hilary and her husband, David (Jack Huston), have been trying to have a baby around the edges of her busy professional life and his questionable trustworthiness. Their marriage is in trouble, in both ways Hilary knows about and ways she doesn’t, yet.\u003c/p>\n\u003cp>Mercy (Ji-young Yoo) is a young woman working catering jobs who not infrequently finds herself explaining to people she meets that she isn’t local, and isn’t Korean but Korean American, and doesn’t speak Cantonese. She provides a voiceover prologue to the series that makes it clear that she feels very guilty about something, and that she’s having trouble moving on from it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=whHb3ClSdrQ\u003c/p>\n\u003ch3>Production (sour) notes\u003c/h3>\n\u003cp>At this point, it’s worth taking a moment to note the lengthy and sometimes stormy history of this production. \u003cem>The Expatriates \u003c/em>was published in 2016, and \u003ca href=\"https://deadline.com/2017/02/nicole-kidman-produce-star-the-expatriates-tv-series-adaptation-1201904571/\">news that Nicole Kidman’s production company had acquired the rights emerged\u003c/a> in early 2017 — just before the premiere of \u003cem>Big Little Lies \u003c/em>on HBO. The final major piece of the \u003cem>Expats \u003c/em>puzzle slid into place in late December 2019, when Lulu Wang, just months after the release of her film \u003cem>The Farewell\u003c/em>, came on board to direct, write and executive produce “multiple episodes.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During filming in 2021, Kidman and several crew members got an exemption allowing them to avoid the COVID quarantine rules that applied to everyone else upon arrival in Hong Kong. As \u003cem>The New York Times \u003c/em>reported at the time, \u003ca href=\"https://www.nytimes.com/2021/08/20/world/asia/nicole-kidman-hong-kong.html\">there was anger not only among the city’s residents, but in its legislature\u003c/a>. It was a bitter pill, it seems, that this production about rich outsiders who paid little attention to the lives of ordinary people in Hong Kong was being given a blessing to hand-wave regulations meant to protect those same ordinary people.\u003c/p>\n\u003cp>[aside postid='arts_13940076']Perhaps most important, filming was taking place — and airing \u003cem>is\u003c/em> taking place — during a dangerous and painful time in Hong Kong’s history. (It’s a massive story defying a quick summary, but \u003ca href=\"https://www.npr.org/2023/12/08/1218100617/beijing-tightens-its-political-grip-on-hong-kong\">one recent update came\u003c/a> from NPR’s Emily Feng in December. The headline: “Beijing tightens its political grip on Hong Kong.”) In an \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-features/lulu-wang-interview-amazon-expats-1235791025/\">interview\u003c/a> with \u003cem>The Hollywood Reporter\u003c/em>, Wang talked about the fact that the show “interrogates privilege” and described how the show was shot during the pandemic. She did not, however, say much about filming and airing a show largely about oblivious rich people when this is the political backdrop.\u003c/p>\n\u003cp>Of course, given past reporting on how censorship has \u003ca href=\"https://www.washingtonpost.com/world/2023/11/20/india-netflix-amazon-movies-self-censorship/\">affected Amazon’s content decisions in India\u003c/a>, growing \u003ca href=\"https://www.reuters.com/world/china/hong-kong-film-makers-say-censorship-law-spooks-investors-actors-2023-06-28/\">censorship laws in Hong Kong\u003c/a>, and China’s treatment of disfavored speech and groups (again, \u003ca href=\"https://www.npr.org/2023/10/25/1208391460/china-suppresses-feminist-lgbtq-groups-outside-china-they-seek-to-rebuild\">here’s Emily Feng\u003c/a>), it’s hard to believe Wang and the rest of the writers had anything like a free hand in dealing with politics while they shot in Hong Kong. And nobody seems eager to disclose what the limitations might have been.\u003c/p>\n\u003cfigure id=\"attachment_13950976\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950976\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_220510_wilgle_00080r_crop_f_3000_custom-f7507f1ddeb6550b686f3f117d84b1127948dbe4-scaled-e1706211908130.jpg\" alt=\"A white woman and an Asian woman sit across from each other in a restaurant. A woman wearing a mask and headphones around her neck stands between them.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Lulu Wang (center) directs Ji-young Yoo and Nicole Kidman as Mercy and Margaret. \u003ccite>(Glen Wilson/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>If you can’t say anything important, should you say nothing at all?