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"content": "\u003cp>The top awards for children’s literature in 2024 were \u003ca href=\"https://www.ala.unikron.com/\">announced Monday\u003c/a> at the American Library Association’s annual Youth Media Awards. Author Dave Eggers won the John Newbery Medal, which is given to the most distinguished American children’s book published the previous year, for his middle grade book \u003cem>The Eyes and the Impossible\u003c/em>, which was illustrated by Shawn Harris. Author and illustrator Vashti Harrison won the Randolph Caldecott Medal for the most distinguished American picture book for children, for her book \u003cem>Big\u003c/em>.\u003c/p>\n\u003cp>In an interview with \u003ca href=\"https://www.npr.org/2023/05/09/1175071465/author-dave-eggers-channels-a-stray-dog-for-his-new-book\">\u003cem>All Things Considered\u003c/em>\u003c/a> last May, Eggers said that writing from the voice of a stray dog, as he does in \u003cem>The Eyes and the Impossible\u003c/em>, was “the most sort of liberating and joyful kind of writing I’ve ever done.”\u003c/p>\n\u003cfigure id=\"attachment_13950701\" class=\"wp-caption aligncenter\" style=\"max-width: 1028px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13950701\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM.png\" alt=\"A book cover featuring an illustration of a dog running through the woods.\" width=\"1028\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM.png 1028w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM-800x945.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM-1020x1205.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM-160x189.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-22-at-10.31.01-AM-768x907.png 768w\" sizes=\"(max-width: 1028px) 100vw, 1028px\">\u003cfigcaption class=\"wp-caption-text\">‘The Eyes and the Impossible.’ \u003ccite>(Knopf Books for Young Readers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harrison, in her own \u003ca href=\"https://www.npr.org/2023/05/02/1173477768/author-illustrator-vashti-harrison-wants-her-book-and-the-word-big-to-affirm-kid\">\u003cem>All Things Considered\u003c/em>\u003c/a> interview last May, said that the impetus for \u003cem>Big\u003c/em>, which follows a little girl growing up, was “to make a story that followed a child on a journey towards self-love.” Both \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=260\">\u003cem>The Eyes and the Impossible\u003c/em>\u003c/a> and \u003ca href=\"#ks/#year=2023&book=47\">\u003cem>Big \u003c/em>\u003c/a>were also named as two of NPR’s \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=260\">Books We Love\u003c/a> in 2023.\u003c/p>\n\u003cp>[aside postid='arts_13950449']Harrison is the first Black woman to win the Caldecott Medal; her book \u003cem>Big\u003c/em> was also awarded both Coretta Scott King author and illustrator honors on Monday as well.\u003c/p>\n\u003cp>Five other Newbery honor books were also named Monday: \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=7\">\u003cem>Eagle Drums\u003c/em>,\u003c/a> written and illustrated by Nasuġraq Rainey Hopson; \u003cem>Elf Dog and Owl Head\u003c/em>, written by M.T. Anderson and illustrated by Junyi Wu; \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=164\">\u003cem>Mexikid: A Graphic Memoir\u003c/em>, \u003c/a>written and illustrated by Pedro Martín; \u003cem>Simon Sort of Says\u003c/em>, written by Erin Bow; and \u003cem>The Many Assassinations of Samir, the Seller of Dreams\u003c/em>, written by Daniel Nayeri and illustrated by Daniel Miyares.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Four other books took Caldecott honors: \u003cem>In Every Life\u003c/em>, illustrated and written by Marla Frazee; \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=135\">\u003cem>Jovita Wore Pants: The Story of a Mexican Freedom Fighter\u003c/em>,\u003c/a> illustrated by Molly Mendoza and written by Aida Salazar; \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=325\">\u003cem>There Was a Party for Langston\u003c/em>,\u003c/a> illustrated by Jerome Pumphrey and Jarrett Pumphrey, and written by Jason Reynolds; and \u003cem>The Truth About Dragons\u003c/em>, illustrated by Hanna Cha, and written by Julie Leung.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dave+Eggers+wins+Newbery%2C+Vashti+Harrison+wins+Caldecott+in+2024+kids%27+lit+prizes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>I try not to be too dogmatic these days about telling people that there are certain movies they should see only on the big screen. That said, if there is one movie right now that you should see in a theater if you can, it’s the transfixing new drama \u003cem>Inside the Yellow Cocoon Shell\u003c/em>, from the Vietnamese writer and director Phạm Thiên Ân.\u003c/p>\n\u003cp>It’s the kind of film that envelops you with its gorgeous images and hypnotic rhythms, and it requires close, wide-awake attention to work its peculiar magic. Give it that attention, and you may find it as overwhelming as I did — an experience that makes you feel as if you’ve been quietly transported to another world.\u003c/p>\n\u003cp>[aside postid='arts_13950482']The story begins in Saigon in 2018, at a bustling outdoor dining area next door to a soccer game. Amid the crowd, three young men are having a meal and some heavy spiritual conversation. 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Most of the movie is composed in long, unbroken takes, to quietly mesmerizing effect: By refusing to cut away or break his story into easily digestible segments, Phạm leaves you feeling as though you’re experiencing life through his characters’ eyes.\u003c/p>\n\u003cp>There’s one extraordinary shot that runs more than 20 minutes, in which Thien rides his bike down a dirt road, stops at the home of a village elder and goes inside for some conversation. You’re struck at first by the jaw-dropping virtuosity of the camerawork, but after a while, you forget about the technique and are simply caught up in the older man’s story. He talks about his lifelong efforts to perform acts of goodness and decency, in repentance for the violence he committed as a soldier during the Vietnam War.\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13940387']Inside the Yellow Cocoon Shell\u003c/em> is deeply invested in questions of good and evil, mortality and immortality. But while the movie offers a fascinating portrait of Vietnamese Christianity, unfolding in village homes crowded with Jesus paintings and figurines, it never suggests that the truth can be found within one religious tradition or doctrine. Taking in this movie, with its stunning landscapes and soundscapes, I was often reminded of the Thai filmmaker Apichatpong Weerasethakul, whose films, like \u003ca href=\"https://www.npr.org/2022/05/13/1098496509/memoria-is-a-marvelously-strange-sonic-detective-story\">\u003cem>Memoria\u003c/em> \u003c/a>or \u003cem>Syndromes and a Century\u003c/em>, are steeped in his Buddhist worldview.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Thien’s journey continues, the narrative seems to slip between past and present, dream and reality, in ways that are baffling but also intoxicating. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along the way, Thien reunites with old friends, including an old flame who’s now a nun. He tries to find his brother, Teresa’s estranged husband, who apparently hasn’t been seen for years. But it gradually becomes clear that Thien isn’t just looking for a person. He’s lost, too — and now he’s searching for himself.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IqdAUaqbhmk'\n title='//www.youtube.com/embed/IqdAUaqbhmk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The beauty of \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is the way director Phạm invites us to search alongside Thien. Most of the movie is composed in long, unbroken takes, to quietly mesmerizing effect: By refusing to cut away or break his story into easily digestible segments, Phạm leaves you feeling as though you’re experiencing life through his characters’ eyes.\u003c/p>\n\u003cp>There’s one extraordinary shot that runs more than 20 minutes, in which Thien rides his bike down a dirt road, stops at the home of a village elder and goes inside for some conversation. You’re struck at first by the jaw-dropping virtuosity of the camerawork, but after a while, you forget about the technique and are simply caught up in the older man’s story. He talks about his lifelong efforts to perform acts of goodness and decency, in repentance for the violence he committed as a soldier during the Vietnam War.\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>",
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"content": "\u003cp>Words like “important” and “vital” are thrown around possibly a little too much in film criticism. It’s not that we don’t mean it — it’s just that sometimes we (ok, I) can get a bit excited. And when watching and reviewing good films in real time, it’s impossible to know what is yet to come. Will there be something else that makes that superlative seem silly in retrospect? Often times, yes.\u003c/p>\n\u003cp>Ava DuVernay’s new film \u003cem>Origin\u003c/em> is that something else. It is a powerful and artistic interpretation of an academic book that was anything but an obvious candidate for a narrative feature.\u003c/p>\n\u003cp>[aside postid='arts_13858815']The book in question is\u003cem> Caste: The Origins of Our Discontents\u003c/em>, in which Pulitzer Prize-winning author Isabel Wilkerson offers an overriding theory about power and hierarchy and systemic dehumanization in social structures, connecting the Black experience in America to the Dalits of India and Jewish people in Nazi Germany. \u003cem>The New York Times\u003c/em> reviewer called it one of the most powerful non-fiction books he’d ever encountered and “the keynote nonfiction book of the American century thus far.”\u003c/p>\n\u003cp>That \u003cem>Caste\u003c/em> was appealing to DuVernay, who has made documentaries like \u003cem>13th\u003c/em>, connecting slavery to mass incarceration of Black men, is not surprising. What’s she’s done with it is. Instead of rehashing the facts of the book, DuVernay has turned \u003cem>Caste\u003c/em> into an investigative, fictionalized drama in which we follow the character Isabel Wilkerson as she puts the pieces together while her life crumbles.\u003c/p>\n\u003cp>With an unconventional structure, in which we are often transported to different stories in different times, in the American South, Nazi Germany and early 20th century India, \u003cem>Origin\u003c/em> is nonetheless alarmingly effective, a riveting and haunting journey to a kind of enlightenment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s27ETxdCUqw\u003c/p>\n\u003cp>Wilkerson is played beautifully by Aunjanue Ellis-Taylor, an actor deep enough to engage with the academic and intellectual inquiries of the film, and charismatic enough to make what sounds like homework absorbing. Hers is the kind of 360-degree Black woman that we don’t see leading films very often: She is at once confident and full of doubt and vulnerability, accomplished but searching, determined and still wary. And she’s unafraid to pursue her hunch that everyone, civilians and book editors alike, seems to be telling her isn’t worth it.\u003c/p>\n\u003cp>This is a character who is surrounded by love when we meet her, with a fairly perfect and supportive husband (Jon Bernthal), her aging mother Ruby (Emily Yancy) and a cousin/confidant in Marion (Niecy Nash-Betts). She is not immediately interested in an assignment about Trayvon Martin, and is a bit stuck knowing that whatever she does, she’ll have to give herself over fully to it. In \u003cem>Origin\u003c/em>, a push comes in the form of loss and her research takes on a vital urgency to, not to be too hyperbolic, figure out why everything is rotten before she too leaves the earth.\u003c/p>\n\u003cp>[aside postid='arts_13940387']DuVernay takes us into her findings as Wilkerson learns about a group of Harvard students, two Black, two white, who integrate themselves into a segregated Southern community to study it, a Nazi party member who fell in love with a Jewish woman, and an Indian intellectual who rose out of his lowly caste and advocated for Dalit rights. They feel a bit like different movies. But while it might not be the most elegantly stitched together anthology, it works on a gut level. DuVernay and Ellis-Taylor commit to the big swing, and audiences who give it a chance may find themselves changed — or at least a little more curious, a little more alert — because of it.\u003c/p>\n\u003cp>Is it premature to say that \u003cem>Origin\u003c/em> might just be DuVernay’s magnum opus? Well, perhaps. But hopefully it’s the start of a vibrant and bold new era of storytelling for her, with those pesky wrinkles in time firmly in the rearview mirror.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Origin’ opens in the Bay Area on Jan. 17, 2024. It is released nationwide on Jan. 19.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/s27ETxdCUqw'\n title='//www.youtube.com/embed/s27ETxdCUqw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Wilkerson is played beautifully by Aunjanue Ellis-Taylor, an actor deep enough to engage with the academic and intellectual inquiries of the film, and charismatic enough to make what sounds like homework absorbing. Hers is the kind of 360-degree Black woman that we don’t see leading films very often: She is at once confident and full of doubt and vulnerability, accomplished but searching, determined and still wary. And she’s unafraid to pursue her hunch that everyone, civilians and book editors alike, seems to be telling her isn’t worth it.\u003c/p>\n\u003cp>This is a character who is surrounded by love when we meet her, with a fairly perfect and supportive husband (Jon Bernthal), her aging mother Ruby (Emily Yancy) and a cousin/confidant in Marion (Niecy Nash-Betts). She is not immediately interested in an assignment about Trayvon Martin, and is a bit stuck knowing that whatever she does, she’ll have to give herself over fully to it. In \u003cem>Origin\u003c/em>, a push comes in the form of loss and her research takes on a vital urgency to, not to be too hyperbolic, figure out why everything is rotten before she too leaves the earth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>DuVernay takes us into her findings as Wilkerson learns about a group of Harvard students, two Black, two white, who integrate themselves into a segregated Southern community to study it, a Nazi party member who fell in love with a Jewish woman, and an Indian intellectual who rose out of his lowly caste and advocated for Dalit rights. They feel a bit like different movies. But while it might not be the most elegantly stitched together anthology, it works on a gut level. DuVernay and Ellis-Taylor commit to the big swing, and audiences who give it a chance may find themselves changed — or at least a little more curious, a little more alert — because of it.\u003c/p>\n\u003cp>Is it premature to say that \u003cem>Origin\u003c/em> might just be DuVernay’s magnum opus? Well, perhaps. But hopefully it’s the start of a vibrant and bold new era of storytelling for her, with those pesky wrinkles in time firmly in the rearview mirror.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Origin’ opens in the Bay Area on Jan. 17, 2024. It is released nationwide on Jan. 19.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "High-Power Detectives Clash Over a Questionable Conviction in ‘Criminal Record’",
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"content": "\u003cp>In the third of \u003cem>The Godfather\u003c/em> movies, the aging Michael Corleone is trying to rein in his young nephew Vincent, a hothead who’s burning to murder some guy who crossed him. “Never hate your enemies,” Michael tells him sagely, “It clouds your judgment.”\u003c/p>\n\u003cp>This philosophy gets put to the test in \u003cem>Criminal Record\u003c/em>, an enjoyable new crime series on AppleTV+, about two smart, driven London cops who become archrivals. It stars two of the best British actors on TV: Cush Jumbo, whom you’ll know as Lucca Quinn on \u003ca href=\"https://www.npr.org/2016/05/09/477330290/7-years-later-good-wife-ends-as-it-began-with-betrayal-and-uncertainty\">\u003cem>The Good Wife\u003c/em>\u003c/a> and \u003cem>The Good Fight\u003c/em>, and Peter Capaldi, of \u003ca href=\"https://www.npr.org/2017/12/25/573415852/doctor-who-says-goodbye-to-peter-capaldi-as-show-prepares-for-first-female-docto\">\u003cem>Doctor Who\u003c/em>\u003c/a> and \u003cem>The Thick of It\u003c/em> fame. Their characters wage a battle that goes beyond the simply personal to touch on questions about the ethics, and politics, of police work.\u003c/p>\n\u003cp>[aside postid='arts_13940189']Jumbo plays Detective Sergeant June Lenker, a biracial woman in a largely white police station. She overhears an emergency call in which a terrified woman says that her boyfriend bragged about once killing another woman and getting away with it — the wrong man has been imprisoned for the crime. Taking this claim seriously, June checks the records and decides the victim of this injustice is a Black man named Errol Mathis.\u003c/p>\n\u003cp>Doing her due diligence, she visits the officer who handled the original case a decade ago. That’s Capaldi’s character, Det. Chief Inspector Daniel Hegarty, a man as self-contained and calculating as June is headlong and passionate. Bridling at her implication that he might’ve jailed an innocent man, he scoffs at her impulsiveness in reading so much into an anonymous call.\u003c/p>\n\u003cp>Naturally, the two take an instant dislike to one another, and over the next seven episodes, they wage guerrilla war. Convinced Hegarty is not telling the truth, June secretly throws herself into the Mathis case in ways that violate department protocol; meanwhile Hegarty uses his wiles — and dodgy underlings — to stop her from finding information that will cause him trouble. Knowing she’s over-eager, he places snares in her path to discredit her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G_sohSQWHvg\u003c/p>\n\u003cp>Like so many cop shows these days, \u003cem>Criminal Record\u003c/em> aspires to being more than an ordinary police procedural. To that end, both of its antagonists must deal with confusing personal lives. While Hegarty wrangles a troubled daughter and reckless cronies, June often feels stranded. At home, she has a nice white husband who doesn’t always see his own unconscious biases. At work, she’s treated with various degrees of bigotry by old-school white male cops; meanwhile, some fellow Black officers allege June is being favored because of her lighter skin.\u003c/p>\n\u003cp>Now, I’d like to be able to say that \u003cem>Criminal Record\u003c/em> offers the revelatory vividness of acclaimed hits like \u003ca href=\"https://www.npr.org/2023/05/23/1177647906/happy-valley-review\">\u003cem>Happy Valley\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\">\u003cem>Mare of Easttown\u003c/em>\u003c/a>, but, in fact, the show’s creator, Paul Rutman, doesn’t dig as deep as he should. He touches on tricky themes, like white supremacist cops, then drops them without fully playing out their implications.\u003c/p>\n\u003cp>[aside postid='arts_13940076']But the show is elevated by its leads. Jumbo is a charismatically sleek actress who’s sturdy enough to hold her own with Capaldi, a cagey old scene stealer who revels in the chance to play an unreadable tactician like Hegarty. Where Jumbo’s June carries her integrity like a flaming torch, it’s less clear what we’re to make of the hatchet-faced Hegarty, whose air of poised mastery feels like an attempt to contain chaos. He’s the more interesting character because we don’t know what makes him tick. Is he corrupt? Is he a racist who treated Mathis unjustly because he’s Black? Or could he simply be protecting his reputation for being a great detective?