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"content": "\u003cp>The Golden Globe Awards are back on the first Sunday in January with plenty of behind-the-scenes changes aimed at cementing a yearslong comeback effort.\u003c/p>\n\u003cp>[aside postid='arts_13897003']The show is known for its boozy celebration of film and television and as an early stop for awards season contenders. Scandals have led to a membership revamp and a new broadcaster for the Jan. 7 show, but a key question remains: Will viewers tune in?\u003c/p>\n\u003cp>Here’s what to know about the 81st Golden Globe Awards.\u003c/p>\n\u003ch2>How can I watch The Golden Globes?\u003c/h2>\n\u003cp>Viewers in the United States can catch the ceremony, broadcast live from the Beverly Hilton Hotel, beginning at 5 p.m.\u003c/p>\n\u003cp>The three-hour show will have a strong lead-in since CBS is airing an NFL game directly before the Globes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>CBS says the show will air on its app and stream on Paramount+, but there’s an important caveat. Only Paramount+ subscribers with the Showtime add-on will be able to watch the show live. Otherwise, it’ll be available on the streaming platform on Monday.\u003c/p>\n\u003ch2>Who’s hosting the Globes?\u003c/h2>\n\u003cfigure id=\"attachment_13939920\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939920\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-scaled.jpg\" alt=\"A man wearing all black and a baseball cap talks into a microphone onstage in a dark room.\" width=\"2560\" height=\"1705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-1920x1279.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Jo Koy performs in Louisville, March 2023. \u003ccite>(Stephen J. Cohen/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Comedian Jo Koy, who has headlined several Netflix specials and starred in last year’s comedy film \u003cem>Easter Sunday\u003c/em>, will host.\u003c/p>\n\u003cp>Organizers cited his “infectious energy and relatable humor” in announcing Koy would headline the event.\u003c/p>\n\u003cp>Hosting the Globes typically requires serving a mix of biting humor to the audience of film and television stars and keeping the ceremony from getting too sloppy.\u003c/p>\n\u003cp>Previous hosts include Ricky Gervais, whose jokes were particularly caustic, the duo of Tina Fey and Amy Poehler and last year’s emcee, Jerrod Carmichael.\u003c/p>\n\u003ch2>What’s new with the Golden Globes?\u003c/h2>\n\u003cp>The 81st Golden Globe Awards will be the first major broadcast of awards season, with a new home on CBS. And while to audiences it might look similar on the surface, it’s been a tumultuous few years behind the scenes following a bombshell report in the \u003cem>Los Angeles Times\u003c/em>. The 2021 report found that there were no Black members in the Hollywood Foreign Press Association, which voted on the awards.\u003c/p>\n\u003cp>[aside postid='arts_13932204']Stars and studios boycotted the Globes and NBC refused to air it in 2022 as a result. After the group added journalists of color to its ranks and instituted other reforms to address ethical concerns, the show came back in January 2023 in a one-year probationary agreement with NBC. The network did not opt to renew.\u003c/p>\n\u003cp>In June, billionaire Todd Boehly was granted approval to dissolve the HFPA and reinvent the Golden Globes as a for-profit organization. Its assets were acquired by Boehly’s Eldridge Industries, along with Dick Clark Productions, a group that is owned by Penske Media whose assets also include \u003cem>Variety, Deadline, The Hollywood Reporter, Rolling Stone \u003c/em>and\u003cem> Billboard\u003c/em>.\u003c/p>\n\u003ch2>Golden Globe Nominees\u003c/h2>\n\u003cfigure id=\"attachment_13939315\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939315\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-scaled.jpe\" alt=\"A woman wearing a white cowboy hat and striking pink pants, vest and neck scarf poses in front of a table full of schoolgirls.\" width=\"2560\" height=\"1272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-scaled.jpe 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-800x398.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-1020x507.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-160x80.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-768x382.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-1536x763.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-2048x1018.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-1920x954.jpe 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Margot Robbie in a moment from ‘Barbie.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/forum/2010101893867/is-life-in-plastic-so-fantastic\">\u003cem>Barbie\u003c/em>\u003c/a> is the top nominee this year, followed closely by \u003cem>Oppenheimer.\u003c/em>\u003c/p>\n\u003cp>The films reflect one unique aspect of the Globes — they split the top film winners into two categories. With Greta Gerwig’s \u003cem>Barbie\u003c/em> and Christopher Nolan’s \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a> leading the way, it gives the show a chance to capitalize on the \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">Barbenheimer craze\u003c/a> that boosted theaters in 2023.