\u003c/h3>\n\u003cp>What there is of an effort to address the fraught politics of contemporary Hong Kong comes in the fifth episode, “Central.” A double-length installment, it switches the focus to a set of characters we’ve never or rarely spent time with before: a couple of Hong Kong students, a rich Hong Kong woman who’s trying to find a new “helper” for her house, and the two “helpers” who work for Margaret and Hilary’s families. Essie (Ruby Ruiz) and Puri (Amelyn Pardenilla) are both Filipina, so they too are far from home, but their circumstances are very different from the ones Margaret and Hilary face. Over the course of one long night that includes a power outage, protests swell … and then they rather quietly subside. Someone is arrested and it’s worrying, but he’s unharmed.\u003c/p>\n\u003cp>Maybe it’s better than nothing that \u003cem>Expats \u003c/em>acknowledges the existence of the strife in Hong Kong, even if it does so \u003cem>very \u003c/em>nonspecifically, focusing on the broader notion that there are protests and there is disruption, rather than saying much about what the protests are about. (Again, it’s hard not to wonder whether a fairly dispassionate presentation of protests as a historical fact devoid of detail was a freely made choice.) But this episode feels attached to the series like a rabbit’s foot to a keychain, more for the blessings it’s supposed to bring than for its function. So, maybe it’s not better than nothing. Maybe doubling down on the degree to which Hilary and Margaret, in particular, are ignoring the city under their feet would have made more sense.\u003c/p>\n\u003cp>[aside postid='arts_13940189']Some of the early publicity around this series suggested that it was a satire. The book may well be a satire, but this series is not a satire. Margaret and Hilary are selfish, and the existence of the expats we meet implicates them in a variety of destructive systems as they throw parties and talk only to each other, enjoying the parts of life in Hong Kong that are pleasurable and avoiding the parts that are not. But mostly, Hilary and Margaret are presented as sympathetic, as our protagonists, guilty of excess but little culpability for their circumstances, much like the women in \u003cem>Big Little Lies\u003c/em>. Kidman’s gift for portraying the grief that Margaret tries to bury under a layer of ice isn’t witty, quite; it’s her pain that dominates.\u003c/p>\n\u003cp>The writing of the series cannot seem to lower its pH and satirize these women, or even to let go of any claim they might have to victimhood. Margaret’s passing interest in news reports about crackdowns on protests is distasteful, but it’s not connected to her story; it’s just a flaw here, like a short temper. In individual moments, our three women — Hilary and Margaret at least — may be presented as insensitive, but that doesn’t make the series an incisive critique of them. Sour milk does not satirize the dairy industry just because it tastes bad.\u003c/p>\n\u003cp>Mercy is a different story. Mercy is interesting, because while she’s also an expat, she’s quite a different kind. Yoo imbues her with complex, guilt-ridden believability, making her an outwardly confident young woman with a thick hide that she hobbles off to repair after something hurts her. It’s the strongest performance in the series, and it’s the one that holds up best under the strain of the show’s uncertain footing.\u003c/p>\n\u003cfigure id=\"attachment_13950977\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950977\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210802_wonjup_00000r_3000_custom-0e5f05edfe5a19f59cd05e9c20541c53ef1782c4-scaled-e1706212056535.jpg\" alt=\"A family gathers around a table, seated casually, and chats.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">The series only occasionally takes a wider view of the city and its population, but the focus unfortunately remains too narrowiy focused on a particular kind of expat struggle. \u003ccite>(Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Marriage, Privilege, Redux?\u003c/h3>\n\u003cp>The most perplexing thing about \u003cem>Expats \u003c/em>is that its story has almost nothing to do with the fact that these women are expats. You could pack up this series and fly it to Manhattan, tell the same core stories about these three women (Margaret’s loss, Mercy’s guilt, Hilary’s marriage), and change … almost nothing. In fact, you could ship it to Monterey to be the third season of \u003cem>Big Little Lies\u003c/em>, and it would have a lot in common with the other seasons (tragedy, guilt, marriage).\u003c/p>\n\u003cp>Perhaps in an effort to avoid saying the wrong thing about expats, or about Hong Kong, \u003cem>Expats\u003c/em> winds up saying nothing about those things at all. The insularity of a woman living abroad who doesn’t speak the local language is a perhaps ironic mirror of the insularity of a story that doesn’t take much notice of its setting other than as scenery.