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As usually happens in crime stories, the climax is not wholly satisfying — the twists are too neatly tied. \u003cem>Criminal Record\u003c/em> hits its peak in the middle episodes when both June and Hegarty are at their most frazzled and devious. While hatred may indeed cloud a person’s judgment, a story is always more fun when its antagonists crackle with genuine dislike.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=High-power+detectives+clash+over+a+questionable+conviction+in+%27Criminal+Record%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the third of \u003cem>The Godfather\u003c/em> movies, the aging Michael Corleone is trying to rein in his young nephew Vincent, a hothead who’s burning to murder some guy who crossed him. “Never hate your enemies,” Michael tells him sagely, “It clouds your judgment.”\u003c/p>\n\u003cp>This philosophy gets put to the test in \u003cem>Criminal Record\u003c/em>, an enjoyable new crime series on AppleTV+, about two smart, driven London cops who become archrivals. It stars two of the best British actors on TV: Cush Jumbo, whom you’ll know as Lucca Quinn on \u003ca href=\"https://www.npr.org/2016/05/09/477330290/7-years-later-good-wife-ends-as-it-began-with-betrayal-and-uncertainty\">\u003cem>The Good Wife\u003c/em>\u003c/a> and \u003cem>The Good Fight\u003c/em>, and Peter Capaldi, of \u003ca href=\"https://www.npr.org/2017/12/25/573415852/doctor-who-says-goodbye-to-peter-capaldi-as-show-prepares-for-first-female-docto\">\u003cem>Doctor Who\u003c/em>\u003c/a> and \u003cem>The Thick of It\u003c/em> fame. Their characters wage a battle that goes beyond the simply personal to touch on questions about the ethics, and politics, of police work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Jumbo plays Detective Sergeant June Lenker, a biracial woman in a largely white police station. She overhears an emergency call in which a terrified woman says that her boyfriend bragged about once killing another woman and getting away with it — the wrong man has been imprisoned for the crime. Taking this claim seriously, June checks the records and decides the victim of this injustice is a Black man named Errol Mathis.\u003c/p>\n\u003cp>Doing her due diligence, she visits the officer who handled the original case a decade ago. That’s Capaldi’s character, Det. Chief Inspector Daniel Hegarty, a man as self-contained and calculating as June is headlong and passionate. Bridling at her implication that he might’ve jailed an innocent man, he scoffs at her impulsiveness in reading so much into an anonymous call.\u003c/p>\n\u003cp>Naturally, the two take an instant dislike to one another, and over the next seven episodes, they wage guerrilla war. Convinced Hegarty is not telling the truth, June secretly throws herself into the Mathis case in ways that violate department protocol; meanwhile Hegarty uses his wiles — and dodgy underlings — to stop her from finding information that will cause him trouble. Knowing she’s over-eager, he places snares in her path to discredit her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/G_sohSQWHvg'\n title='//www.youtube.com/embed/G_sohSQWHvg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like so many cop shows these days, \u003cem>Criminal Record\u003c/em> aspires to being more than an ordinary police procedural. To that end, both of its antagonists must deal with confusing personal lives. While Hegarty wrangles a troubled daughter and reckless cronies, June often feels stranded. At home, she has a nice white husband who doesn’t always see his own unconscious biases. At work, she’s treated with various degrees of bigotry by old-school white male cops; meanwhile, some fellow Black officers allege June is being favored because of her lighter skin.\u003c/p>\n\u003cp>Now, I’d like to be able to say that \u003cem>Criminal Record\u003c/em> offers the revelatory vividness of acclaimed hits like \u003ca href=\"https://www.npr.org/2023/05/23/1177647906/happy-valley-review\">\u003cem>Happy Valley\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\">\u003cem>Mare of Easttown\u003c/em>\u003c/a>, but, in fact, the show’s creator, Paul Rutman, doesn’t dig as deep as he should. He touches on tricky themes, like white supremacist cops, then drops them without fully playing out their implications.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the show is elevated by its leads. Jumbo is a charismatically sleek actress who’s sturdy enough to hold her own with Capaldi, a cagey old scene stealer who revels in the chance to play an unreadable tactician like Hegarty. Where Jumbo’s June carries her integrity like a flaming torch, it’s less clear what we’re to make of the hatchet-faced Hegarty, whose air of poised mastery feels like an attempt to contain chaos. He’s the more interesting character because we don’t know what makes him tick. Is he corrupt? Is he a racist who treated Mathis unjustly because he’s Black? Or could he simply be protecting his reputation for being a great detective?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As usually happens in crime stories, the climax is not wholly satisfying — the twists are too neatly tied. \u003cem>Criminal Record\u003c/em> hits its peak in the middle episodes when both June and Hegarty are at their most frazzled and devious. While hatred may indeed cloud a person’s judgment, a story is always more fun when its antagonists crackle with genuine dislike.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=High-power+detectives+clash+over+a+questionable+conviction+in+%27Criminal+Record%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Six Takeaways From the Return of the Emmys",
"headTitle": "Six Takeaways From the Return of the Emmys | KQED",
"content": "\u003cp>The 75th Emmy Awards offered up nothing in the way of real surprise; practically every prize went to the frontrunner. Perhaps the closest the night came to a moment worth an eyebrow-raise was the In Memoriam segment that included a mournful rendition of the \u003cem>Friends \u003c/em>theme song. Obviously, a very well-meaning attempt to recognize Matthew Perry, but that is not a song that translates into tears. The delay of this ceremony from September to now also meant that a lot of these frontrunners are fresh off Golden Globe and Critics’ Choice awards, making their wins seem even a little more obvious.\u003c/p>\n\u003cp>Still, like every Emmy night, there were some notable developments.\u003c/p>\n\u003cp>1. Three big shows dominated the major categories given out Monday night: \u003cem>Succession \u003c/em>in drama, \u003cem>The Bear \u003c/em>in comedy, and \u003cem>Beef \u003c/em>in limited series. All three won the big prize in their category as best series. All three won both directing and writing awards. All three won multiple acting awards — two for \u003cem>Beef \u003c/em>(its two leads), three for \u003cem>The Bear \u003c/em>(its three principals), and three for \u003cem>Succession \u003c/em>(three members of its gazillion-person cast). Only four wins out of the 21 handed out in these three categories went to any other shows: Jennifer Coolidge for \u003cem>The White Lotus\u003c/em>, Paul Walter Hauser for \u003cem>Black Bird\u003c/em>, Quinta Brunson for \u003cem>Abbott Elementary\u003c/em> and Niecy Nash-Betts for \u003cem>Dahmer — Monster: The Jeffrey Dahmer Story\u003c/em>. It seemed like maybe \u003cem>Ted Lasso \u003c/em>might be in the race for its (likely) final season, or \u003cem>The Last Of Us \u003c/em>might make a strong showing for its adaptation of a stunning video game. But it was not to be. This was a night for the favorites to fully dominate.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vbmxLOnrRbU\u003c/p>\n\u003cp>2. Coolidge’s win for her supporting work in \u003cem>The White Lotus \u003c/em>wasn’t unexpected, given that she won last year, but along with the rest of the night, it did come as a real blow to \u003cem>Better Call Saul \u003c/em>fans, myself included. Many people who hoped against hope that Rhea Seehorn would win the trophy in her last shot for the work she did as Kim Wexler. In fact, \u003cem>Saul\u003c/em> — a show a lot of its admirers think is better than \u003cem>Breaking Bad\u003c/em>, from which it was spun off — won no Emmys at all. It ends an acclaimed six-season run with 53 nominations and no awards. Perhaps that’s only fitting for a show that’s about a bottom-feeder and repeat loser like Jimmy McGill, but those who know, know. \u003cem>Especially\u003c/em> about Rhea Seehorn.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k_wz0SEH6Vg\u003c/p>\n\u003cp>3. In place of the orchestra playing people off to trim runaway speeches, they decided this year to have host Anthony Anderson’s mother stand up in the audience and start yelling at them. The moment she did it to Jennifer Coolidge, it was more than clear that this was going to be terribly awkward. The producers didn’t continue with it, fortunately. It’s not clear whether they ever intended to. Perhaps they didn’t, or perhaps they instantly realized it was not going to land the way they hoped. Seriously, just play the music.[aside postid='arts_13940099']\u003c/p>\n\u003cp>4. It’s often been the case that awards shows include a good number of Black actors as presenters, or as hosts like Anderson, but then don’t actually reward their work. Not so with these Emmys. Three of the first four women to take the stage as winners — Ayo Edebiri, Quinta Brunson, and Niecy Nash-Betts — were Black, and the ceremony’s look back at 75 years of Emmys included beloved icons like Arsenio Hall and Marla Gibbs as well as influential shows like \u003cem>Good Times\u003c/em> and \u003cem>Martin\u003c/em>. Anderson called it “like MLK Day and Juneteenth rolled into one.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jOJNgHgKnFs\u003c/p>\n\u003cp>5. Most coverage of the Emmys goes to a handful of major categories, but there’s always plenty going on up and down the list. One story of note: With a win for his special \u003cem>Elton John Live: Farewell from Dodger Stadium\u003c/em>, Elton John reached a made-up status that it’s hard not to admire anyway — the EGOT.\u003c/p>\n\u003cp>6. At the 75th Emmys, it made sense to do a lot of remembering of the TV of the past. Some of this worked really well, like getting to see old sets (or rough approximations of old sets) or reunions, like the one between Rob Reiner and Sally Struthers. Some of it was a little effortful, like Anderson doing a skit with Dylan McDermott about \u003cem>American Horror Story\u003c/em>. But on a generous curve of how “and now, we salute television!” stuff usually goes, it gets a solid B-plus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UANVcCKl_Ck\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Six+takeaways+from+the+return+of+the+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 75th Emmy Awards offered up nothing in the way of real surprise; practically every prize went to the frontrunner. Perhaps the closest the night came to a moment worth an eyebrow-raise was the In Memoriam segment that included a mournful rendition of the \u003cem>Friends \u003c/em>theme song. Obviously, a very well-meaning attempt to recognize Matthew Perry, but that is not a song that translates into tears. The delay of this ceremony from September to now also meant that a lot of these frontrunners are fresh off Golden Globe and Critics’ Choice awards, making their wins seem even a little more obvious.\u003c/p>\n\u003cp>Still, like every Emmy night, there were some notable developments.\u003c/p>\n\u003cp>1. Three big shows dominated the major categories given out Monday night: \u003cem>Succession \u003c/em>in drama, \u003cem>The Bear \u003c/em>in comedy, and \u003cem>Beef \u003c/em>in limited series. All three won the big prize in their category as best series. All three won both directing and writing awards. All three won multiple acting awards — two for \u003cem>Beef \u003c/em>(its two leads), three for \u003cem>The Bear \u003c/em>(its three principals), and three for \u003cem>Succession \u003c/em>(three members of its gazillion-person cast). Only four wins out of the 21 handed out in these three categories went to any other shows: Jennifer Coolidge for \u003cem>The White Lotus\u003c/em>, Paul Walter Hauser for \u003cem>Black Bird\u003c/em>, Quinta Brunson for \u003cem>Abbott Elementary\u003c/em> and Niecy Nash-Betts for \u003cem>Dahmer — Monster: The Jeffrey Dahmer Story\u003c/em>. It seemed like maybe \u003cem>Ted Lasso \u003c/em>might be in the race for its (likely) final season, or \u003cem>The Last Of Us \u003c/em>might make a strong showing for its adaptation of a stunning video game. But it was not to be. This was a night for the favorites to fully dominate.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vbmxLOnrRbU'\n title='//www.youtube.com/embed/vbmxLOnrRbU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2. Coolidge’s win for her supporting work in \u003cem>The White Lotus \u003c/em>wasn’t unexpected, given that she won last year, but along with the rest of the night, it did come as a real blow to \u003cem>Better Call Saul \u003c/em>fans, myself included. Many people who hoped against hope that Rhea Seehorn would win the trophy in her last shot for the work she did as Kim Wexler. In fact, \u003cem>Saul\u003c/em> — a show a lot of its admirers think is better than \u003cem>Breaking Bad\u003c/em>, from which it was spun off — won no Emmys at all. It ends an acclaimed six-season run with 53 nominations and no awards. Perhaps that’s only fitting for a show that’s about a bottom-feeder and repeat loser like Jimmy McGill, but those who know, know. \u003cem>Especially\u003c/em> about Rhea Seehorn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>4. It’s often been the case that awards shows include a good number of Black actors as presenters, or as hosts like Anderson, but then don’t actually reward their work. Not so with these Emmys. Three of the first four women to take the stage as winners — Ayo Edebiri, Quinta Brunson, and Niecy Nash-Betts — were Black, and the ceremony’s look back at 75 years of Emmys included beloved icons like Arsenio Hall and Marla Gibbs as well as influential shows like \u003cem>Good Times\u003c/em> and \u003cem>Martin\u003c/em>. Anderson called it “like MLK Day and Juneteenth rolled into one.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jOJNgHgKnFs'\n title='//www.youtube.com/embed/jOJNgHgKnFs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>5. Most coverage of the Emmys goes to a handful of major categories, but there’s always plenty going on up and down the list. One story of note: With a win for his special \u003cem>Elton John Live: Farewell from Dodger Stadium\u003c/em>, Elton John reached a made-up status that it’s hard not to admire anyway — the EGOT.\u003c/p>\n\u003cp>6. At the 75th Emmys, it made sense to do a lot of remembering of the TV of the past. Some of this worked really well, like getting to see old sets (or rough approximations of old sets) or reunions, like the one between Rob Reiner and Sally Struthers. Some of it was a little effortful, like Anderson doing a skit with Dylan McDermott about \u003cem>American Horror Story\u003c/em>. But on a generous curve of how “and now, we salute television!” stuff usually goes, it gets a solid B-plus.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UANVcCKl_Ck'\n title='//www.youtube.com/embed/UANVcCKl_Ck'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Six+takeaways+from+the+return+of+the+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "For Dry January, Some Great Songs About Not Drinking",
"headTitle": "For Dry January, Some Great Songs About Not Drinking | KQED",
"content": "\u003cp>For those who’ve discovered that Dry January has been more excruciating than expected, we have help: a dive into great songs that explore sobriety.\u003c/p>\n\u003cp>“I’m coming up on five years sober so this is all extremely personal to me,” says music critic Sasha Frere-Jones, who worked at \u003cem>The New Yorker\u003c/em> for a decade. His 2023 memoir \u003cem>Earlier\u003c/em> reflects on his coming of age in New York City, his trajectory as a writer and musician, his family and his recovery from alcohol abuse.\u003c/p>\n\u003cp>[aside postid='arts_13940247']Even as someone actively working a 12 step program, Frere-Jones says his first instinct was to reject the idea of good songs about not drinking.\u003c/p>\n\u003cp>“Music sort of makes me drunk, and I don’t want to think about sobriety when I listen to music,” he says. “Don’t preach to me. Don’t tell me what to do. I don’t want that in my music.”\u003c/p>\n\u003cp>He associated drinking with certain artists he loved, such as Elliott Smith.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That was my guy,” he says. “I don’t think anyone has ever written about drinking better than Elliott.” In “\u003ca href=\"https://www.youtube.com/watch?v=n5g-91mwiNs\">Between The Bars”\u003c/a> Smith appears to be singing to the alcohol itself: “Drink up, baby, look at the stars / I’ll kiss you again, between the bars / When I’m where I’m seeing you there with your hands in the air / Waiting to finally be caught.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n5g-91mwiNs\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/12973085/two-decades-after-its-release-elliott-smiths-eitheror-is-still-both\">Elliott Smith\u003c/a>, along with musicians such as \u003ca href=\"https://www.kqed.org/pop/tag/amy-winehouse\">Amy Winehouse\u003c/a>, was known for music that seemed to romanticize abusing alcohol and drugs. It should go without saying that both of them are dead, after years of heartbreaking addiction.\u003c/p>\n\u003ch2>\u003cstrong>So what are the good sobriety songs?\u003c/strong>\u003c/h2>\n\u003cp>When asked to identify good songs about not drinking, Frere-Jones was at first stumped. Then he remembered \u003ca href=\"https://www.youtube.com/watch?v=gsAu-nOg3Tw\">“Straight Edge,” by Minor Threat, \u003c/a>the Washington, D.C., punk band founded in 1980 by Ian MacKaye. It mocks the predictability and commercialism of using drugs and alcohol to escape the world.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gsAu-nOg3Tw\u003c/p>\n\u003cp>“It’s such an amazing piece of music.” Frere-Jones says. “The reason we talk about straight edge punks is because of this song. And I am roughly the age that Ian MacKaye is. He sang it as a teenager and I heard it as a teenager.”\u003c/p>\n\u003cp>Many years later, during a horrible time of his life, Frere-Jones was in a hospital psychiatric ward when he first heard the song \u003ca href=\"https://www.youtube.com/watch?v=dG_BWKHRx8s\">“I’m Blessed,” by Charlie Wilson\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dG_BWKHRx8s\u003c/p>\n\u003cp>“We would all get together and they would play us songs,” he remembers. “And it was grim. A lot of people in that room were in extremely bad shape. And this amazing woman kept playing ‘I’m Blessed.’ And the first time I heard it, I was like, ‘Lady, this is a little too cheerful.’”\u003c/p>\n\u003cp>“But then I fell in love with the song,” he continues. “I had to get over myself and absorb it as a song. I know Charlie’s story and I think it is a sobriety song.”\u003c/p>\n\u003cp>[aside postid='arts_13940429']Charlie Wilson was the successful lead singer of the \u003ca href=\"https://www.npr.org/artists/1052300888/the-gap-band\">Gap Band\u003c/a>, known for crossover R&B hits in the late 1970s. Then he became addicted to alcohol, cocaine and crack.