\u003c/p>\n\u003cp>[aside postid='arts_13931753']Films nominated for best motion picture drama include \u003cem>Oppenheimer\u003c/em>, Martin Scorsese’s \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic#:~:text=Scorsese's%20'Killers%20of%20the%20Flower,of%20Greed%2C%20Richly%20Told%20%7C%20KQED\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>, Bradley Cooper’s \u003ca href=\"https://www.kqed.org/arts/13938332/maestro-bradley-cooper-review\">\u003cem>Maestro\u003c/em>\u003c/a>, Celine Song’s \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>, Justine Triet’s \u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em> \u003c/a>and Jonathan Glazer’s \u003cem>The Zone of Interest\u003c/em>.\u003c/p>\n\u003cp>In the best motion picture musical or comedy category, \u003cem>Barbie\u003c/em> was joined by Ben Affleck’s \u003cem>Air\u003c/em>, Cord Jefferson’s \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a>, Alexander Payne’s \u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>, Todd Haynes’ \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a> and Yorgos Lanthimos’ \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13930048/succession-creator-on-finale-jesse-armstrong-shiv-tom-sarah-snook-kieran-culkin\">\u003cem>Succession\u003c/em>\u003c/a> was the top-nominated television program, with nine nods including for series stars Brian Cox, Jeremy Strong, Sarah Snook and Kieran Culkin, followed by Hulu’s \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://apnews.com/article/golden-globe-nominations-list-2024-9e04a98d20c92e8ce2b947040c7a879e\">For the full list of nominees, click here\u003c/a>.\u003c/p>\n\u003ch2>What are the Globes known for?\u003c/h2>\n\u003cp>The Golden Globe Awards had long been one of the highest-profile awards season broadcasts, second only to the Oscars.\u003c/p>\n\u003cp>The show was touted as an A-list party whose hosts often took a more irreverent tone than their Academy counterparts. It also only honored the flashiest filmmaking categories — picture, director, actors among them — meaning no long speeches from visual effects supervisors or directors of little-known shorts.\u003c/p>\n\u003cp>[aside postid='arts_13938158']But the voting body was a small group of around 87 members who wielded incredible influence in the industry and often accepted lavish gifts and travel from studios and awards publicists eager to court favor and win votes.\u003c/p>\n\u003cp>Some years, the HFPA were pilloried for nominating poorly reviewed films with big-name talent in hopes of getting them to the show — the most infamous being \u003cem>The Tourist\u003c/em>, with Angelina Jolie and Johnny Depp. In the past decade, they’ve more often overlapped with the Oscars. The show also recognizes television.\u003c/p>\n\u003cp>Before the expose and public relations crisis though, no one in the industry took much umbrage with who was voting on the awards. The show had become an important part of the Hollywood awards ecosystem, a platform for Oscar hopefuls and was, until recently, a reliable ratings draw. As of 2019, the broadcast was still pulling in nearly 19 million viewers. In 2023, NBC’s Tuesday night broadcast got its smallest audience ever for a traditional broadcast, with 6.3 million viewers.\u003c/p>\n\u003ch2>What about \u003cem>60 Minutes\u003c/em>?\u003c/h2>\n\u003cp>The Globes, and New Year’s Eve celebrations, will keep \u003cem>60 Minutes\u003c/em> from airing the next two weeks.\u003c/p>\n\u003cp>CBS is airing \u003cem>New Year’s Eve Live: Nashville’s Big Bash\u003c/em> on Dec. 31.\u003c/p>\n\u003cp>CBS says \u003cem>60 Minutes\u003c/em> will resume on Jan. 14.\u003c/p>\n\u003ch2>Who votes on the Globes now?\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>The group nominating and voting for the awards is now made up of a more diverse group of over 300 people from around the world.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The show is known for its boozy celebration of film and television and as an early stop for awards season contenders. Scandals have led to a membership revamp and a new broadcaster for the Jan. 7 show, but a key question remains: Will viewers tune in?\u003c/p>\n\u003cp>Here’s what to know about the 81st Golden Globe Awards.\u003c/p>\n\u003ch2>How can I watch The Golden Globes?\u003c/h2>\n\u003cp>Viewers in the United States can catch the ceremony, broadcast live from the Beverly Hilton Hotel, beginning at 5 p.m.\u003c/p>\n\u003cp>The three-hour show will have a strong lead-in since CBS is airing an NFL game directly before the Globes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>CBS says the show will air on its app and stream on Paramount+, but there’s an important caveat. Only Paramount+ subscribers with the Showtime add-on will be able to watch the show live. Otherwise, it’ll be available on the streaming platform on Monday.\u003c/p>\n\u003ch2>Who’s hosting the Globes?\u003c/h2>\n\u003cfigure id=\"attachment_13939920\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939920\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-scaled.jpg\" alt=\"A man wearing all black and a baseball cap talks into a microphone onstage in a dark room.