\u003c/p>\n\u003cp>There was probably a different vision for this show at some point. A vision of it as glamorous and gorgeous and darkly funny (darkly funny like \u003cem>The Farewell \u003c/em>was), making affluent people who are expats or even just tourists squirm in recognition. But along the way, it became something far less interesting than that: a good-looking rich-people melodrama. Moreover, it’s a project that invites you, right from its title, to be bewildered by its indifference to life in Hong Kong. It’s like showing up at a billionaire’s house and taking 100 pictures of the koi pond from every angle, while the house is burning down behind you. There’s nothing wrong with the photos you’ve taken, but there is the feeling you could have captured something far more worthy of your attention by just turning your head.\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=Nicole+Kidman+leads+an+ensemble+of+privileged%2C+disconnected+American+%27Expats%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Expats’ begins streaming on Prime Video on Jan. 26, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nicole Kidman has done a lot of different things in film: she’s been a horny schemer in \u003cem>Malice\u003c/em>, a strong-willed young Irish immigrant in \u003cem>Far and Away\u003c/em>, she was even Virginia Woolf in \u003cem>The Hours\u003c/em>. But in television, she specializes in women who are rich and haunted. Haunted by a nightmarish marriage in \u003cem>Big Little Lies\u003c/em>, haunted by the possibility that her husband is a murderer in \u003cem>The Undoing\u003c/em>, and now haunted by a tragedy in \u003cem>Expats\u003c/em>, the splashy Amazon series adapted from Janice Y.K. Lee’s 2016 novel \u003cem>The Expatriates\u003c/em>, about three American women who are not from Hong Kong, but live there.\u003c/p>\n\u003cp>Kidman plays Margaret, a landscape architect. When we meet her, Margaret seems to be in a fog, barely engaged with her son and daughter, or with her husband, Clarke (Brian Tee). Clarke’s job is the reason the family has come from New York to Hong Kong, and at the opening of the series, he’s secretly seeking comfort in a church because something bad has happened. When an innocent question about a child named “Gus” causes Margaret to flee a room, the nature of that something bad begins to emerge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hilary (Sarayu Blue) lives in the same fancy building as Margaret, and it’s clear they’ve been friends, although now, there is tension between them. Margaret has hurt Hilary somehow, and Hilary is finding it difficult to reconcile. Hilary and her husband, David (Jack Huston), have been trying to have a baby around the edges of her busy professional life and his questionable trustworthiness. Their marriage is in trouble, in both ways Hilary knows about and ways she doesn’t, yet.\u003c/p>\n\u003cp>Mercy (Ji-young Yoo) is a young woman working catering jobs who not infrequently finds herself explaining to people she meets that she isn’t local, and isn’t Korean but Korean American, and doesn’t speak Cantonese. She provides a voiceover prologue to the series that makes it clear that she feels very guilty about something, and that she’s having trouble moving on from it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/whHb3ClSdrQ'\n title='//www.youtube.com/embed/whHb3ClSdrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Production (sour) notes\u003c/h3>\n\u003cp>At this point, it’s worth taking a moment to note the lengthy and sometimes stormy history of this production. \u003cem>The Expatriates \u003c/em>was published in 2016, and \u003ca href=\"https://deadline.com/2017/02/nicole-kidman-produce-star-the-expatriates-tv-series-adaptation-1201904571/\">news that Nicole Kidman’s production company had acquired the rights emerged\u003c/a> in early 2017 — just before the premiere of \u003cem>Big Little Lies \u003c/em>on HBO. The final major piece of the \u003cem>Expats \u003c/em>puzzle slid into place in late December 2019, when Lulu Wang, just months after the release of her film \u003cem>The Farewell\u003c/em>, came on board to direct, write and executive produce “multiple episodes.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During filming in 2021, Kidman and several crew members got an exemption allowing them to avoid the COVID quarantine rules that applied to everyone else upon arrival in Hong Kong. As \u003cem>The New York Times \u003c/em>reported at the time, \u003ca href=\"https://www.nytimes.com/2021/08/20/world/asia/nicole-kidman-hong-kong.html\">there was anger not only among the city’s residents, but in its legislature\u003c/a>. It was a bitter pill, it seems, that this production about rich outsiders who paid little attention to the lives of ordinary people in Hong Kong was being given a blessing to hand-wave regulations meant to protect those same ordinary people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Perhaps most important, filming was taking place — and