\u003c/p>\n\u003cp>“He ended up very unhoused,” Frere-Jones says. “He ended up in really, really dire, dire straits, like no-joke stuff. He suffered greatly when he was using.”\u003c/p>\n\u003cp>But the singer met a drug counselor he ended up marrying. He has remained sober for decades. “And he’s just so happy. [‘I’m Blessed’] definitely makes being sober sound pretty great,” Frere-Jones says.\u003c/p>\n\u003ch2>\u003cstrong>Sobriety as a state of mind\u003c/strong>\u003c/h2>\n\u003cp>He suggests the best known sobriety song may be \u003ca href=\"https://www.youtube.com/watch?v=nJ3ZM8FDBlg\">Pink’s “Sober.”\u003c/a> Her 2009 pop hit was also nominated for a Grammy. Pink has been open about her past substance abuse, and the song refers to it, with lyrics such as, “Why do I feel this party’s over?/ No pain inside/ You’re like perfection/ But how do I feel this good sober?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nJ3ZM8FDBlg\u003c/p>\n\u003cp>“I don’t think there’s anyone who has gotten sober who doesn’t understand every single word of this song,” Frere-Jones notes. “And it’s also really good because it goes back and forth, from the specific to the general. Also, I just love Pink and I think it’s catchy. I’m inclined to believe anything Pink says.”\u003c/p>\n\u003cp>Pink is among a surprising number of celebrity musicians, all women, who have written songs entitled “Sober” in the past few years. They include \u003ca href=\"https://www.youtube.com/watch?v=_jNWHOf5gpA\">Kelly Clarkson,\u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=vORIohoI4m0\"> Demi Lovato,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=Nj5o7kFH6u4\">Selena Gomez \u003c/a>and \u003ca href=\"https://www.youtube.com/watch?v=UvgigkaSCZA\">Lorde\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Be4ci589Guk\u003c/p>\n\u003cp>“I did not expect there to be so many songs simply called, ‘Sober,’” Frere-Jones admits. “A lot of them are using sober or sobriety as a metaphor or state of mind. It’s interesting, the gender divide. I mean, I don’t think we have that many male pop stars, to be frank. But the men don’t have songs called ‘Sober.’”\u003c/p>\n\u003cp>Frere-Jones suggests these musicians may be staring down the shame and stigma of addiction. “I feel like women are just, in general, stronger and more honest,” he says. “I’m not surprised that the women are more like, ‘Yeah, I got sober, here’s my song,’ and the guys have to be like, ‘What’s a clever way of saying this?’”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vORIohoI4m0&t=2s\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=vORIohoI4m0\">The Demi Lovato one\u003c/a> is really pretty raw,” he adds. “It almost isn’t a song. It’s like a Tumblr post, and I mean that in the most admiring way. I feel like her public [struggles] have been very agonized, really agitated and touching. And in some ways, [the song is] one of the most important because if it’s too euphemistic, people ignore it. Demi Lovato is just like saying it out loud, in plain language. And I think that’s really powerful.”\u003c/p>\n\u003ch2>\u003cstrong>Songs of recovery\u003c/strong>\u003c/h2>\n\u003cp>If you want to hear both men and women singing about sobriety, you will find that in country music. “Rap and country are two great American genres in that they contain the most evidence of daily life, and they often are where things show up the fastest,” Frere-Jones says. He describes Kenny Chesney’s 1998 hit, \u003ca href=\"https://www.youtube.com/watch?v=jqo0aVgKHRo\">“That’s Why I’m Here,” \u003c/a>as “the single most AA meeting song I’ve ever heard,” a joyful song about recovery.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jqo0aVgKHRo\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=zSmOvYzSeaQ\">Aerosmith’s “Amazing,”\u003c/a> by Steven Tyler, is another buoyant song about how sobriety feels.\u003c/p>\n\u003cp>“We say it in meetings and we don’t say it in the world enough,” Frere-Jones observes. “Like, bro, you’re not going to be white knuckling. You’re not thinking about what you’re missing. You’re living this incredibly juicy, pleasurable, amazing life.”\u003c/p>\n\u003cp>Maybe, he adds, sober musicians should be writing more songs about that.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zSmOvYzSeaQ\u003c/p>\n\u003cp>“There should be like, songs about having sex sober. There should be songs about ‘… and then I had all my money when I woke up in the morning ’cause I didn’t spend it.’ And complete gratitude.”\u003c/p>\n\u003cp>There is one sober song Sasha Frere-Jones especially wishes he could hear — the one Elliott Smith did not live long enough to write, about how good it feels to be sober and alive.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Edited for the radio and web by \u003c/em>\u003ca href=\"https://www.npr.org/people/349241810/rose-friedman\">\u003cem>Rose Friedman\u003c/em>\u003c/a>\u003cem>, produced for the web by \u003c/em>\u003ca href=\"https://www.npr.org/people/348743704/beth-novey\">\u003cem>Beth Novey\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=For+Dry+January%2C+we+ask+a+music+critic+for+great+songs+about+not+drinking&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Plenty of songs celebrate drinking. But what about music that finds joy in — well, not drinking? Music critic Sasha Frere-Jones reflects upon a few songs that have been meaningful to his sobriety.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For those who’ve discovered that Dry January has been more excruciating than expected, we have help: a dive into great songs that explore sobriety.\u003c/p>\n\u003cp>“I’m coming up on five years sober so this is all extremely personal to me,” says music critic Sasha Frere-Jones, who worked at \u003cem>The New Yorker\u003c/em> for a decade. His 2023 memoir \u003cem>Earlier\u003c/em> reflects on his coming of age in New York City, his trajectory as a writer and musician, his family and his recovery from alcohol abuse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even as someone actively working a 12 step program, Frere-Jones says his first instinct was to reject the idea of good songs about not drinking.\u003c/p>\n\u003cp>“Music sort of makes me drunk, and I don’t want to think about sobriety when I listen to music,” he says. “Don’t preach to me. Don’t tell me what to do. I don’t want that in my music.”\u003c/p>\n\u003cp>He associated drinking with certain artists he loved, such as Elliott Smith.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That was my guy,” he says. “I don’t think anyone has ever written about drinking better than Elliott.” In “\u003ca href=\"https://www.youtube.com/watch?v=n5g-91mwiNs\">Between The Bars”\u003c/a> Smith appears to be singing to the alcohol itself: “Drink up, baby, look at the stars / I’ll kiss you again, between the bars / When I’m where I’m seeing you there with your hands in the air / Waiting to finally be caught.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/n5g-91mwiNs'\n title='//www.youtube.com/embed/n5g-91mwiNs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/12973085/two-decades-after-its-release-elliott-smiths-eitheror-is-still-both\">Elliott Smith\u003c/a>, along with musicians such as \u003ca href=\"https://www.kqed.org/pop/tag/amy-winehouse\">Amy Winehouse\u003c/a>, was known for music that seemed to romanticize abusing alcohol and drugs. It should go without saying that both of them are dead, after years of heartbreaking addiction.\u003c/p>\n\u003ch2>\u003cstrong>So what are the good sobriety songs?\u003c/strong>\u003c/h2>\n\u003cp>When asked to identify good songs about not drinking, Frere-Jones was at first stumped. Then he remembered \u003ca href=\"https://www.youtube.com/watch?v=gsAu-nOg3Tw\">“Straight Edge,” by Minor Threat, \u003c/a>the Washington, D.C., punk band founded in 1980 by Ian MacKaye. It mocks the predictability and commercialism of using drugs and alcohol to escape the world.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gsAu-nOg3Tw'\n title='//www.youtube.com/embed/gsAu-nOg3Tw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s such an amazing piece of music.” Frere-Jones says. “The reason we talk about straight edge punks is because of this song. And I am roughly the age that Ian MacKaye is. He sang it as a teenager and I heard it as a teenager.”\u003c/p>\n\u003cp>Many years later, during a horrible time of his life, Frere-Jones was in a hospital psychiatric ward when he first heard the song \u003ca href=\"https://www.youtube.com/watch?v=dG_BWKHRx8s\">“I’m Blessed,” by Charlie Wilson\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dG_BWKHRx8s'\n title='//www.youtube.com/embed/dG_BWKHRx8s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We would all get together and they would play us songs,” he remembers. “And it was grim. A lot of people in that room were in extremely bad shape. And this amazing woman kept playing ‘I’m Blessed.’ And the first time I heard it, I was like, ‘Lady, this is a little too cheerful.’”\u003c/p>\n\u003cp>“But then I fell in love with the song,” he continues. “I had to get over myself and absorb it as a song. I know Charlie’s story and I think it is a sobriety song.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Charlie Wilson was the successful lead singer of the \u003ca href=\"https://www.npr.org/artists/1052300888/the-gap-band\">Gap Band\u003c/a>, known for crossover R&B hits in the late 1970s. Then he became addicted to alcohol, cocaine and crack.\u003c/p>\n\u003cp>“He ended up very unhoused,” Frere-Jones says. “He ended up in really, really dire, dire straits, like no-joke stuff. He suffered greatly when he was using.”\u003c/p>\n\u003cp>But the singer met a drug counselor he ended up marrying. He has remained sober for decades. “And he’s just so happy. [‘I’m Blessed’] definitely makes being sober sound pretty great,” Frere-Jones says.\u003c/p>\n\u003ch2>\u003cstrong>Sobriety as a state of mind\u003c/strong>\u003c/h2>\n\u003cp>He suggests the best known sobriety song may be \u003ca href=\"https://www.youtube.com/watch?v=nJ3ZM8FDBlg\">Pink’s “Sober.”\u003c/a> Her 2009 pop hit was also nominated for a Grammy. Pink has been open about her past substance abuse, and the song refers to it, with lyrics such as, “Why do I feel this party’s over?/ No pain inside/ You’re like perfection/ But how do I feel this good sober?”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nJ3ZM8FDBlg'\n title='//www.youtube.com/embed/nJ3ZM8FDBlg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I don’t think there’s anyone who has gotten sober who doesn’t understand every single word of this song,” Frere-Jones notes. “And it’s also really good because it goes back and forth, from the specific to the general. Also, I just love Pink and I think it’s catchy. I’m inclined to believe anything Pink says.”\u003c/p>\n\u003cp>Pink is among a surprising number of celebrity musicians, all women, who have written songs entitled “Sober” in the past few years. They include \u003ca href=\"https://www.youtube.com/watch?v=_jNWHOf5gpA\">Kelly Clarkson,\u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=vORIohoI4m0\"> Demi Lovato,\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=Nj5o7kFH6u4\">Selena Gomez \u003c/a>and \u003ca href=\"https://www.youtube.com/watch?v=UvgigkaSCZA\">Lorde\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Be4ci589Guk'\n title='//www.youtube.com/embed/Be4ci589Guk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I did not expect there to be so many songs simply called, ‘Sober,’” Frere-Jones admits. “A lot of them are using sober or sobriety as a metaphor or state of mind. It’s interesting, the gender divide. I mean, I don’t think we have that many male pop stars, to be frank. But the men don’t have songs called ‘Sober.’”\u003c/p>\n\u003cp>Frere-Jones suggests these musicians may be staring down the shame and stigma of addiction. “I feel like women are just, in general, stronger and more honest,” he says. “I’m not surprised that the women are more like, ‘Yeah, I got sober, here’s my song,’ and the guys have to be like, ‘What’s a clever way of saying this?’”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vORIohoI4m0'\n title='//www.youtube.com/embed/vORIohoI4m0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=vORIohoI4m0\">The Demi Lovato one\u003c/a> is really pretty raw,” he adds. “It almost isn’t a song. It’s like a Tumblr post, and I mean that in the most admiring way. I feel like her public [struggles] have been very agonized, really agitated and touching. And in some ways, [the song is] one of the most important because if it’s too euphemistic, people ignore it. Demi Lovato is just like saying it out loud, in plain language. And I think that’s really powerful.”\u003c/p>\n\u003ch2>\u003cstrong>Songs of recovery\u003c/strong>\u003c/h2>\n\u003cp>If you want to hear both men and women singing about sobriety, you will find that in country music. “Rap and country are two great American genres in that they contain the most evidence of daily life, and they often are where things show up the fastest,” Frere-Jones says. He describes Kenny Chesney’s 1998 hit, \u003ca href=\"https://www.youtube.com/watch?v=jqo0aVgKHRo\">“That’s Why I’m Here,” \u003c/a>as “the single most AA meeting song I’ve ever heard,” a joyful song about recovery.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jqo0aVgKHRo'\n title='//www.youtube.com/embed/jqo0aVgKHRo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=zSmOvYzSeaQ\">Aerosmith’s “Amazing,”\u003c/a> by Steven Tyler, is another buoyant song about how sobriety feels.\u003c/p>\n\u003cp>“We say it in meetings and we don’t say it in the world enough,” Frere-Jones observes. “Like, bro, you’re not going to be white knuckling. You’re not thinking about what you’re missing. You’re living this incredibly juicy, pleasurable, amazing life.”\u003c/p>\n\u003cp>Maybe, he adds, sober musicians should be writing more songs about that.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zSmOvYzSeaQ'\n title='//www.youtube.com/embed/zSmOvYzSeaQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“There should be like, songs about having sex sober. There should be songs about ‘… and then I had all my money when I woke up in the morning ’cause I didn’t spend it.’ And complete gratitude.”\u003c/p>\n\u003cp>There is one sober song Sasha Frere-Jones especially wishes he could hear — the one Elliott Smith did not live long enough to write, about how good it feels to be sober and alive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Edited for the radio and web by \u003c/em>\u003ca href=\"https://www.npr.org/people/349241810/rose-friedman\">\u003cem>Rose Friedman\u003c/em>\u003c/a>\u003cem>, produced for the web by \u003c/em>\u003ca href=\"https://www.npr.org/people/348743704/beth-novey\">\u003cem>Beth Novey\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=For+Dry+January%2C+we+ask+a+music+critic+for+great+songs+about+not+drinking&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A woman wakes up in the middle of a country road in her nightgown, surrounded by green fields and a group of curious cows. She walks home in the freezing morning air, barefoot and bloody, only to enter her living room and find a painting of Jesus with a kitchen knife driven through one eye. (“That’s not good,” she mumbles to herself. “Sorry Jesus.”) Moments later, the woman is stunned and horrified to discover a dead body in her home. As a chronic sleepwalker she has no idea how it got there.\u003c/p>\n\u003cp>These are the striking opening scenes of new six-part Showtime/Paramount+ series, \u003cem>The Woman in the Wall\u003c/em>. (The show originally aired in the U.K. last summer on BBC One.) The woman at the center of the chaos is Lorna Brady, played with a jagged rawness by \u003cem>The Affair\u003c/em>’s Ruth Wilson. Lorna lives in a small (fictional) Irish town named Kilkinure, where she works as a seamstress. She also lives on the edge of dysfunction; she’s so overwhelmed by the emotional and mental fallout of former traumas that they violently erupt from her while she sleeps. Lorna’s anguish stems from being one of a handful of women in town who survived a local Magdalene laundry.\u003c/p>\n\u003cp>[aside postid='arts_13940112']For those unfamiliar with Ireland’s Magdalene laundries, \u003cem>The Woman in the Wall\u003c/em> offers a fast and deeply effective education. Some real-life history: Between 1767 and 1996, the Magdalene laundries (originally “asylums”), run by Catholic nuns, took in girls across Ireland who were considered somehow wayward. These young women and children were forced into unpaid work in grueling conditions, denied a formal education and deprived of many basic necessities. Some of these girls were single and pregnant, some were mentally ill, and others still were victims of sexual abuse. Babies born in the laundries were routinely taken from their mothers and adopted out without consent. \u003ca href=\"https://www.bbc.com/news/world-europe-21510281\">It took until 2013 for an Irish prime minister to formally apologize to survivors\u003c/a>.\u003c/p>\n\u003cp>In \u003cem>The Woman in the Wall\u003c/em>, the women who survived torturous adolescences in those institutions are now living with the scars of lost childhoods, missing children and years of unsupported grief. Each is isolated and destabilized by their own pain, but none quite so visibly as Lorna. After a priest involved with the laundry, Father Percy Sheehan, is murdered in Dublin and his abandoned car shows up in Kilkinure, a detective arrives in town with a lot of questions for the women — and some laundry-related agonies of his own.\u003c/p>\n\u003cp>Detective Sergeant Colman Akande (played by Daryl McCormack with an imposing vulnerability) quickly begins to suspect that Lorna had something to do with Father Percy’s murder. Delightfully, the compelling cat and mouse game that ensues between them spirals into ever-more-unpredictable territory as the series progresses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pl4vuGH2ljk\u003c/p>\n\u003cp>\u003cem>The Woman in the Wall\u003c/em> is a twisty, occasionally harrowing series that starts with two whodunits, but ultimately presents a multitude of mysteries to be unraveled. As a crime thriller, it is captivatingly paced. As a personal drama, it is empathetically and realistically drawn. But the real power at the heart of \u003cem>The Woman in the Wall\u003c/em> is its roots in real, heartrending events that Ireland continues to grapple with today.\u003c/p>\n\u003cp>The scale of the damage wrought by the Magdalene laundries is almost impossible to grasp in a theoretical sense. What \u003cem>The Woman in the Wall\u003c/em> does so well is humanize the women and children caught up in that cruel system. It doesn’t matter that these are fictional characters — everything that happens to them in the series rings true. Compounding that realism is the sense of shame and silence that hangs over Kilkinure’s entire community throughout the show. The local Garda’s willfully bumbling behavior in the present reflects previous decades of neglect. So, so many turned a blind eye to evil, or worse, were complicit.\u003c/p>\n\u003cp>[aside postid='arts_13939982']\u003cem>The Woman in the Wall\u003c/em> is not the first project that has attempted to capture the enormity of the suffering caused by the Magdalene laundries. The 2002 movie \u003ca href=\"https://www.imdb.com/title/tt0318411/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_the%2520magdalene\">\u003cem>The Magdalene Sisters\u003c/em>\u003c/a> was a solid attempt to shine a light on those hidden chapters of Irish history. In 2009, the documentary \u003ca href=\"https://www.youtube.com/watch?v=Y4VAdN7HaxQ\">\u003cem>The Forgotten Maggies\u003c/em>\u003c/a> prompted a furor in Ireland and provided testimonies that likely inspired some of the details in this series.