\" width=\"2560\" height=\"1705\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1478258736-1920x1279.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Jo Koy performs in Louisville, March 2023. \u003ccite>(Stephen J. Cohen/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Comedian Jo Koy, who has headlined several Netflix specials and starred in last year’s comedy film \u003cem>Easter Sunday\u003c/em>, will host.\u003c/p>\n\u003cp>Organizers cited his “infectious energy and relatable humor” in announcing Koy would headline the event.\u003c/p>\n\u003cp>Hosting the Globes typically requires serving a mix of biting humor to the audience of film and television stars and keeping the ceremony from getting too sloppy.\u003c/p>\n\u003cp>Previous hosts include Ricky Gervais, whose jokes were particularly caustic, the duo of Tina Fey and Amy Poehler and last year’s emcee, Jerrod Carmichael.\u003c/p>\n\u003ch2>What’s new with the Golden Globes?\u003c/h2>\n\u003cp>The 81st Golden Globe Awards will be the first major broadcast of awards season, with a new home on CBS. And while to audiences it might look similar on the surface, it’s been a tumultuous few years behind the scenes following a bombshell report in the \u003cem>Los Angeles Times\u003c/em>. The 2021 report found that there were no Black members in the Hollywood Foreign Press Association, which voted on the awards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Stars and studios boycotted the Globes and NBC refused to air it in 2022 as a result. After the group added journalists of color to its ranks and instituted other reforms to address ethical concerns, the show came back in January 2023 in a one-year probationary agreement with NBC. The network did not opt to renew.\u003c/p>\n\u003cp>In June, billionaire Todd Boehly was granted approval to dissolve the HFPA and reinvent the Golden Globes as a for-profit organization. Its assets were acquired by Boehly’s Eldridge Industries, along with Dick Clark Productions, a group that is owned by Penske Media whose assets also include \u003cem>Variety, Deadline, The Hollywood Reporter, Rolling Stone \u003c/em>and\u003cem> Billboard\u003c/em>.\u003c/p>\n\u003ch2>Golden Globe Nominees\u003c/h2>\n\u003cfigure id=\"attachment_13939315\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939315\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-scaled.jpe\" alt=\"A woman wearing a white cowboy hat and striking pink pants, vest and neck scarf poses in front of a table full of schoolgirls.\" width=\"2560\" height=\"1272\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-scaled.jpe 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-800x398.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-1020x507.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-160x80.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-768x382.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-1536x763.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-2048x1018.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-bar-tt3-0093_high_res_jpeg_custom-c507514a182fbc236b361632891859ba56a99e60-1920x954.jpe 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Margot Robbie in a moment from ‘Barbie.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/forum/2010101893867/is-life-in-plastic-so-fantastic\">\u003cem>Barbie\u003c/em>\u003c/a> is the top nominee this year, followed closely by \u003cem>Oppenheimer.\u003c/em>\u003c/p>\n\u003cp>The films reflect one unique aspect of the Globes — they split the top film winners into two categories. With Greta Gerwig’s \u003cem>Barbie\u003c/em> and Christopher Nolan’s \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a> leading the way, it gives the show a chance to capitalize on the \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">Barbenheimer craze\u003c/a> that boosted theaters in 2023.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Films nominated for best motion picture drama include \u003cem>Oppenheimer\u003c/em>, Martin Scorsese’s \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic#:~:text=Scorsese's%20'Killers%20of%20the%20Flower,of%20Greed%2C%20Richly%20Told%20%7C%20KQED\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>, Bradley Cooper’s \u003ca href=\"https://www.kqed.org/arts/13938332/maestro-bradley-cooper-review\">\u003cem>Maestro\u003c/em>\u003c/a>, Celine Song’s \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>, Justine Triet’s \u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em> \u003c/a>and Jonathan Glazer’s \u003cem>The Zone of Interest\u003c/em>.\u003c/p>\n\u003cp>In the best motion picture musical or comedy category, \u003cem>Barbie\u003c/em> was joined by Ben Affleck’s \u003cem>Air\u003c/em>, Cord Jefferson’s \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a>, Alexander Payne’s \u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>, Todd Haynes’ \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a> and Yorgos Lanthimos’ \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13930048/succession-creator-on-finale-jesse-armstrong-shiv-tom-sarah-snook-kieran-culkin\">\u003cem>Succession\u003c/em>\u003c/a> was the top-nominated television program, with nine nods including for series stars Brian Cox, Jeremy Strong, Sarah Snook and Kieran Culkin, followed by Hulu’s \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://apnews.com/article/golden-globe-nominations-list-2024-9e04a98d20c92e8ce2b947040c7a879e\">For the full list of nominees, click here\u003c/a>.