airing \u003cem>is\u003c/em> taking place — during a dangerous and painful time in Hong Kong’s history. (It’s a massive story defying a quick summary, but \u003ca href=\"https://www.npr.org/2023/12/08/1218100617/beijing-tightens-its-political-grip-on-hong-kong\">one recent update came\u003c/a> from NPR’s Emily Feng in December. The headline: “Beijing tightens its political grip on Hong Kong.”) In an \u003ca href=\"https://www.hollywoodreporter.com/tv/tv-features/lulu-wang-interview-amazon-expats-1235791025/\">interview\u003c/a> with \u003cem>The Hollywood Reporter\u003c/em>, Wang talked about the fact that the show “interrogates privilege” and described how the show was shot during the pandemic. She did not, however, say much about filming and airing a show largely about oblivious rich people when this is the political backdrop.\u003c/p>\n\u003cp>Of course, given past reporting on how censorship has \u003ca href=\"https://www.washingtonpost.com/world/2023/11/20/india-netflix-amazon-movies-self-censorship/\">affected Amazon’s content decisions in India\u003c/a>, growing \u003ca href=\"https://www.reuters.com/world/china/hong-kong-film-makers-say-censorship-law-spooks-investors-actors-2023-06-28/\">censorship laws in Hong Kong\u003c/a>, and China’s treatment of disfavored speech and groups (again, \u003ca href=\"https://www.npr.org/2023/10/25/1208391460/china-suppresses-feminist-lgbtq-groups-outside-china-they-seek-to-rebuild\">here’s Emily Feng\u003c/a>), it’s hard to believe Wang and the rest of the writers had anything like a free hand in dealing with politics while they shot in Hong Kong. And nobody seems eager to disclose what the limitations might have been.\u003c/p>\n\u003cfigure id=\"attachment_13950976\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950976\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_220510_wilgle_00080r_crop_f_3000_custom-f7507f1ddeb6550b686f3f117d84b1127948dbe4-scaled-e1706211908130.jpg\" alt=\"A white woman and an Asian woman sit across from each other in a restaurant. A woman wearing a mask and headphones around her neck stands between them.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Lulu Wang (center) directs Ji-young Yoo and Nicole Kidman as Mercy and Margaret. \u003ccite>(Glen Wilson/ Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>If you can’t say anything important, should you say nothing at all?\u003c/h3>\n\u003cp>What there is of an effort to address the fraught politics of contemporary Hong Kong comes in the fifth episode, “Central.” A double-length installment, it switches the focus to a set of characters we’ve never or rarely spent time with before: a couple of Hong Kong students, a rich Hong Kong woman who’s trying to find a new “helper” for her house, and the two “helpers” who work for Margaret and Hilary’s families. Essie (Ruby Ruiz) and Puri (Amelyn Pardenilla) are both Filipina, so they too are far from home, but their circumstances are very different from the ones Margaret and Hilary face. Over the course of one long night that includes a power outage, protests swell … and then they rather quietly subside. Someone is arrested and it’s worrying, but he’s unharmed.\u003c/p>\n\u003cp>Maybe it’s better than nothing that \u003cem>Expats \u003c/em>acknowledges the existence of the strife in Hong Kong, even if it does so \u003cem>very \u003c/em>nonspecifically, focusing on the broader notion that there are protests and there is disruption, rather than saying much about what the protests are about. (Again, it’s hard not to wonder whether a fairly dispassionate presentation of protests as a historical fact devoid of detail was a freely made choice.) But this episode feels attached to the series like a rabbit’s foot to a keychain, more for the blessings it’s supposed to bring than for its function. So, maybe it’s not better than nothing. Maybe doubling down on the degree to which Hilary and Margaret, in particular, are ignoring the city under their feet would have made more sense.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some of the early publicity around this series suggested that it was a satire. The book may well be a satire, but this series is not a satire. Margaret and Hilary are selfish, and the existence of the expats we meet implicates them in a variety of destructive systems as they throw parties and talk only to each other, enjoying the parts of life in Hong Kong that are pleasurable and avoiding the parts that are not. But mostly, Hilary and Margaret are presented as sympathetic, as our protagonists, guilty of excess but little culpability for their circumstances, much like the women in \u003cem>Big Little Lies\u003c/em>. Kidman’s gift for portraying the grief that Margaret tries to bury under a layer of ice isn’t witty, quite; it’s her pain that dominates.