\u003c/p>\n\u003cp>Though it takes some creative liberties, the manner in which \u003cem>The Woman in the Wall\u003c/em> unfolds speaks to just how complex and painful it has been to unravel and expose the depravity of what went on in the religious institutions at the center of this story. The series also, importantly, stands as a pertinent reminder of what happens when pregnant people are robbed of their own bodily autonomy. It’s not always an easy watch, but \u003cem>The Woman in the Wall\u003c/em> is consistently impossible to look away from — a degree of attention Ireland’s real-life laundry survivors have long deserved.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cem>‘The Woman in the Wall’ begins streaming on Showtime on Jan. 19. Paramount+ subscribers with a Showtime add-on can also view it starting Jan. 19.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A woman wakes up in the middle of a country road in her nightgown, surrounded by green fields and a group of curious cows. She walks home in the freezing morning air, barefoot and bloody, only to enter her living room and find a painting of Jesus with a kitchen knife driven through one eye. (“That’s not good,” she mumbles to herself. “Sorry Jesus.”) Moments later, the woman is stunned and horrified to discover a dead body in her home. As a chronic sleepwalker she has no idea how it got there.\u003c/p>\n\u003cp>These are the striking opening scenes of new six-part Showtime/Paramount+ series, \u003cem>The Woman in the Wall\u003c/em>. (The show originally aired in the U.K. last summer on BBC One.) The woman at the center of the chaos is Lorna Brady, played with a jagged rawness by \u003cem>The Affair\u003c/em>’s Ruth Wilson. Lorna lives in a small (fictional) Irish town named Kilkinure, where she works as a seamstress. She also lives on the edge of dysfunction; she’s so overwhelmed by the emotional and mental fallout of former traumas that they violently erupt from her while she sleeps. Lorna’s anguish stems from being one of a handful of women in town who survived a local Magdalene laundry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For those unfamiliar with Ireland’s Magdalene laundries, \u003cem>The Woman in the Wall\u003c/em> offers a fast and deeply effective education. Some real-life history: Between 1767 and 1996, the Magdalene laundries (originally “asylums”), run by Catholic nuns, took in girls across Ireland who were considered somehow wayward. These young women and children were forced into unpaid work in grueling conditions, denied a formal education and deprived of many basic necessities. Some of these girls were single and pregnant, some were mentally ill, and others still were victims of sexual abuse. Babies born in the laundries were routinely taken from their mothers and adopted out without consent. \u003ca href=\"https://www.bbc.com/news/world-europe-21510281\">It took until 2013 for an Irish prime minister to formally apologize to survivors\u003c/a>.\u003c/p>\n\u003cp>In \u003cem>The Woman in the Wall\u003c/em>, the women who survived torturous adolescences in those institutions are now living with the scars of lost childhoods, missing children and years of unsupported grief. Each is isolated and destabilized by their own pain, but none quite so visibly as Lorna. After a priest involved with the laundry, Father Percy Sheehan, is murdered in Dublin and his abandoned car shows up in Kilkinure, a detective arrives in town with a lot of questions for the women — and some laundry-related agonies of his own.\u003c/p>\n\u003cp>Detective Sergeant Colman Akande (played by Daryl McCormack with an imposing vulnerability) quickly begins to suspect that Lorna had something to do with Father Percy’s murder. Delightfully, the compelling cat and mouse game that ensues between them spirals into ever-more-unpredictable territory as the series progresses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pl4vuGH2ljk'\n title='//www.youtube.com/embed/pl4vuGH2ljk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Woman in the Wall\u003c/em> is a twisty, occasionally harrowing series that starts with two whodunits, but ultimately presents a multitude of mysteries to be unraveled. As a crime thriller, it is captivatingly paced. As a personal drama, it is empathetically and realistically drawn. But the real power at the heart of \u003cem>The Woman in the Wall\u003c/em> is its roots in real, heartrending events that Ireland continues to grapple with today.\u003c/p>\n\u003cp>The scale of the damage wrought by the Magdalene laundries is almost impossible to grasp in a theoretical sense. What \u003cem>The Woman in the Wall\u003c/em> does so well is humanize the women and children caught up in that cruel system. It doesn’t matter that these are fictional characters — everything that happens to them in the series rings true. Compounding that realism is the sense of shame and silence that hangs over Kilkinure’s entire community throughout the show. The local Garda’s willfully bumbling behavior in the present reflects previous decades of neglect. So, so many turned a blind eye to evil, or worse, were complicit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Woman in the Wall\u003c/em> is not the first project that has attempted to capture the enormity of the suffering caused by the Magdalene laundries. The 2002 movie \u003ca href=\"https://www.imdb.com/title/tt0318411/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_the%2520magdalene\">\u003cem>The Magdalene Sisters\u003c/em>\u003c/a> was a solid attempt to shine a light on those hidden chapters of Irish history. In 2009, the documentary \u003ca href=\"https://www.youtube.com/watch?v=Y4VAdN7HaxQ\">\u003cem>The Forgotten Maggies\u003c/em>\u003c/a> prompted a furor in Ireland and provided testimonies that likely inspired some of the details in this series.\u003c/p>\n\u003cp>Though it takes some creative liberties, the manner in which \u003cem>The Woman in the Wall\u003c/em> unfolds speaks to just how complex and painful it has been to unravel and expose the depravity of what went on in the religious institutions at the center of this story. The series also, importantly, stands as a pertinent reminder of what happens when pregnant people are robbed of their own bodily autonomy. It’s not always an easy watch, but \u003cem>The Woman in the Wall\u003c/em> is consistently impossible to look away from — a degree of attention Ireland’s real-life laundry survivors have long deserved.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cem>‘The Woman in the Wall’ begins streaming on Showtime on Jan. 19. Paramount+ subscribers with a Showtime add-on can also view it starting Jan. 19.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Space Brawls, Flying Mice and a Zero-Gravity Cold War? Enjoy a Twisty Ride on ‘I.S.S.’",
"headTitle": "Space Brawls, Flying Mice and a Zero-Gravity Cold War? Enjoy a Twisty Ride on ‘I.S.S.’ | KQED",
"content": "\u003cp>Movies that trap a small group of people together in confined quarters, then force them to turn on each other because of some god-awful life or death situation are quantifiably friggin’ great. They just are. Think about the very essence of 1982’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Esy-776wcIo\">The Thing\u003c/a>\u003c/em>. (“Nobody trusts anybody now and we’re all very tired.”) Consider 1979’s \u003cem>Alien\u003c/em>, with its invisible murder-parasites and backstabbing secret androids. Ponder all of the magnificent, close-proximity paranoia of \u003cem>10 Cloverfield Lane\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13939153']If, like me, you enjoy watching humans losing trust in those they’re cohabiting with and spiraling into violence, you’re going to get a kick out of the new thriller \u003cem>I.S.S.\u003c/em> The I.S.S. in the title, of course, refers to the International Space Station. The Earth-orbiting base stands, opening titles emphasize, as a “symbol of United States and Russian collaboration after the Cold War.” That is until World War III breaks out on Earth (with no warning whatsoever!) and a team of three American astronauts is tasked with taking the I.S.S. back “by any means necessary.” Escalating the situation is the fact that the three Russian cosmonauts on board have received the exact same instructions from Moscow. And they were all just singing “\u003ca href=\"https://www.youtube.com/watch?v=n4RjJKxsamQ\">Wind of Change\u003c/a>” by Scorpions together, like, five minutes ago! D’oh!\u003c/p>\n\u003cp>So who’s on board and frantically trying to stab each other in the back? On the American side, there’s Kira Foster (\u003cem>West Side Story\u003c/em>’s Ariana DeBose), a woman who’s married to her work, baby-talks to the mice she’s experimenting on, and happens to leave Earth the very same day the nuclear bombs start detonating. (How lucky!) Her colleagues are hardworking and affable Gordon Barrett (Chris Messina from \u003cem>The Mindy Project\u003c/em>) and Christian Campbell (John Gallagher Jr.), a man whose entire personality appears to be “I have two daughters.” (Gallagher Jr., you might recall, was in both \u003cem>10 Cloverfield Lane\u003c/em> and \u003cem>Underwater\u003c/em>, thereby making him somewhat of a specialist in crises-in-close-quarters scenarios. I would strongly advise against ever getting into an elevator with this dude.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i48f4AvS-Pk\u003c/p>\n\u003cp>On the Russian side is Nicholai Pulov (Costa Ronin from \u003cem>The Americans\u003c/em>), Alexey Pulov (Pilou Asbæk from \u003cem>Game of Thrones\u003c/em>) and Nika Vetrov (Masha Mashkova from … Russian things). Nika is having a sweet space romance with Gordon, which I assume in real life would be terribly annoying for everyone else living in this tin can, but in movie-land makes the onboard alliances a little more complicated, so yay!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The joy of \u003cem>I.S.S.\u003c/em> is never quite being sure who’s telling the truth and who’s up to no good, so I’m not going to discuss the course of events here in any more detail. What I will say is that \u003cem>I.S.S.\u003c/em> does everything you want a space thriller to do. Does someone leave the station to fix something and end up in a precarious situation out in space? Of course! Are there a couple of zero-gravity brawls that are a little bit unintentionally funny? Yes! Is there a secret science project on board that might save humanity? Maybe, maybe not. You’ll have to wait and see. There are even floating mice. (And no one has ever even \u003cem>asked\u003c/em> for floating mice in a movie, so that’s pretty cool.)\u003c/p>\n\u003cp>[aside postid='arts_13939927']If there is a sensible lesson or moral to be gleaned from \u003cem>I.S.S.\u003c/em>, it’s that war can turn literally anywhere into a battleground and anyone into a killer — even nerdy cosmos boffins. But \u003cem>I.S.S.\u003c/em> is best enjoyed for what it is: A claustrophobic creeper of a movie designed to be its own wacky little roller coaster — a bunch of jarring twists and turns peppered with some nice views, basically.\u003c/p>\n\u003cp>In order to fully enjoy \u003cem>I.S.S.\u003c/em> on that basis, it is absolutely necessary to never, not once, even for a moment, think about how preposterous a setup it is that America and Russia would suddenly start flinging nuclear devices at one another without any tensions escalating beforehand. The concept is a stretch, at best. Don’t let that spoil the fun. \u003cem>I.S.S.\u003c/em> is 95 minutes of pure, escapist amusement and floaty hijinks. And, let’s be honest, when things are as bleak on Earth as they are right now, a little trip to space — even one in the middle of World War III — is kind of a nice respite.\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>‘I.S.S.’ is in theaters on Jan. 19, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Movies that trap a small group of people together in confined quarters, then force them to turn on each other because of some god-awful life or death situation are quantifiably friggin’ great. They just are. Think about the very essence of 1982’s \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Esy-776wcIo\">The Thing\u003c/a>\u003c/em>. (“Nobody trusts anybody now and we’re all very tired.”) Consider 1979’s \u003cem>Alien\u003c/em>, with its invisible murder-parasites and backstabbing secret androids. Ponder all of the magnificent, close-proximity paranoia of \u003cem>10 Cloverfield Lane\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If, like me, you enjoy watching humans losing trust in those they’re cohabiting with and spiraling into violence, you’re going to get a kick out of the new thriller \u003cem>I.S.S.\u003c/em> The I.S.S. in the title, of course, refers to the International Space Station. The Earth-orbiting base stands, opening titles emphasize, as a “symbol of United States and Russian collaboration after the Cold War.” That is until World War III breaks out on Earth (with no warning whatsoever!) and a team of three American astronauts is tasked with taking the I.S.S. back “by any means necessary.” Escalating the situation is the fact that the three Russian cosmonauts on board have received the exact same instructions from Moscow. And they were all just singing “\u003ca href=\"https://www.youtube.com/watch?v=n4RjJKxsamQ\">Wind of Change\u003c/a>” by Scorpions together, like, five minutes ago! D’oh!\u003c/p>\n\u003cp>So who’s on board and frantically trying to stab each other in the back? On the American side, there’s Kira Foster (\u003cem>West Side Story\u003c/em>’s Ariana DeBose), a woman who’s married to her work, baby-talks to the mice she’s experimenting on, and happens to leave Earth the very same day the nuclear bombs start detonating. (How lucky!) Her colleagues are hardworking and affable Gordon Barrett (Chris Messina from \u003cem>The Mindy Project\u003c/em>) and Christian Campbell (John Gallagher Jr.), a man whose entire personality appears to be “I have two daughters.” (Gallagher Jr., you might recall, was in both \u003cem>10 Cloverfield Lane\u003c/em> and \u003cem>Underwater\u003c/em>, thereby making him somewhat of a specialist in crises-in-close-quarters scenarios. I would strongly advise against ever getting into an elevator with this dude.)\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/i48f4AvS-Pk'\n title='//www.youtube.com/embed/i48f4AvS-Pk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the Russian side is Nicholai Pulov (Costa Ronin from \u003cem>The Americans\u003c/em>), Alexey Pulov (Pilou Asbæk from \u003cem>Game of Thrones\u003c/em>) and Nika Vetrov (Masha Mashkova from … Russian things). Nika is having a sweet space romance with Gordon, which I assume in real life would be terribly annoying for everyone else living in this tin can, but in movie-land makes the onboard alliances a little more complicated, so yay!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The joy of \u003cem>I.S.S.\u003c/em> is never quite being sure who’s telling the truth and who’s up to no good, so I’m not going to discuss the course of events here in any more detail. What I will say is that \u003cem>I.S.S.\u003c/em> does everything you want a space thriller to do. Does someone leave the station to fix something and end up in a precarious situation out in space? Of course! Are there a couple of zero-gravity brawls that are a little bit unintentionally funny? Yes! Is there a secret science project on board that might save humanity? Maybe, maybe not. You’ll have to wait and see. There are even floating mice. (And no one has ever even \u003cem>asked\u003c/em> for floating mice in a movie, so that’s pretty cool.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If there is a sensible lesson or moral to be gleaned from \u003cem>I.S.S.\u003c/em>, it’s that war can turn literally anywhere into a battleground and anyone into a killer — even nerdy cosmos boffins. But \u003cem>I.S.S.\u003c/em> is best enjoyed for what it is: A claustrophobic creeper of a movie designed to be its own wacky little roller coaster — a bunch of jarring twists and turns peppered with some nice views, basically.\u003c/p>\n\u003cp>In order to fully enjoy \u003cem>I.S.S.\u003c/em> on that basis, it is absolutely necessary to never, not once, even for a moment, think about how preposterous a setup it is that America and Russia would suddenly start flinging nuclear devices at one another without any tensions escalating beforehand. The concept is a stretch, at best. Don’t let that spoil the fun. \u003cem>I.S.S.\u003c/em> is 95 minutes of pure, escapist amusement and floaty hijinks. And, let’s be honest, when things are as bleak on Earth as they are right now, a little trip to space — even one in the middle of World War III — is kind of a nice respite.\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>‘I.S.S.’ is in theaters on Jan. 19, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "10 Reasons to Skip ‘Back to Black,’ the New Amy Winehouse Biopic",
"headTitle": "10 Reasons to Skip ‘Back to Black,’ the New Amy Winehouse Biopic | KQED",
"content": "\u003cp>Guess what, everybody? Just when you thought we might be done exploiting Amy Winehouse’s tragic end for profit, it turns out … there’s still some cash to be made! This morning, a new trailer emerged for \u003cem>Back to Black\u003c/em>, a biopic that aims to capture Winehouse’s rise to stardom and ultimate spiral into self-destruction, all for our sick enjoyment. Hurray!\u003c/p>\n\u003cp>Before I say anything else, please now look at the trailer. And be sure to pay particular attention to the supremely ironic part where the actress playing Winehouse (Marisa Abela) mutters the line, “I wanna be remembered for just being me.” \u003cem>Ugh.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dsJAKPrxRa0\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Please now allow me to now tell you all of the reasons I already hate this movie.\u003c/p>\n\u003col>\n\u003cli>Amy Winehouse was goofy and hilarious and had a bawdy sense of humor and there is no sign of any of that in this trailer and that is a giant bummer.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>The Winehouse estate approved \u003cem>Back to Black\u003c/em>, but the Winehouse estate has demonstrated over and over again that \u003ca href=\"https://www.kqed.org/pop/112753/the-impossible-task-of-keeping-amy-winehouse-alive-8-years-after-her-death\">it will take any and every opportunity to make money\u003c/a> from Amy Winehouse’s name, regardless of whether or not she’d have approved. These people \u003ca href=\"https://www.theguardian.com/music/2019/feb/22/amy-winehouse-hologram-tour-postponed\">OK’d an Amy Winehouse hologram\u003c/a>, for crying out loud. Can we be done giving them money now?\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Marisa Abela is doing an extremely good Amy Winehouse impersonation here. It’s genuinely impressive. Unfortunately, all of the things that made Winehouse such a compelling performer and human were perfectly intangible and cannot be replicated. By anyone. Even someone who’s nailing the accent this well. No amount of hairspray and eyeliner is going to compensate for that.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>That “You’ve gotta remember: I ain’t no Spice Girl” line was deemed enough of a movie high-point to be put in this trailer. Let’s consider how bad the other dialogue must be if this made the cut.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>This is kind of a side note but \u003ca href=\"https://www.youtube.com/watch?v=s5Dqa_K6blg\">Amy Winehouse hated Dido\u003c/a> infinitely more than she hated the Spice Girls and I would trust this movie a lot more if there was a sneaky Dido reference in evidence. (Please enjoy \u003ca href=\"https://www.youtube.com/watch?v=-ZydibkgWwY\">this footage of Amy Winehouse throwing a rock at a Dido poster\u003c/a> at a time of your choosing.)\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Isn’t this basically just a costumed reenactment of things we already saw in 2015’s perfect, Oscar- and Grammy-winning documentary, \u003ca href=\"https://www.kqed.org/arts/10815283/beyond-a-voice-and-a-sad-story-amy-listens-to-a-life\">\u003cem>Amy\u003c/em>\u003c/a>? What is the point of this?\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Isn’t this also just a costumed reenactment of what we, as Amy Winehouse fans, all watched happen in slow motion at the time? It wasn’t that long ago! Who is clamoring to see this supremely talented young woman self-destruct again already?\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Do any of us really want to have to think about Mitch Winehouse or \u003ca href=\"https://www.independent.co.uk/arts-entertainment/music/news/amy-winehouse-death-blake-fielder-civil-b2411321.html\">Blake Fielder-Civil\u003c/a> ever again? Especially via the medium of look-alikes? No, thank you.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Amy was self-deprecating and had a very finely tuned BS detector. I genuinely don’t believe she would be enjoying any of this.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cem>Back to Black\u003c/em> stands as evidence that, as a culture, we’re still not done exploiting the pain of our biggest female stars for public entertainment. She dealt with too much of that in life. Amy Winehouse shouldn’t be contending with it 12 years after her death.\u003c/li>\n\u003c/ol>\n\u003cp>For those of you who still want to see this biopic for some reason, \u003ca href=\"https://www.imdb.com/title/tt21261712/?ref_=tt_mv_close\">\u003cem>Back to Black\u003c/em>\u003c/a> is set for release nationwide on May 10, 2024. Good luck with all that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Guess what, everybody? Just when you thought we might be done exploiting Amy Winehouse’s tragic end for profit, it turns out … there’s still some cash to be made! This morning, a new trailer emerged for \u003cem>Back to Black\u003c/em>, a biopic that aims to capture Winehouse’s rise to stardom and ultimate spiral into self-destruction, all for our sick enjoyment. Hurray!\u003c/p>\n\u003cp>Before I say anything else, please now look at the trailer. And be sure to pay particular attention to the supremely ironic part where the actress playing Winehouse (Marisa Abela) mutters the line, “I wanna be remembered for just being me.” \u003cem>Ugh.\u003c/em>\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/dsJAKPrxRa0'\n title='//www.youtube.com/embed/dsJAKPrxRa0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>Please now allow me to now tell you all of the reasons I already hate this movie.\u003c/p>\n\u003col>\n\u003cli>Amy Winehouse was goofy and hilarious and had a bawdy sense of humor and there is no sign of any of that in this trailer and that is a giant bummer.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>The Winehouse estate approved \u003cem>Back to Black\u003c/em>, but the Winehouse estate has demonstrated over and over again that \u003ca href=\"https://www.kqed.org/pop/112753/the-impossible-task-of-keeping-amy-winehouse-alive-8-years-after-her-death\">it will take any and every opportunity to make money\u003c/a> from Amy Winehouse’s name, regardless of whether or not she’d have approved. These people \u003ca href=\"https://www.theguardian.com/music/2019/feb/22/amy-winehouse-hologram-tour-postponed\">OK’d an Amy Winehouse hologram\u003c/a>, for crying out loud. Can we be done giving them money now?\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Marisa Abela is doing an extremely good Amy Winehouse impersonation here. It’s genuinely impressive. Unfortunately, all of the things that made Winehouse such a compelling performer and human were perfectly intangible and cannot be replicated. By anyone. Even someone who’s nailing the accent this well. No amount of hairspray and eyeliner is going to compensate for that.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>That “You’ve gotta remember: I ain’t no Spice Girl” line was deemed enough of a movie high-point to be put in this trailer. Let’s consider how bad the other dialogue must be if this made the cut.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>This is kind of a side note but \u003ca href=\"https://www.youtube.com/watch?v=s5Dqa_K6blg\">Amy Winehouse hated Dido\u003c/a> infinitely more than she hated the Spice Girls and I would trust this movie a lot more if there was a sneaky Dido reference in evidence. (Please enjoy \u003ca href=\"https://www.youtube.com/watch?v=-ZydibkgWwY\">this footage of Amy Winehouse throwing a rock at a Dido poster\u003c/a> at a time of your choosing.)\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Isn’t this basically just a costumed reenactment of things we already saw in 2015’s perfect, Oscar- and Grammy-winning documentary, \u003ca href=\"https://www.kqed.org/arts/10815283/beyond-a-voice-and-a-sad-story-amy-listens-to-a-life\">\u003cem>Amy\u003c/em>\u003c/a>? What is the point of this?\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Isn’t this also just a costumed reenactment of what we, as Amy Winehouse fans, all watched happen in slow motion at the time? It wasn’t that long ago! Who is clamoring to see this supremely talented young woman self-destruct again already?\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Do any of us really want to have to think about Mitch Winehouse or \u003ca href=\"https://www.independent.co.uk/arts-entertainment/music/news/amy-winehouse-death-blake-fielder-civil-b2411321.html\">Blake Fielder-Civil\u003c/a> ever again? Especially via the medium of look-alikes? No, thank you.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>Amy was self-deprecating and had a very finely tuned BS detector. I genuinely don’t believe she would be enjoying any of this.\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cem>Back to Black\u003c/em> stands as evidence that, as a culture, we’re still not done exploiting the pain of our biggest female stars for public entertainment. She dealt with too much of that in life. Amy Winehouse shouldn’t be contending with it 12 years after her death.\u003c/li>\n\u003c/ol>\n\u003cp>For those of you who still want to see this biopic for some reason, \u003ca href=\"https://www.imdb.com/title/tt21261712/?ref_=tt_mv_close\">\u003cem>Back to Black\u003c/em>\u003c/a> is set for release nationwide on May 10, 2024. Good luck with all that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "New Jason Statham Action Movie ‘The Beekeeper’ Is Absolutely Bananas",
"headTitle": "New Jason Statham Action Movie ‘The Beekeeper’ Is Absolutely Bananas | KQED",
"content": "\u003cp>Secret agents and murderous assassins seem to lurk in increasingly mundane places.\u003c/p>\n\u003cp>Remember \u003cem>The Accountant\u003c/em> with Ben Affleck? Or \u003cem>The Tax Collector\u003c/em> with Shia LaBeouf? Or more recently, how about \u003cem>The Bricklayer\u003c/em> with Adam Eckhardt? You probably don’t — none of these films were exactly Oscar winners. But there’s probably a notary public somewhere wondering when he’s going to get his Liam Neeson treatment.\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13940341']The Beekeeper,\u003c/em> the new Jason Statham revenge thriller, may have them all beaten — or at least bee-ten. The film, directed by David Ayer (who also did \u003cem>The Tax Collector\u003c/em>) has found probably the widest disparity yet between innocuous occupation and savage killer. As bodies accrue, so do the double takes from those confused by the source of all the mayhem. Again and again they utter in disbelief: “A beekeeper?”\u003c/p>\n\u003cp>Believe it, honey. \u003cem>The Beekeeper\u003c/em> carries that ludicrous premise as far as it can, and then well beyond. If you’ve been searching for a movie where Jason Statham gravely vows to “protect the hive” an implausible number of times, you have found it.\u003c/p>\n\u003cp>The bee metaphors — there is even, rather impressively, a “To bee or not to bee” reference — come fast and furious in \u003cem>The Beekeeper\u003c/em>, a movie that flirts with a so-bad-it’s-good vibe but is too serious to quite pull it off. It can be divertingly bonkers, but ends up a rather grim and slipshod \u003cem>John Wick\u003c/em> ripoff.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film, scripted by Kurt Wimmer, begins the action with one of the more absurd inciting incidents in recent memory. Statham is a humble beekeeper for Eloise Parker (Phylicia Rashad) on a New England farm. She soon falls victim to a phishing scam that robs her of all her money, including the $2 million charity fund she manages. Eloise calls a number that pops up on her screen and is talked into sharing her passwords by a smarmy scammer (David Witts) who’s simultaneously using the call as a lesson to a room full of hackers who cheer him on like the predatory stock brokers of \u003cem>The Wolf of Wall Street\u003c/em>.\u003c/p>\n\u003cp>Eloise doesn’t press CTRL-ALT-DELETE or even call the fraud department of her bank. She kills herself. And guess who’s mad? The beekeeper.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SzINZZ6iqxY\u003c/p>\n\u003cp>Eloise’s daughter, Verona (a good Emmy Raver-Lampman), is an FBI agent who throws herself into the case. But meanwhile Statham’s beekeeper, after a well-placed call, gets the location of the call center. He turns up with a few tanks of gasoline and some terse words about, you know, the hive, and burns down the place, killing a few people along the way.\u003c/p>\n\u003cp>That brings the attention of higher-ups. Only the guy in charge is a 28-year-old twerp named Derek Danforth (Josh Hutcherson, enjoying himself) who brashly underestimates his new enemy at every step of the way. His entitlement is owed to his rather good connections. He’s protected by the former head of the CIA, Wallace Westwyld (Jeremy Irons) and happens to be the son of the U.S. president (Jemma Redgrave).\u003c/p>\n\u003cp>Fingers get cut off and bodies accumulate as our man — his name turns out to be Adam Clay — tears through the criminal apparatus with ruthless blunt force. Statham, who has both the look and personality of a bullet, dispatches anyone in his path with the kind efficiency I dream of bringing to opening a pickle jar. A few twists of the wrist and he’s done.\u003c/p>\n\u003cp>[aside postid='arts_13940132']Clay, brace yourselves, isn’t just an actual beekeeper. He’s a retired Beekeeper, an elite, clandestine secret service that operates well off the government books and that adopts a surprising amount of its mission statements from the natural way of bees. They have a whole secret order and stuff, bringing \u003cem>The Beekeeper\u003c/em> into plainly \u003cem>Wick\u003c/em>-ian — and less fun — territory.\u003c/p>\n\u003cp>Yes, this silly beekeeper thriller goes all the way to the top. As the movie’s renegade protagonist makes his way closer and closer to the White House, with blood and chaos in his wake, \u003cem>The Beekeeper\u003c/em> begins to feel like an uncomfortable B-movie crosspollination of today’s conspiracy theory-marred political landscape, with a violent, self-appointed guardian of America slashing his way toward the president. Most of the dead bodies are secret service.\u003c/p>\n\u003cp>Disquieting thoughts, maybe, for a beekeeper movie. Ayer’s movie is mostly just having some cynical world-building fun, even if its hero feels like a part more suited to Mr. Bean. And, besides, while John Wick was first propelled into action by the death of his dog, Clay doesn’t bat an eye when his honeycombs get blown to smithereens. This guy doesn’t even really care about bees.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Beekeper’ is released nationwide on Jan. 12, 2024.\u003c/em>\u003c/p>\n\n",
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"excerpt": "If you’ve been looking for a movie where a man gravely vows to “protect the hive” a stupid number of times, you've found it.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Secret agents and murderous assassins seem to lurk in increasingly mundane places.\u003c/p>\n\u003cp>Remember \u003cem>The Accountant\u003c/em> with Ben Affleck? Or \u003cem>The Tax Collector\u003c/em> with Shia LaBeouf? Or more recently, how about \u003cem>The Bricklayer\u003c/em> with Adam Eckhardt? You probably don’t — none of these films were exactly Oscar winners. But there’s probably a notary public somewhere wondering when he’s going to get his Liam Neeson treatment.\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Beekeeper,\u003c/em> the new Jason Statham revenge thriller, may have them all beaten — or at least bee-ten. The film, directed by David Ayer (who also did \u003cem>The Tax Collector\u003c/em>) has found probably the widest disparity yet between innocuous occupation and savage killer. As bodies accrue, so do the double takes from those confused by the source of all the mayhem. Again and again they utter in disbelief: “A beekeeper?”\u003c/p>\n\u003cp>Believe it, honey. \u003cem>The Beekeeper\u003c/em> carries that ludicrous premise as far as it can, and then well beyond. If you’ve been searching for a movie where Jason Statham gravely vows to “protect the hive” an implausible number of times, you have found it.\u003c/p>\n\u003cp>The bee metaphors — there is even, rather impressively, a “To bee or not to bee” reference — come fast and furious in \u003cem>The Beekeeper\u003c/em>, a movie that flirts with a so-bad-it’s-good vibe but is too serious to quite pull it off. It can be divertingly bonkers, but ends up a rather grim and slipshod \u003cem>John Wick\u003c/em> ripoff.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film, scripted by Kurt Wimmer, begins the action with one of the more absurd inciting incidents in recent memory. Statham is a humble beekeeper for Eloise Parker (Phylicia Rashad) on a New England farm. She soon falls victim to a phishing scam that robs her of all her money, including the $2 million charity fund she manages. Eloise calls a number that pops up on her screen and is talked into sharing her passwords by a smarmy scammer (David Witts) who’s simultaneously using the call as a lesson to a room full of hackers who cheer him on like the predatory stock brokers of \u003cem>The Wolf of Wall Street\u003c/em>.\u003c/p>\n\u003cp>Eloise doesn’t press CTRL-ALT-DELETE or even call the fraud department of her bank. She kills herself. And guess who’s mad? The beekeeper.\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/SzINZZ6iqxY'\n title='//www.youtube.com/embed/SzINZZ6iqxY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Eloise’s daughter, Verona (a good Emmy Raver-Lampman), is an FBI agent who throws herself into the case. But meanwhile Statham’s beekeeper, after a well-placed call, gets the location of the call center. He turns up with a few tanks of gasoline and some terse words about, you know, the hive, and burns down the place, killing a few people along the way.\u003c/p>\n\u003cp>That brings the attention of higher-ups. Only the guy in charge is a 28-year-old twerp named Derek Danforth (Josh Hutcherson, enjoying himself) who brashly underestimates his new enemy at every step of the way. His entitlement is owed to his rather good connections. He’s protected by the former head of the CIA, Wallace Westwyld (Jeremy Irons) and happens to be the son of the U.S. president (Jemma Redgrave).\u003c/p>\n\u003cp>Fingers get cut off and bodies accumulate as our man — his name turns out to be Adam Clay — tears through the criminal apparatus with ruthless blunt force. Statham, who has both the look and personality of a bullet, dispatches anyone in his path with the kind efficiency I dream of bringing to opening a pickle jar. A few twists of the wrist and he’s done.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Clay, brace yourselves, isn’t just an actual beekeeper. He’s a retired Beekeeper, an elite, clandestine secret service that operates well off the government books and that adopts a surprising amount of its mission statements from the natural way of bees. They have a whole secret order and stuff, bringing \u003cem>The Beekeeper\u003c/em> into plainly \u003cem>Wick\u003c/em>-ian — and less fun — territory.\u003c/p>\n\u003cp>Yes, this silly beekeeper thriller goes all the way to the top. As the movie’s renegade protagonist makes his way closer and closer to the White House, with blood and chaos in his wake, \u003cem>The Beekeeper\u003c/em> begins to feel like an uncomfortable B-movie crosspollination of today’s conspiracy theory-marred political landscape, with a violent, self-appointed guardian of America slashing his way toward the president. Most of the dead bodies are secret service.\u003c/p>\n\u003cp>Disquieting thoughts, maybe, for a beekeeper movie. Ayer’s movie is mostly just having some cynical world-building fun, even if its hero feels like a part more suited to Mr. Bean. And, besides, while John Wick was first propelled into action by the death of his dog, Clay doesn’t bat an eye when his honeycombs get blown to smithereens. This guy doesn’t even really care about bees.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Beekeper’ is released nationwide on Jan. 12, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "NPR’s 24 Most Anticipated Video Games of 2024",
"headTitle": "NPR’s 24 Most Anticipated Video Games of 2024 | KQED",