\u003c/p>\n\u003cp>The writing of the series cannot seem to lower its pH and satirize these women, or even to let go of any claim they might have to victimhood. Margaret’s passing interest in news reports about crackdowns on protests is distasteful, but it’s not connected to her story; it’s just a flaw here, like a short temper. In individual moments, our three women — Hilary and Margaret at least — may be presented as insensitive, but that doesn’t make the series an incisive critique of them. Sour milk does not satirize the dairy industry just because it tastes bad.\u003c/p>\n\u003cp>Mercy is a different story. Mercy is interesting, because while she’s also an expat, she’s quite a different kind. Yoo imbues her with complex, guilt-ridden believability, making her an outwardly confident young woman with a thick hide that she hobbles off to repair after something hurts her. It’s the strongest performance in the series, and it’s the one that holds up best under the strain of the show’s uncertain footing.\u003c/p>\n\u003cfigure id=\"attachment_13950977\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950977\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/xpat_s1_ut_1_210802_wonjup_00000r_3000_custom-0e5f05edfe5a19f59cd05e9c20541c53ef1782c4-scaled-e1706212056535.jpg\" alt=\"A family gathers around a table, seated casually, and chats.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">The series only occasionally takes a wider view of the city and its population, but the focus unfortunately remains too narrowiy focused on a particular kind of expat struggle. \u003ccite>(Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Marriage, Privilege, Redux?\u003c/h3>\n\u003cp>The most perplexing thing about \u003cem>Expats \u003c/em>is that its story has almost nothing to do with the fact that these women are expats. You could pack up this series and fly it to Manhattan, tell the same core stories about these three women (Margaret’s loss, Mercy’s guilt, Hilary’s marriage), and change … almost nothing. In fact, you could ship it to Monterey to be the third season of \u003cem>Big Little Lies\u003c/em>, and it would have a lot in common with the other seasons (tragedy, guilt, marriage).\u003c/p>\n\u003cp>Perhaps in an effort to avoid saying the wrong thing about expats, or about Hong Kong, \u003cem>Expats\u003c/em> winds up saying nothing about those things at all. The insularity of a woman living abroad who doesn’t speak the local language is a perhaps ironic mirror of the insularity of a story that doesn’t take much notice of its setting other than as scenery.\u003c/p>\n\u003cp>There was probably a different vision for this show at some point. A vision of it as glamorous and gorgeous and darkly funny (darkly funny like \u003cem>The Farewell \u003c/em>was), making affluent people who are expats or even just tourists squirm in recognition. But along the way, it became something far less interesting than that: a good-looking rich-people melodrama. Moreover, it’s a project that invites you, right from its title, to be bewildered by its indifference to life in Hong Kong. It’s like showing up at a billionaire’s house and taking 100 pictures of the koi pond from every angle, while the house is burning down behind you. There’s nothing wrong with the photos you’ve taken, but there is the feeling you could have captured something far more worthy of your attention by just turning your head.\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=Nicole+Kidman+leads+an+ensemble+of+privileged%2C+disconnected+American+%27Expats%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘Expats’ begins streaming on Prime Video on Jan. 26, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How to Watch This Year’s Oscar-Nominated Movies Before the Academy Awards",
"headTitle": "How to Watch This Year’s Oscar-Nominated Movies Before the Academy Awards | KQED",
"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": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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>\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>\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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"title": "For Your Listening Pleasure: Lake Tahoe Coyotes Losing Their Minds",
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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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\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/yVd5WhDcNfk'\n title='//www.youtube.com/embed/yVd5WhDcNfk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Isn’t nature healing?\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"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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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"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": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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