"content": "\u003cp>It’d take more than a few surprises for the new year to match 2023’s deluge of \u003ca href=\"https://www.npr.org/2023/07/18/1187554727/best-new-video-games-xbox-ps5-nintendo-2023\">acclaimed games\u003c/a>. But while we don’t know the precise release date for many of its biggest titles, 2024 will soon grace us with the gargantuan \u003cem>Final Fantasy 7: Rebirth\u003c/em>, slated to come out on Leap Day, and it’ll \u003ca href=\"https://www.cnbc.com/2024/01/08/nintendo-switch-2-console-coming-in-2024-analysts-say.html\">likely draw to a close \u003c/a>with a console sequel to the Nintendo Switch. But there’s a lot to look forward to apart from those bookends — here’s what we at NPR have our eyes on this year.\u003c/p>\n\u003ch3>\u003cstrong>‘Persona 3 Reload,’ Feb. 2\u003c/strong>\u003c/h3>\n\u003cp>I fell hard for \u003cem>Personas 4\u003c/em> and \u003cem>5\u003c/em> but wasn’t hooked by \u003cem>3\u003c/em>. I recognize its importance: it set the current franchise template with its edgy teen aesthetic and weave of social simulation and RPG mechanics. Odd as it was in 2006, perhaps this slick new version will entice the part of me that wants to explore a ghoulish Tokyo with fashionable friends. \u003cem>— James Mastromarino, NPR Gaming lead and ‘Here & Now’ producer\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Skull and Bones,’ Feb. 16 \u003c/strong>\u003c/h3>\n\u003cp>Swashbuckling piracy was the best part of \u003cem>Assassin’s Creed: Black Flag\u003c/em> and \u003cem>Skull and Bones\u003c/em> is bringing that action to a standalone game, shifted from the Caribbean to the Indian Ocean and African coasts. It also promises story-rich quests that give it an MMO vibe as you adventure on your ship. I look forward to seeing how it compares with the more cartoony \u003cem>Sea of Thieves\u003c/em>, which was fun to play with and against other players. \u003cem>— Daniel Morgan, systems engineer\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13940295\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940295\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ffjpg_wide-968e1c7fbec84f0c54b540630c5f21f4fd2e3b20-scaled.jpg\" alt=\"A computer graphic depicting a very large and muscular man wearing sunglasses and clutching a large gun. He is facing off with a woman in tactical gear.\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ffjpg_wide-968e1c7fbec84f0c54b540630c5f21f4fd2e3b20-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ffjpg_wide-968e1c7fbec84f0c54b540630c5f21f4fd2e3b20-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ffjpg_wide-968e1c7fbec84f0c54b540630c5f21f4fd2e3b20-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ffjpg_wide-968e1c7fbec84f0c54b540630c5f21f4fd2e3b20-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ffjpg_wide-968e1c7fbec84f0c54b540630c5f21f4fd2e3b20-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ffjpg_wide-968e1c7fbec84f0c54b540630c5f21f4fd2e3b20-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ffjpg_wide-968e1c7fbec84f0c54b540630c5f21f4fd2e3b20-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ffjpg_wide-968e1c7fbec84f0c54b540630c5f21f4fd2e3b20-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Final Fantasy 7: Rebirth.’ \u003ccite>(Square Enix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>‘Final Fantasy 7: Rebirth,’ Feb. 29\u003c/strong>\u003c/h3>\n\u003cp>2020’s \u003cem>Final Fantasy 7: Remake\u003c/em> opened the door to a radically new retelling of the 1997 original. The sequel, \u003cem>Rebirth\u003c/em>, will likely depart even further, and I’m quivering to find out \u003ca href=\"https://gameswithjames.substack.com/p/questions-for-the-new-gaming-year\">who’ll live, who’ll die\u003c/a> and how I’ll take to its hybrid real-time/turn-based combat after growing fond of the fluid action of \u003cem>\u003ca href=\"https://www.npr.org/2023/06/21/1183279538/final-fantasy-xvi-16-review\">Final Fantasy 16\u003c/a>\u003c/em>. \u003cem>— James Mastromarino, NPR Gaming lead and\u003c/em> ‘\u003cem>Here & Now’\u003c/em> \u003cem>producer \u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Life By You Early Access,’ March 5\u003c/strong>\u003c/h3>\n\u003cp>In 2015, Paradox Interactive took a wild — but ultimately successful — swing at toppling Maxis’ famed city-building franchise \u003cem>SimCity\u003c/em> by launching \u003cem>Cities: Skylines\u003c/em>. This spring, the Swedish publisher wants to unseat another legendary Maxis franchise: \u003cem>The Sims\u003c/em>. Led by former \u003cem>Sims\u003c/em> head Rod Humble, Paradox’s \u003cem>Life By You\u003c/em> is also a social simulator focusing on hyper-customizability. Clothing, furniture, houses, businesses, towns, storylines, quests — seemingly nothing is locked away from players to make their own. Let’s hope Paradox’s bet on customization makes for engaging gameplay, not analysis paralysis. \u003cem>— Alex Curley, product manager, Distribution\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13940296\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940296\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/homeworld-3_wide-1c1d20a408c04930cb67d33ce72760bc0d04b83e-scaled-e1704913895692.jpg\" alt=\"A computer graphic depicting a large disc-shaped space ship surrounded by a large number of much smaller crafts.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">‘Homeworld 3.’ \u003ccite>(Gearbox Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>‘Homeworld 3,’ March 8\u003c/strong>\u003c/h3>\n\u003cp>Despite high-profile releases, 2023 didn’t satisfy my hunger for an all-consuming real-time strategy game. Enter a new 2024 challenger: \u003cem>Homeworld 3\u003c/em>, the space combat RTS from Blackbird Interactive. The first franchise title was revolutionary in 1999, and gameplay footage for this Spring’s sequel looks just as promising. Apart from battling for galactic dominance over a dozen or more hours in the main campaign, it allows you and up to two other friends to play roguelike missions in its new War Games mode. We’ll see how much Blackbird can appeal to less-experienced players while staying true to \u003cem>Homeworld’\u003c/em>s roots. \u003cem>— Alex Curley, product manager, Distribution\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Unicorn Overlord,’ March 8\u003c/strong>\u003c/h3>\n\u003cp>While laden with anime tropes, the narrative ambition of Vanillaware’s \u003cem>13 Sentinels\u003c/em> blew me away. I hope their upcoming tactical RPG will do the same — and maybe scratch the \u003cem>Fire Emblem\u003c/em> itch, too. \u003cem>— James Mastromarino, NPR Gaming lead and\u003c/em> ‘\u003cem>Here & Now’ producer\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Dragon’s Dogma 2,’ March 22\u003c/strong>\u003c/h3>\n\u003cp>2012’s \u003cem>Dragon’s Dogma\u003c/em> is one of the most unique action RPGs I’ve played. Often compared to \u003cem>Dark Souls\u003c/em>, which came out the year earlier, the game’s nearly as hardcore, with flashier class abilities and a unique pawn system that lets you recruit AI party members created by other players. The sequel will need to refine these mechanics to capture a wider audience, but Capcom’s been on such a hot streak that I’m optimistic they can pull it off. \u003cem>— James Mastromarino, NPR Gaming lead and\u003c/em> \u003cem>‘Here & Now’ producer\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13940297\" class=\"wp-caption aligncenter\" style=\"max-width: 1662px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940297\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/switch_princesspeachshowtime_scrn_02_wide-440bf57df4333c15a32842e7106fbd6f16055dd8.jpg\" alt=\"Computer graphics depict a colorful and cartoonish landscape with a princess at the center, wearing a pink gown.\" width=\"1662\" height=\"935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/switch_princesspeachshowtime_scrn_02_wide-440bf57df4333c15a32842e7106fbd6f16055dd8.jpg 1662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/switch_princesspeachshowtime_scrn_02_wide-440bf57df4333c15a32842e7106fbd6f16055dd8-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/switch_princesspeachshowtime_scrn_02_wide-440bf57df4333c15a32842e7106fbd6f16055dd8-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/switch_princesspeachshowtime_scrn_02_wide-440bf57df4333c15a32842e7106fbd6f16055dd8-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/switch_princesspeachshowtime_scrn_02_wide-440bf57df4333c15a32842e7106fbd6f16055dd8-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/switch_princesspeachshowtime_scrn_02_wide-440bf57df4333c15a32842e7106fbd6f16055dd8-1536x864.jpg 1536w\" sizes=\"(max-width: 1662px) 100vw, 1662px\">\u003cfigcaption class=\"wp-caption-text\">‘Princess Peach: Showtime!’ \u003ccite>(Nintendo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>‘Princess Peach: Showtime!,’ March 22\u003c/strong>\u003c/h3>\n\u003cp>The date 3/22/24 has been ingrained in my mind since Nintendo shared the trailer for \u003cem>Princess Peach: Showtime!\u003c/em> last year. While I know that this isn’t the first time she’s led her own game, this feels like the first time Peach is getting the full Mario treatment with fun transformations and powerups unique to her. Kung Fu Peach? Swordfighter Peach? I can’t wait! \u003cem>— Rakiesha Chase-Jackson, project manager, Member Partnership\u003c/em>\u003c/p>\n\u003ch3>‘Rise of the Rōnin,’ \u003cstrong>March 22\u003c/strong>\u003c/h3>\n\u003cp>Last year, Team Ninja took us to China’s Three Kingdoms-era with \u003cem>Wo Long: Fallen Dynasty\u003c/em> for an enjoyable adventure that struggled to stand out in a crowded field of excellent 2023 games. This year, with \u003cem>Rise of the Rōnin\u003c/em>, they’re taking us back to Japan and back to the team behind the excellent \u003cem>Nioh\u003c/em> and \u003cem>Nioh 2\u003c/em> games. \u003cem>Rise of the Rōnin\u003c/em> has reportedly been in development for seven years and \u003ca href=\"https://blog.playstation.com/2022/09/13/revealing-rise-of-the-ronin-a-new-action-rpg-from-team-ninja/\">the studio says\u003c/a> it’s their “most ambitious and challenging project” to date. If all that work marks a return to the quality of the \u003cem>Nioh\u003c/em> titles, this game will be worth exploring. \u003cem>— Justin Lucas, Senior Director, Communications\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Manor Lords,’ April 26\u003c/strong>\u003c/h3>\n\u003cp>Developer Slavic Magic has been teasing a gorgeous and intriguing strategy game, \u003cem>Manor Lords\u003c/em>, for over three years. Set in medieval Europe, the game is at once a city-builder, tasking you with building up manorial villages from empty fields and a strategy sim, having you defend villages from plundering bandits in real-time battles. With a publish date finally set, I’m excited to don my crown as manor lord and see if the game truly lives up to the hype. \u003cem>— Alex Curley, product manager, Distribution\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13940298\" class=\"wp-caption aligncenter\" style=\"max-width: 1917px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940298\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/wukong_wide-b801f1d105cbe0153b0411b6eee74e0bd8b95ad1.jpg\" alt=\"Computer graphics depict a battle between two mythical creatures in the forest.\" width=\"1917\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/wukong_wide-b801f1d105cbe0153b0411b6eee74e0bd8b95ad1.jpg 1917w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/wukong_wide-b801f1d105cbe0153b0411b6eee74e0bd8b95ad1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/wukong_wide-b801f1d105cbe0153b0411b6eee74e0bd8b95ad1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/wukong_wide-b801f1d105cbe0153b0411b6eee74e0bd8b95ad1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/wukong_wide-b801f1d105cbe0153b0411b6eee74e0bd8b95ad1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/wukong_wide-b801f1d105cbe0153b0411b6eee74e0bd8b95ad1-1536x864.jpg 1536w\" sizes=\"(max-width: 1917px) 100vw, 1917px\">\u003cfigcaption class=\"wp-caption-text\">‘Black Myth: Wukong.’ \u003ccite>(Game Science)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>‘Black Myth: Wukong,’ Aug. 20\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Black Myth: Wukong\u003c/em> looks like a AAA soulslike with slick action and terrifically bizarre character design. The game’s impressive trailers and gameplay videos generated a lot of buzz for its relatively unknown developer, Game Science. But it’s hard to know what to expect from a studio with no other major releases under its wing. If \u003cem>Wukong\u003c/em> lives up to its savvy marketing, it could be a breakout success. But it’s also possible that the game and the studio will end up standing out for other less favorable reasons, as \u003ca href=\"https://www.ign.com/articles/black-myth-wukong-has-a-release-date-but-still-no-reply-to-reports-of-sexism-the-game-awards-2023\">reports of a culture of sexism\u003c/a> at Game Science could sour many who might otherwise have been interested. \u003cem>— Justin Lucas, Senior Director, Communications\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Undated 2024\u003c/strong>\u003c/h3>\n\u003ch3>\u003cstrong>‘Avowed’\u003c/strong>\u003c/h3>\n\u003cp>Obsidian Entertainment has commanded respect for RPGs like \u003cem>Fallout: New Vegas\u003c/em>, \u003cem>The Outer Worlds\u003c/em>, and \u003cem>Star Wars: Knights of the Old Republic 2\u003c/em>. Their upcoming first-person fantasy game set in the \u003cem>Pillars of Eternity\u003c/em> universe should be no exception. It wouldn’t be surprising if \u003cem>Avowed\u003c/em> not only provided a capable substitute to hold players over for the long-awaited \u003cem>Elder Scrolls 6\u003c/em> but also raised the bar for Bethesda as they worked on their follow-up to \u003cem>Skyrim\u003c/em>. — \u003cem>Corey Bridges, assistant producer, ‘The Indicator’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13940299\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/baby_wide-bd7358ce44f915a9166bc0c5528e279d9db4adba-scaled-e1704914581123.jpg\" alt=\"A computer graphic depicts a large man sleepwalking. He is approaching a man behind a table with shoes on it.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">‘Baby Steps.’ \u003ccite>(Devolver Digital)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Baby Steps’\u003c/h3>\n\u003cp>The ever-brilliant Bennett Foddy (of \u003cem>QWOP\u003c/em> and \u003cem>Getting Over it\u003c/em> fame) is back with another impish physics game. Billed as a “literal walking simulator,” \u003cem>Baby Steps\u003c/em> has you independently control each of the player character’s legs, forcing you to think through locomotion you’d normally take for granted — to what I’m sure will be hilarious results. \u003cem>— James Mastromarino, NPR Gaming lead and\u003c/em> ‘\u003cem>Here & Now’ producer\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Camper Van: Make it Home’\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Camper Van: Make it Home\u003c/em> looks like the quintessential cozy game — chill music, a calming color scheme, and a simple premise that offers so much space for customization and control. I don’t know about you, but I’ve always dreamed of just unplugging and traveling the world in my own personal camper van, and soon, I will be able to do so from the comfort of my couch. \u003cem>— Rakiesha Chase-Jackson, project manager, Member Partnership\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Elden Ring: Shadow of the Erdtree’\u003c/strong>\u003c/h3>\n\u003cp>[aside postid='arts_13909712']We’ve seen little about this upcoming expansion to 2022 masterpiece \u003cem>Elden Ring\u003c/em>, other than that it appears to feature Miquella, a character shrouded in mystery so deep it makes the game’s obtuse lore look transparent by comparison. But FromSoftware has a reputation for incomparable DLC, so I’m confident it’ll give me more than enough reason to return to the Lands Between. \u003cem>— James Mastromarino, NPR Gaming lead and\u003c/em> ‘\u003cem>Here & Now’ producer\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Frostpunk 2’\u003c/strong>\u003c/h3>\n\u003cp>Developer 11 Bit Studios is upping the scale of their award-winning city-builder with \u003cem>Frostpunk 2\u003c/em>. Set 30 years after the apocalyptic events of \u003cem>Frostpunk\u003c/em>, the meager colony of the first game has grown into a full-blown metropolis, shifting the focus away from mere survival and ensuring its stability. It’s a change that will transform gameplay mechanics critics fell in love with to something more akin to \u003cem>Tropico 6\u003c/em> or \u003cem>Civilization 6\u003c/em> — a notable risk for a franchise with a winning formula. In any case, I’m excited to return to the outskirts of nuclear winter London to test my mettle again. \u003cem>— Alex Curley, product manager, Distribution\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13940300\" class=\"wp-caption aligncenter\" style=\"max-width: 2065px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/hades22_wide-a7da56f6879cdc1e8c1aacc6585da45d3ed5be9d.jpg\" alt=\"Computer graphics depict a swampy green landscape from above where several small figures are doing battle.\" width=\"2065\" height=\"1162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/hades22_wide-a7da56f6879cdc1e8c1aacc6585da45d3ed5be9d.jpg 2065w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/hades22_wide-a7da56f6879cdc1e8c1aacc6585da45d3ed5be9d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/hades22_wide-a7da56f6879cdc1e8c1aacc6585da45d3ed5be9d-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/hades22_wide-a7da56f6879cdc1e8c1aacc6585da45d3ed5be9d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/hades22_wide-a7da56f6879cdc1e8c1aacc6585da45d3ed5be9d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/hades22_wide-a7da56f6879cdc1e8c1aacc6585da45d3ed5be9d-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/hades22_wide-a7da56f6879cdc1e8c1aacc6585da45d3ed5be9d-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/hades22_wide-a7da56f6879cdc1e8c1aacc6585da45d3ed5be9d-1920x1080.jpg 1920w\" sizes=\"(max-width: 2065px) 100vw, 2065px\">\u003cfigcaption class=\"wp-caption-text\">‘Hades 2.’ \u003ccite>(Supergiant Games)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>‘Hades 2’\u003c/strong>\u003c/h3>\n\u003cp>Will 2024 be the year we actually get Early Access to \u003cem>Hades 2\u003c/em>? Supposedly! It’s hard not to be impatient as I write up my most anticipated games blurb for the same game two years running, but honestly, I’ll wait however long it takes. From indie studio Supergiant, \u003cem>Hades 2\u003c/em> promises to bring the same enthralling romance and combat as its 2020 predecessor, \u003cem>Hades\u003c/em>. This time, we’ll join a new hero in Melinoe, our de-facto princess of Hell, as she embarks on a mission to kill Chronos, who is technically her grandpa. But while I love some Greek mythology, what made me really fall in love with the series is Supergiant’s commitment to a gorgeous style that drips out of every conversation and combat arena. Early access release is set for Q2 2024, but whenever it drops, I’ll be here … waiting. \u003cem>— Megan Lim, ‘All Things Considered’ Producer\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Hollow Knight: Silksong’\u003c/strong>\u003c/h3>\n\u003cp>There’s more discourse than news about this sequel to indie darling \u003cem>Hollow Knight\u003c/em>, which was also one of our most anticipated games of 2023. Team Cherry’s social media pages haven’t been updated in a long time, but I’m still hopeful. Game development is tough, and I’m content to wait while the studio takes its time to make \u003cem>Silksong\u003c/em> as beautiful and visceral as the first game. — \u003cem>River Williamson, Software Engineer\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Last Time I Saw You’\u003c/strong>\u003c/h3>\n\u003cp>I’m a huge fan of publisher Chorus Worldwide. The trailer for \u003cem>Last Time I Saw You\u003c/em> brought back such fond memories of 2023’s \u003cem>\u003ca href=\"https://www.npr.org/2023/07/18/1187554727/best-new-video-games-xbox-ps5-nintendo-2023\">A Space for the Unbound\u003c/a>\u003c/em> that I immediately wishlisted it on Steam. I’m looking forward to gorgeous artwork, a mesmerizing soundtrack and an emotional rollercoaster of a story. \u003cem>— Rakiesha Chase-Jackson, project manager, Member Partnership\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13940301\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940301\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/stalker2_wide-58f5a7799b5f621381ad819b6d0be866be988bde-scaled-e1704915061673.jpg\" alt=\"A computer graphic depicting five soldiers sitting around a campfire. One of them is playing a guitar.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">‘S.T.A.L.K.E.R. 2: Heart of Chornobyl.’ \u003ccite>(GSC Game World)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>‘S.T.A.L.K.E.R. 2: Heart of Chernobyl’\u003c/strong>\u003c/h3>\n\u003cp>After many delays, the latest in this \u003ca href=\"https://kotaku.com/comparing-stalker-the-game-with-stalker-the-movie-its-5906876\">Tarkovsky-inspired\u003c/a> shooter series may arrive by the first quarter of this year. It is made by Ukrainian developers who have kept at it despite the encroachments of a very real war. \u003cem>— James Mastromarino, NPR Gaming lead and\u003c/em> ‘\u003cem>Here & Now’\u003c/em> \u003cem>producer\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Star Wars Outlaws’\u003c/strong>\u003c/h3>\n\u003cp>While the\u003cem> Star Wars\u003c/em> brand is reaching the point of oversaturation, I’m admittedly excited about the prospect of a truly open-world \u003cem>Star Wars\u003c/em> game where I’m not playing as someone with force sensitivity (at least as far as I know). If Ubisoft can pull off what’s looking to be a grounded single-player adventure game and provide a captivating story, it has a chance of being one of my favorite pieces of \u003cem>Star Wars\u003c/em> media ever. That’s a big if, but I hope \u003cem>Star Wars: Outlaws\u003c/em> lives up to the hype. — \u003cem>Corey Bridges, assistant producer, ‘The Indicator’\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Stormgate’\u003c/strong>\u003c/h3>\n\u003cp>[aside postid='arts_13927065']We already knew about \u003cem>Stormgate\u003c/em> before this winter’s Game Awards. But it felt much more real when actor Simu Liu appeared onstage on Dec. 7 to tease his role in Frost Giant’s upcoming competitive real-time strategy game. It’s obvious that \u003cem>Stormgate\u003c/em>‘s developers, which include \u003cem>StarCraft\u003c/em> veterans, are trying to position the game as the next big esports RTS in a market where decade-old titles have stagnated. With the promise of more responsive gameplay and modern netcode, I’m curious to see if they’ll actually succeed. \u003cem>— Alex Curley, product manager, Distribution\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘The Casting of Frank Stone’\u003c/strong>\u003c/h3>\n\u003cp>I’m a sucker for the kind of interactive horror movies that Supermassive Games makes in titles like \u003cem>The Quarry\u003c/em> and \u003cem>Until Dawn\u003c/em>. I was pleasantly surprised that they’re now teaming up with the studio behind \u003cem>Dead by Daylight\u003c/em> for a new horror mystery story. I’m looking forward to putting in multiple playthroughs and seeing how the story can play out. — \u003cem>Corey Bridges, assistant producer, ‘The Indicator’\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘The Wolf Among Us 2’\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>The Wolf Among Us 2\u003c/em> was on my\u003ca href=\"https://www.npr.org/2023/01/13/1148436265/most-anticipated-games-2023\"> most anticipated games list for 2023\u003c/a>, and Telltale Games has indicated that they’re now targeting a 2024 release. Ten years is a long time to wait for a sequel, but I’m a huge fan of the \u003cem>Fables\u003c/em> comics and can’t wait to return to Fabletown.\u003cem> — Rakiesha Chase-Jackson, project manager, Member Partnership\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR%27s+24+most+anticipated+video+games+of+2024&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’d take more than a few surprises for the new year to match 2023’s deluge of \u003ca href=\"https://www.npr.org/2023/07/18/1187554727/best-new-video-games-xbox-ps5-nintendo-2023\">acclaimed games\u003c/a>. But while we don’t know the precise release date for many of its biggest titles, 2024 will soon grace us with the gargantuan \u003cem>Final Fantasy 7: Rebirth\u003c/em>, slated to come out on Leap Day, and it’ll \u003ca href=\"https://www.cnbc.com/2024/01/08/nintendo-switch-2-console-coming-in-2024-analysts-say.html\">likely draw to a close \u003c/a>with a console sequel to the Nintendo Switch. But there’s a lot to look forward to apart from those bookends — here’s what we at NPR have our eyes on this year.\u003c/p>\n\u003ch3>\u003cstrong>‘Persona 3 Reload,’ Feb. 2\u003c/strong>\u003c/h3>\n\u003cp>I fell hard for \u003cem>Personas 4\u003c/em> and \u003cem>5\u003c/em> but wasn’t hooked by \u003cem>3\u003c/em>. I recognize its importance: it set the current franchise template with its edgy teen aesthetic and weave of social simulation and RPG mechanics. Odd as it was in 2006, perhaps this slick new version will entice the part of me that wants to explore a ghoulish Tokyo with fashionable friends. \u003cem>— James Mastromarino, NPR Gaming lead and ‘Here & Now’ producer\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Skull and Bones,’ Feb. 16 \u003c/strong>\u003c/h3>\n\u003cp>Swashbuckling piracy was the best part of \u003cem>Assassin’s Creed: Black Flag\u003c/em> and \u003cem>Skull and Bones\u003c/em> is bringing that action to a standalone game, shifted from the Caribbean to the Indian Ocean and African coasts. It also promises story-rich quests that give it an MMO vibe as you adventure on your ship. I look forward to seeing how it compares with the more cartoony \u003cem>Sea of Thieves\u003c/em>, which was fun to play with and against other players. \u003cem>— Daniel Morgan, systems engineer\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13940295\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940295\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ffjpg_wide-968e1c7fbec84f0c54b540630c5f21f4fd2e3b20-scaled.jpg\" alt=\"A computer graphic depicting a very large and muscular man wearing sunglasses and clutching a large gun. He is facing off with a woman in tactical gear.\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ffjpg_wide-968e1c7fbec84f0c54b540630c5f21f4fd2e3b20-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ffjpg_wide-968e1c7fbec84f0c54b540630c5f21f4fd2e3b20-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ffjpg_wide-968e1c7fbec84f0c54b540630c5f21f4fd2e3b20-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ffjpg_wide-968e1c7fbec84f0c54b540630c5f21f4fd2e3b20-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ffjpg_wide-968e1c7fbec84f0c54b540630c5f21f4fd2e3b20-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ffjpg_wide-968e1c7fbec84f0c54b540630c5f21f4fd2e3b20-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ffjpg_wide-968e1c7fbec84f0c54b540630c5f21f4fd2e3b20-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/ffjpg_wide-968e1c7fbec84f0c54b540630c5f21f4fd2e3b20-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">‘Final Fantasy 7: Rebirth.’ \u003ccite>(Square Enix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>‘Final Fantasy 7: Rebirth,’ Feb. 29\u003c/strong>\u003c/h3>\n\u003cp>2020’s \u003cem>Final Fantasy 7: Remake\u003c/em> opened the door to a radically new retelling of the 1997 original. The sequel, \u003cem>Rebirth\u003c/em>, will likely depart even further, and I’m quivering to find out \u003ca href=\"https://gameswithjames.substack.com/p/questions-for-the-new-gaming-year\">who’ll live, who’ll die\u003c/a> and how I’ll take to its hybrid real-time/turn-based combat after growing fond of the fluid action of \u003cem>\u003ca href=\"https://www.npr.org/2023/06/21/1183279538/final-fantasy-xvi-16-review\">Final Fantasy 16\u003c/a>\u003c/em>. \u003cem>— James Mastromarino, NPR Gaming lead and\u003c/em> ‘\u003cem>Here & Now’\u003c/em> \u003cem>producer \u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Life By You Early Access,’ March 5\u003c/strong>\u003c/h3>\n\u003cp>In 2015, Paradox Interactive took a wild — but ultimately successful — swing at toppling Maxis’ famed city-building franchise \u003cem>SimCity\u003c/em> by launching \u003cem>Cities: Skylines\u003c/em>. This spring, the Swedish publisher wants to unseat another legendary Maxis franchise: \u003cem>The Sims\u003c/em>. Led by former \u003cem>Sims\u003c/em> head Rod Humble, Paradox’s \u003cem>Life By You\u003c/em> is also a social simulator focusing on hyper-customizability. Clothing, furniture, houses, businesses, towns, storylines, quests — seemingly nothing is locked away from players to make their own. Let’s hope Paradox’s bet on customization makes for engaging gameplay, not analysis paralysis. \u003cem>— Alex Curley, product manager, Distribution\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13940296\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940296\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/homeworld-3_wide-1c1d20a408c04930cb67d33ce72760bc0d04b83e-scaled-e1704913895692.jpg\" alt=\"A computer graphic depicting a large disc-shaped space ship surrounded by a large number of much smaller crafts.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">‘Homeworld 3.’ \u003ccite>(Gearbox Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>‘Homeworld 3,’ March 8\u003c/strong>\u003c/h3>\n\u003cp>Despite high-profile releases, 2023 didn’t satisfy my hunger for an all-consuming real-time strategy game. Enter a new 2024 challenger: \u003cem>Homeworld 3\u003c/em>, the space combat RTS from Blackbird Interactive. The first franchise title was revolutionary in 1999, and gameplay footage for this Spring’s sequel looks just as promising. Apart from battling for galactic dominance over a dozen or more hours in the main campaign, it allows you and up to two other friends to play roguelike missions in its new War Games mode. We’ll see how much Blackbird can appeal to less-experienced players while staying true to \u003cem>Homeworld’\u003c/em>s roots. \u003cem>— Alex Curley, product manager, Distribution\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Unicorn Overlord,’ March 8\u003c/strong>\u003c/h3>\n\u003cp>While laden with anime tropes, the narrative ambition of Vanillaware’s \u003cem>13 Sentinels\u003c/em> blew me away. I hope their upcoming tactical RPG will do the same — and maybe scratch the \u003cem>Fire Emblem\u003c/em> itch, too. \u003cem>— James Mastromarino, NPR Gaming lead and\u003c/em> ‘\u003cem>Here & Now’ producer\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Dragon’s Dogma 2,’ March 22\u003c/strong>\u003c/h3>\n\u003cp>2012’s \u003cem>Dragon’s Dogma\u003c/em> is one of the most unique action RPGs I’ve played. Often compared to \u003cem>Dark Souls\u003c/em>, which came out the year earlier, the game’s nearly as hardcore, with flashier class abilities and a unique pawn system that lets you recruit AI party members created by other players. The sequel will need to refine these mechanics to capture a wider audience, but Capcom’s been on such a hot streak that I’m optimistic they can pull it off. \u003cem>— James Mastromarino, NPR Gaming lead and\u003c/em> \u003cem>‘Here & Now’ producer\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13940297\" class=\"wp-caption aligncenter\" style=\"max-width: 1662px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940297\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/switch_princesspeachshowtime_scrn_02_wide-440bf57df4333c15a32842e7106fbd6f16055dd8.jpg\" alt=\"Computer graphics depict a colorful and cartoonish landscape with a princess at the center, wearing a pink gown.\" width=\"1662\" height=\"935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/switch_princesspeachshowtime_scrn_02_wide-440bf57df4333c15a32842e7106fbd6f16055dd8.jpg 1662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/switch_princesspeachshowtime_scrn_02_wide-440bf57df4333c15a32842e7106fbd6f16055dd8-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/switch_princesspeachshowtime_scrn_02_wide-440bf57df4333c15a32842e7106fbd6f16055dd8-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/switch_princesspeachshowtime_scrn_02_wide-440bf57df4333c15a32842e7106fbd6f16055dd8-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/switch_princesspeachshowtime_scrn_02_wide-440bf57df4333c15a32842e7106fbd6f16055dd8-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/switch_princesspeachshowtime_scrn_02_wide-440bf57df4333c15a32842e7106fbd6f16055dd8-1536x864.jpg 1536w\" sizes=\"(max-width: 1662px) 100vw, 1662px\">\u003cfigcaption class=\"wp-caption-text\">‘Princess Peach: Showtime!’ \u003ccite>(Nintendo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>‘Princess Peach: Showtime!,’ March 22\u003c/strong>\u003c/h3>\n\u003cp>The date 3/22/24 has been ingrained in my mind since Nintendo shared the trailer for \u003cem>Princess Peach: Showtime!\u003c/em> last year. While I know that this isn’t the first time she’s led her own game, this feels like the first time Peach is getting the full Mario treatment with fun transformations and powerups unique to her. Kung Fu Peach? Swordfighter Peach? I can’t wait! \u003cem>— Rakiesha Chase-Jackson, project manager, Member Partnership\u003c/em>\u003c/p>\n\u003ch3>‘Rise of the Rōnin,’ \u003cstrong>March 22\u003c/strong>\u003c/h3>\n\u003cp>Last year, Team Ninja took us to China’s Three Kingdoms-era with \u003cem>Wo Long: Fallen Dynasty\u003c/em> for an enjoyable adventure that struggled to stand out in a crowded field of excellent 2023 games. This year, with \u003cem>Rise of the Rōnin\u003c/em>, they’re taking us back to Japan and back to the team behind the excellent \u003cem>Nioh\u003c/em> and \u003cem>Nioh 2\u003c/em> games. \u003cem>Rise of the Rōnin\u003c/em> has reportedly been in development for seven years and \u003ca href=\"https://blog.playstation.com/2022/09/13/revealing-rise-of-the-ronin-a-new-action-rpg-from-team-ninja/\">the studio says\u003c/a> it’s their “most ambitious and challenging project” to date. If all that work marks a return to the quality of the \u003cem>Nioh\u003c/em> titles, this game will be worth exploring. \u003cem>— Justin Lucas, Senior Director, Communications\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Manor Lords,’ April 26\u003c/strong>\u003c/h3>\n\u003cp>Developer Slavic Magic has been teasing a gorgeous and intriguing strategy game, \u003cem>Manor Lords\u003c/em>, for over three years. Set in medieval Europe, the game is at once a city-builder, tasking you with building up manorial villages from empty fields and a strategy sim, having you defend villages from plundering bandits in real-time battles. With a publish date finally set, I’m excited to don my crown as manor lord and see if the game truly lives up to the hype. \u003cem>— Alex Curley, product manager, Distribution\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13940298\" class=\"wp-caption aligncenter\" style=\"max-width: 1917px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940298\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/wukong_wide-b801f1d105cbe0153b0411b6eee74e0bd8b95ad1.jpg\" alt=\"Computer graphics depict a battle between two mythical creatures in the forest.\" width=\"1917\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/wukong_wide-b801f1d105cbe0153b0411b6eee74e0bd8b95ad1.jpg 1917w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/wukong_wide-b801f1d105cbe0153b0411b6eee74e0bd8b95ad1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/wukong_wide-b801f1d105cbe0153b0411b6eee74e0bd8b95ad1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/wukong_wide-b801f1d105cbe0153b0411b6eee74e0bd8b95ad1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/wukong_wide-b801f1d105cbe0153b0411b6eee74e0bd8b95ad1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/wukong_wide-b801f1d105cbe0153b0411b6eee74e0bd8b95ad1-1536x864.jpg 1536w\" sizes=\"(max-width: 1917px) 100vw, 1917px\">\u003cfigcaption class=\"wp-caption-text\">‘Black Myth: Wukong.’ \u003ccite>(Game Science)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>‘Black Myth: Wukong,’ Aug. 20\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Black Myth: Wukong\u003c/em> looks like a AAA soulslike with slick action and terrifically bizarre character design. The game’s impressive trailers and gameplay videos generated a lot of buzz for its relatively unknown developer, Game Science. But it’s hard to know what to expect from a studio with no other major releases under its wing. If \u003cem>Wukong\u003c/em> lives up to its savvy marketing, it could be a breakout success. But it’s also possible that the game and the studio will end up standing out for other less favorable reasons, as \u003ca href=\"https://www.ign.com/articles/black-myth-wukong-has-a-release-date-but-still-no-reply-to-reports-of-sexism-the-game-awards-2023\">reports of a culture of sexism\u003c/a> at Game Science could sour many who might otherwise have been interested. \u003cem>— Justin Lucas, Senior Director, Communications\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>Undated 2024\u003c/strong>\u003c/h3>\n\u003ch3>\u003cstrong>‘Avowed’\u003c/strong>\u003c/h3>\n\u003cp>Obsidian Entertainment has commanded respect for RPGs like \u003cem>Fallout: New Vegas\u003c/em>, \u003cem>The Outer Worlds\u003c/em>, and \u003cem>Star Wars: Knights of the Old Republic 2\u003c/em>. Their upcoming first-person fantasy game set in the \u003cem>Pillars of Eternity\u003c/em> universe should be no exception. It wouldn’t be surprising if \u003cem>Avowed\u003c/em> not only provided a capable substitute to hold players over for the long-awaited \u003cem>Elder Scrolls 6\u003c/em> but also raised the bar for Bethesda as they worked on their follow-up to \u003cem>Skyrim\u003c/em>. — \u003cem>Corey Bridges, assistant producer, ‘The Indicator’\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13940299\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/baby_wide-bd7358ce44f915a9166bc0c5528e279d9db4adba-scaled-e1704914581123.jpg\" alt=\"A computer graphic depicts a large man sleepwalking. He is approaching a man behind a table with shoes on it.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">‘Baby Steps.’ \u003ccite>(Devolver Digital)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘Baby Steps’\u003c/h3>\n\u003cp>The ever-brilliant Bennett Foddy (of \u003cem>QWOP\u003c/em> and \u003cem>Getting Over it\u003c/em> fame) is back with another impish physics game. Billed as a “literal walking simulator,” \u003cem>Baby Steps\u003c/em> has you independently control each of the player character’s legs, forcing you to think through locomotion you’d normally take for granted — to what I’m sure will be hilarious results. \u003cem>— James Mastromarino, NPR Gaming lead and\u003c/em> ‘\u003cem>Here & Now’ producer\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Camper Van: Make it Home’\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>Camper Van: Make it Home\u003c/em> looks like the quintessential cozy game — chill music, a calming color scheme, and a simple premise that offers so much space for customization and control. I don’t know about you, but I’ve always dreamed of just unplugging and traveling the world in my own personal camper van, and soon, I will be able to do so from the comfort of my couch. \u003cem>— Rakiesha Chase-Jackson, project manager, Member Partnership\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Elden Ring: Shadow of the Erdtree’\u003c/strong>\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We’ve seen little about this upcoming expansion to 2022 masterpiece \u003cem>Elden Ring\u003c/em>, other than that it appears to feature Miquella, a character shrouded in mystery so deep it makes the game’s obtuse lore look transparent by comparison. But FromSoftware has a reputation for incomparable DLC, so I’m confident it’ll give me more than enough reason to return to the Lands Between. \u003cem>— James Mastromarino, NPR Gaming lead and\u003c/em> ‘\u003cem>Here & Now’ producer\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Frostpunk 2’\u003c/strong>\u003c/h3>\n\u003cp>Developer 11 Bit Studios is upping the scale of their award-winning city-builder with \u003cem>Frostpunk 2\u003c/em>. Set 30 years after the apocalyptic events of \u003cem>Frostpunk\u003c/em>, the meager colony of the first game has grown into a full-blown metropolis, shifting the focus away from mere survival and ensuring its stability. It’s a change that will transform gameplay mechanics critics fell in love with to something more akin to \u003cem>Tropico 6\u003c/em> or \u003cem>Civilization 6\u003c/em> — a notable risk for a franchise with a winning formula. In any case, I’m excited to return to the outskirts of nuclear winter London to test my mettle again. \u003cem>— Alex Curley, product manager, Distribution\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13940300\" class=\"wp-caption aligncenter\" style=\"max-width: 2065px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940300\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/hades22_wide-a7da56f6879cdc1e8c1aacc6585da45d3ed5be9d.jpg\" alt=\"Computer graphics depict a swampy green landscape from above where several small figures are doing battle.\" width=\"2065\" height=\"1162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/hades22_wide-a7da56f6879cdc1e8c1aacc6585da45d3ed5be9d.jpg 2065w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/hades22_wide-a7da56f6879cdc1e8c1aacc6585da45d3ed5be9d-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/hades22_wide-a7da56f6879cdc1e8c1aacc6585da45d3ed5be9d-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/hades22_wide-a7da56f6879cdc1e8c1aacc6585da45d3ed5be9d-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/hades22_wide-a7da56f6879cdc1e8c1aacc6585da45d3ed5be9d-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/hades22_wide-a7da56f6879cdc1e8c1aacc6585da45d3ed5be9d-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/hades22_wide-a7da56f6879cdc1e8c1aacc6585da45d3ed5be9d-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/hades22_wide-a7da56f6879cdc1e8c1aacc6585da45d3ed5be9d-1920x1080.jpg 1920w\" sizes=\"(max-width: 2065px) 100vw, 2065px\">\u003cfigcaption class=\"wp-caption-text\">‘Hades 2.’ \u003ccite>(Supergiant Games)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>‘Hades 2’\u003c/strong>\u003c/h3>\n\u003cp>Will 2024 be the year we actually get Early Access to \u003cem>Hades 2\u003c/em>? Supposedly! It’s hard not to be impatient as I write up my most anticipated games blurb for the same game two years running, but honestly, I’ll wait however long it takes. From indie studio Supergiant, \u003cem>Hades 2\u003c/em> promises to bring the same enthralling romance and combat as its 2020 predecessor, \u003cem>Hades\u003c/em>. This time, we’ll join a new hero in Melinoe, our de-facto princess of Hell, as she embarks on a mission to kill Chronos, who is technically her grandpa. But while I love some Greek mythology, what made me really fall in love with the series is Supergiant’s commitment to a gorgeous style that drips out of every conversation and combat arena. Early access release is set for Q2 2024, but whenever it drops, I’ll be here … waiting. \u003cem>— Megan Lim, ‘All Things Considered’ Producer\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Hollow Knight: Silksong’\u003c/strong>\u003c/h3>\n\u003cp>There’s more discourse than news about this sequel to indie darling \u003cem>Hollow Knight\u003c/em>, which was also one of our most anticipated games of 2023. Team Cherry’s social media pages haven’t been updated in a long time, but I’m still hopeful. Game development is tough, and I’m content to wait while the studio takes its time to make \u003cem>Silksong\u003c/em> as beautiful and visceral as the first game. — \u003cem>River Williamson, Software Engineer\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Last Time I Saw You’\u003c/strong>\u003c/h3>\n\u003cp>I’m a huge fan of publisher Chorus Worldwide. The trailer for \u003cem>Last Time I Saw You\u003c/em> brought back such fond memories of 2023’s \u003cem>\u003ca href=\"https://www.npr.org/2023/07/18/1187554727/best-new-video-games-xbox-ps5-nintendo-2023\">A Space for the Unbound\u003c/a>\u003c/em> that I immediately wishlisted it on Steam. I’m looking forward to gorgeous artwork, a mesmerizing soundtrack and an emotional rollercoaster of a story. \u003cem>— Rakiesha Chase-Jackson, project manager, Member Partnership\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13940301\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940301\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/stalker2_wide-58f5a7799b5f621381ad819b6d0be866be988bde-scaled-e1704915061673.jpg\" alt=\"A computer graphic depicting five soldiers sitting around a campfire. One of them is playing a guitar.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">‘S.T.A.L.K.E.R. 2: Heart of Chornobyl.’ \u003ccite>(GSC Game World)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>‘S.T.A.L.K.E.R. 2: Heart of Chernobyl’\u003c/strong>\u003c/h3>\n\u003cp>After many delays, the latest in this \u003ca href=\"https://kotaku.com/comparing-stalker-the-game-with-stalker-the-movie-its-5906876\">Tarkovsky-inspired\u003c/a> shooter series may arrive by the first quarter of this year. It is made by Ukrainian developers who have kept at it despite the encroachments of a very real war. \u003cem>— James Mastromarino, NPR Gaming lead and\u003c/em> ‘\u003cem>Here & Now’\u003c/em> \u003cem>producer\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Star Wars Outlaws’\u003c/strong>\u003c/h3>\n\u003cp>While the\u003cem> Star Wars\u003c/em> brand is reaching the point of oversaturation, I’m admittedly excited about the prospect of a truly open-world \u003cem>Star Wars\u003c/em> game where I’m not playing as someone with force sensitivity (at least as far as I know). If Ubisoft can pull off what’s looking to be a grounded single-player adventure game and provide a captivating story, it has a chance of being one of my favorite pieces of \u003cem>Star Wars\u003c/em> media ever. That’s a big if, but I hope \u003cem>Star Wars: Outlaws\u003c/em> lives up to the hype. — \u003cem>Corey Bridges, assistant producer, ‘The Indicator’\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘Stormgate’\u003c/strong>\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We already knew about \u003cem>Stormgate\u003c/em> before this winter’s Game Awards. But it felt much more real when actor Simu Liu appeared onstage on Dec. 7 to tease his role in Frost Giant’s upcoming competitive real-time strategy game. It’s obvious that \u003cem>Stormgate\u003c/em>‘s developers, which include \u003cem>StarCraft\u003c/em> veterans, are trying to position the game as the next big esports RTS in a market where decade-old titles have stagnated. With the promise of more responsive gameplay and modern netcode, I’m curious to see if they’ll actually succeed. \u003cem>— Alex Curley, product manager, Distribution\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘The Casting of Frank Stone’\u003c/strong>\u003c/h3>\n\u003cp>I’m a sucker for the kind of interactive horror movies that Supermassive Games makes in titles like \u003cem>The Quarry\u003c/em> and \u003cem>Until Dawn\u003c/em>. I was pleasantly surprised that they’re now teaming up with the studio behind \u003cem>Dead by Daylight\u003c/em> for a new horror mystery story. I’m looking forward to putting in multiple playthroughs and seeing how the story can play out. — \u003cem>Corey Bridges, assistant producer, ‘The Indicator’\u003c/em>\u003c/p>\n\u003ch3>\u003cstrong>‘The Wolf Among Us 2’\u003c/strong>\u003c/h3>\n\u003cp>\u003cem>The Wolf Among Us 2\u003c/em> was on my\u003ca href=\"https://www.npr.org/2023/01/13/1148436265/most-anticipated-games-2023\"> most anticipated games list for 2023\u003c/a>, and Telltale Games has indicated that they’re now targeting a 2024 release. Ten years is a long time to wait for a sequel, but I’m a huge fan of the \u003cem>Fables\u003c/em> comics and can’t wait to return to Fabletown.\u003cem> — Rakiesha Chase-Jackson, project manager, Member Partnership\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR%27s+24+most+anticipated+video+games+of+2024&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘The Fetishist’ Thoughtfully Examines Racial and Sexual Politics",
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"content": "\u003cfigure id=\"attachment_13940281\" class=\"wp-caption aligncenter\" style=\"max-width: 834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13940281\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-10-at-10.20.28-AM.png\" alt=\"A purple book cover featuring a blowfish, mouth agape.\" width=\"834\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-10-at-10.20.28-AM.png 834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-10-at-10.20.28-AM-800x1163.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-10-at-10.20.28-AM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-10-at-10.20.28-AM-768x1116.png 768w\" sizes=\"(max-width: 834px) 100vw, 834px\">\u003cfigcaption class=\"wp-caption-text\">‘The Fetishist,’ Katherine Min. \u003ccite>(G.P. Putnam’s Sons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alma Soon Ja Lee encountered her first “rice king” — a man who fetishizes Asian women — as a 13-year-old Korean American cello prodigy rehearsing with a regional youth orchestra. An older blond clarinetist whispered in her ear, “Oriental girls are so sexy.”\u003c/p>\n\u003cp>To Alma, one of the protagonists of Katherine Min’s novel \u003cem>The Fetishist\u003c/em>, it had felt like a “five-word pronouncement of immutable destiny,” heralding a parade of Asian fetishists who would march through her life. Being pursued by these men was double-edged, mixing “the promise of allure” with “the cost of self-erasure,” until “the twisted roots of racism had become so deeply embedded in desire that she could not dig them out.”\u003c/p>\n\u003cp>[aside postid='arts_13939025']When Alma first slept with Daniel Karmody, an Irish American violinist and the novel’s titular fetishist, she told him, “Once Asian, never again Caucasian” — a joke meant to cement her control over their coupling, “as if joking about being racially interchangeable could protect her from it.” She hadn’t expected to be but the first in a series of Daniel’s sexual conquests that would mirror the march of her rice kings. But after their five-year relationship imploded, Daniel parlayed his looks and charisma into a career of Asian philandering that he never second-guessed — except to rue losing Alma.\u003c/p>\n\u003cp>At outset of \u003cem>The Fetishist\u003c/em>, Alma and Daniel have been estranged for 20 years, and both are at their lowest lows. Alma’s late-stage multiple sclerosis has made playing cello a frustrating impossibility, and Daniel is divorced and washed-up, leading a string quartet called Thanatos that serenades the wealthy as they die. One night on opposite sides of the country, they each think of one another, Daniel with regret and longing, Alma with anger and wistfulness.\u003c/p>\n\u003cp>This might seem a recipe for a second-chance romance driven by a racial reckoning, but Min is playing with different ingredients. Into this doleful tale, she injects a chaos agent in the form of a 23-year-old diminutive Japanese American punk — Kyoko Tokugawa, who plans to kidnap and murder Daniel to make him pay for his part in her mother Emi’s suicide. Per Kyoko, Daniel had used and discarded Emi like “sex doll” in a bout of “power-trip fetishizing” — and he had to pay for what he had done.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kyoko’s vengeance sets into motion a fiery farce wherein Min picks at those tangled roots of racism and desire. Inspired by \u003cem>Lolita\u003c/em>, but with an Asian fetishist in the role of Humbert Humbert and the objects of his objectification given voice, \u003cem>The Fetishist \u003c/em>presents a tightly crafted examination of racial and sexual politics that is at once nuanced and no-holds-barred.\u003c/p>\n\u003cp>[aside postid='arts_13939131']In many ways, Min’s novel feels of-the-moment, coming amid a push for more Asian American representation and after both the COVID-fueled surge of anti-Asian hate crimes and the \u003ca href=\"https://www.vox.com/first-person/22338462/atlanta-shooting-georgia-spa-asian-american\">2021 Atlanta spa shootings\u003c/a> that forced a reckoning with the sexual stereotyping of Asian women. But Min actually finished \u003cem>The Fetishist \u003c/em>a decade ago — five years before her death of breast cancer at age 60. She hadn’t sought to publish the novel in her lifetime; her diagnosis marked a turn away from a long career in fiction, the high point of which was her 2006 debut novel \u003cem>Secondhand World\u003c/em>, a finalist for the PEN-Bingham Award. Instead, she turned to writing essays, telling her daughter Kayla Min Andrews, “I need to spend the time I have left understanding myself, my life, and the world around me, unadorned.” A fiction writer herself, Min Andrews has brought this abandoned novel to publication, providing readers with her mother’s fiction-mediated understanding of the thorny experience of being objectified.\u003c/p>\n\u003cp>\u003cem>The Fetishist \u003c/em>is indeed adorned — a prefatory author’s note tells us that “this is a fairy tale of sorts” featuring “a giant, a buried treasure (a tiny one), a hero held captive, a kind of ogre (a tiny one), and a sleeping beauty.” Min unspools the tale in short chapters, alternating her third-person omniscient narration primarily among Alma, Daniel, and Kyoko, whose perspectives we dip into and out of in moments of free indirect discourse befitting a Victorian novel. Long, winding sentences filled with wordplay unfold virtuosically, especially when Min writes about Alma and Daniel performing classical music and Kyoko screaming out her demons with her punk band. The plot also includes a slapstick murder attempt, two foiled suicides, a cross-country road trip, and ample flashbacks to a summer in Italy.\u003c/p>\n\u003cp>All of this framing is ultimately in service of bringing Daniel and Alma to separate and mutual grapplings with the “exultation, laced with contempt” that formed the foundation of their relationship. What makes \u003cem>The Fetishist \u003c/em>remarkable in this regard is not just that Min puts pressure on Daniel to come to terms with his sense of entitlement over Asian women, but that she also prods Alma to examine her own complicated relationship to being fetishized.\u003c/p>\n\u003cp>[aside postid='arts_13940133']It is Kyoko’s white-hot rage that forces this confrontation, but her chapters are the weakest in the novel. Kyoko’s perspective is blinkered and juvenile, her grief largely unexamined because it has “twisted to hate, hate hammered to anger, until the anger, the hate, and the grief had become grotesquely fused.” While Min does give Kyoko a brief moment of revelation toward the novel’s end, it feels unconvincingly pat. Worst of all — and despite the fact that Min’s omniscient narration and flashbacks could have allowed for it — we never actually access Emi’s interiority, never fully see her desires and disappointments as she experienced them. There is something ironic about a dead woman feeling like the missing center in a posthumously published novel.\u003c/p>\n\u003cp>It is always difficult to read a postmortem work without the fact of the author’s death hovering over it. Min Andrews writes in an afterword that steeping herself in her mother’s writing “made her feel so present, which emphasized her absence.” \u003cem>The Fetishist \u003c/em>brings Min’s presence to bear in boisterous, prickly prose.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Kristen Martin is working on a book on American orphanhood for Bold Type Books. Her writing has also appeared in ‘The New York Times Magazine,’ ‘The Believer,’ ‘The Baffler,’ and elsewhere. She tweets at \u003c/em>\u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/kwistent__;!!Iwwt!H7wVnVZJJ3Dpum-jMLKuML7ytU_beY4dKPJxSUqeEvWf7VKkck5_W8HNUX_Y2g%24\">\u003cem>@kwistent\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Fetishist%27+examines+racial+and+sexual+politics+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In many ways, Min’s novel feels of-the-moment, coming amid a push for more Asian American representation and after both the COVID-fueled surge of anti-Asian hate crimes and the \u003ca href=\"https://www.vox.com/first-person/22338462/atlanta-shooting-georgia-spa-asian-american\">2021 Atlanta spa shootings\u003c/a> that forced a reckoning with the sexual stereotyping of Asian women. But Min actually finished \u003cem>The Fetishist \u003c/em>a decade ago — five years before her death of breast cancer at age 60. She hadn’t sought to publish the novel in her lifetime; her diagnosis marked a turn away from a long career in fiction, the high point of which was her 2006 debut novel \u003cem>Secondhand World\u003c/em>, a finalist for the PEN-Bingham Award. Instead, she turned to writing essays, telling her daughter Kayla Min Andrews, “I need to spend the time I have left understanding myself, my life, and the world around me, unadorned.” A fiction writer herself, Min Andrews has brought this abandoned novel to publication, providing readers with her mother’s fiction-mediated understanding of the thorny experience of being objectified.\u003c/p>\n\u003cp>\u003cem>The Fetishist \u003c/em>is indeed adorned — a prefatory author’s note tells us that “this is a fairy tale of sorts” featuring “a giant, a buried treasure (a tiny one), a hero held captive, a kind of ogre (a tiny one), and a sleeping beauty.” Min unspools the tale in short chapters, alternating her third-person omniscient narration primarily among Alma, Daniel, and Kyoko, whose perspectives we dip into and out of in moments of free indirect discourse befitting a Victorian novel. Long, winding sentences filled with wordplay unfold virtuosically, especially when Min writes about Alma and Daniel performing classical music and Kyoko screaming out her demons with her punk band. The plot also includes a slapstick murder attempt, two foiled suicides, a cross-country road trip, and ample flashbacks to a summer in Italy.\u003c/p>\n\u003cp>All of this framing is ultimately in service of bringing Daniel and Alma to separate and mutual grapplings with the “exultation, laced with contempt” that formed the foundation of their relationship. What makes \u003cem>The Fetishist \u003c/em>remarkable in this regard is not just that Min puts pressure on Daniel to come to terms with his sense of entitlement over Asian women, but that she also prods Alma to examine her own complicated relationship to being fetishized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is Kyoko’s white-hot rage that forces this confrontation, but her chapters are the weakest in the novel. Kyoko’s perspective is blinkered and juvenile, her grief largely unexamined because it has “twisted to hate, hate hammered to anger, until the anger, the hate, and the grief had become grotesquely fused.” While Min does give Kyoko a brief moment of revelation toward the novel’s end, it feels unconvincingly pat. Worst of all — and despite the fact that Min’s omniscient narration and flashbacks could have allowed for it — we never actually access Emi’s interiority, never fully see her desires and disappointments as she experienced them. There is something ironic about a dead woman feeling like the missing center in a posthumously published novel.\u003c/p>\n\u003cp>It is always difficult to read a postmortem work without the fact of the author’s death hovering over it. Min Andrews writes in an afterword that steeping herself in her mother’s writing “made her feel so present, which emphasized her absence.” \u003cem>The Fetishist \u003c/em>brings Min’s presence to bear in boisterous, prickly prose.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Kristen Martin is working on a book on American orphanhood for Bold Type Books. Her writing has also appeared in ‘The New York Times Magazine,’ ‘The Believer,’ ‘The Baffler,’ and elsewhere. She tweets at \u003c/em>\u003ca href=\"https://urldefense.com/v3/__https:/twitter.com/kwistent__;!!Iwwt!H7wVnVZJJ3Dpum-jMLKuML7ytU_beY4dKPJxSUqeEvWf7VKkck5_W8HNUX_Y2g%24\">\u003cem>@kwistent\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Fetishist%27+examines+racial+and+sexual+politics+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"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. ",
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"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>",
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"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?",
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"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.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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