\u003c/p>\n\u003ch2>What are the Globes known for?\u003c/h2>\n\u003cp>The Golden Globe Awards had long been one of the highest-profile awards season broadcasts, second only to the Oscars.\u003c/p>\n\u003cp>The show was touted as an A-list party whose hosts often took a more irreverent tone than their Academy counterparts. It also only honored the flashiest filmmaking categories — picture, director, actors among them — meaning no long speeches from visual effects supervisors or directors of little-known shorts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the voting body was a small group of around 87 members who wielded incredible influence in the industry and often accepted lavish gifts and travel from studios and awards publicists eager to court favor and win votes.\u003c/p>\n\u003cp>Some years, the HFPA were pilloried for nominating poorly reviewed films with big-name talent in hopes of getting them to the show — the most infamous being \u003cem>The Tourist\u003c/em>, with Angelina Jolie and Johnny Depp. In the past decade, they’ve more often overlapped with the Oscars. The show also recognizes television.\u003c/p>\n\u003cp>Before the expose and public relations crisis though, no one in the industry took much umbrage with who was voting on the awards. The show had become an important part of the Hollywood awards ecosystem, a platform for Oscar hopefuls and was, until recently, a reliable ratings draw. As of 2019, the broadcast was still pulling in nearly 19 million viewers. In 2023, NBC’s Tuesday night broadcast got its smallest audience ever for a traditional broadcast, with 6.3 million viewers.\u003c/p>\n\u003ch2>What about \u003cem>60 Minutes\u003c/em>?\u003c/h2>\n\u003cp>The Globes, and New Year’s Eve celebrations, will keep \u003cem>60 Minutes\u003c/em> from airing the next two weeks.\u003c/p>\n\u003cp>CBS is airing \u003cem>New Year’s Eve Live: Nashville’s Big Bash\u003c/em> on Dec. 31.\u003c/p>\n\u003cp>CBS says \u003cem>60 Minutes\u003c/em> will resume on Jan. 14.\u003c/p>\n\u003ch2>Who votes on the Globes now?\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>The group nominating and voting for the awards is now made up of a more diverse group of over 300 people from around the world.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "NPR's Year in Review: 50 Wonderful Things From 2023",
"headTitle": "NPR’s Year in Review: 50 Wonderful Things From 2023 | KQED",
"content": "\u003cp>I’ve been making annual lists of \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1221652903&live=1\">50 Wonderful Pop Culture Things\u003c/a> since 2010. They include things you’ve probably heard of and things you might not have, things that are meaningful and things that are hilarious, things that matter and things that don’t at all. In this year in which TV and film were both interrupted for months as a result of labor disputes, there was plenty to admire even as production ground to a halt.\u003c/p>\n\u003cp>[aside postid='arts_13939862']The usual caveats apply: These are not objectively the best things; they are just wonderful things. There were far more than 50 wonderful things to admire this year, and there is far (far) more that I never saw or read or heard at all. But it never hurts to look back on the year and realize that in fact, delight was upon you over and over.\u003c/p>\n\u003cp>1. The best podcast I started listening to this year was\u003ca href=\"https://www.ifbookspod.com/\"> \u003cem>If Books Could Kill\u003c/em>, \u003c/a>hosted by Michael Hobbes and Peter Shamshiri. The premise is that they dive into “airport books” from self-help to political posturing to investigate their claims. It’s very funny and deeply researched, and in a world where it’s easy to feel like you’re losing your grip, it’s a good reminder: your grip is fine. You’re just being handed a lot of slippery things. Start with their January episode \u003ca href=\"https://podcasts.apple.com/us/podcast/if-books-could-kill/id1651876897?i=1000596707945\">about John Gray’s \u003cem>Men Are From Mars, Women Are From Venus\u003c/em>\u003c/a>. You never forget an episode that makes you cackle in your car.\u003c/p>\n\u003cp>2. It’s hard to pick a single moment from the scorching fourth and final season of \u003cem>Succession. \u003c/em>But the \u003ca href=\"https://www.youtube.com/watch?v=KH55hmX0-Uo&ab_channel=HBO\">balcony fight between Shiv and Tom\u003c/a> that went on and on and got worse and worse, more and more painful, encapsulated exactly what has worked so well about the show. It was a years-long story reaching its inevitable nuclear meltdown, and Sarah Snook and Matthew Macfadyen played it brilliantly. “I think you are incapable of love.” Yikes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KH55hmX0-Uo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>3. Rarely has a show come back from a truly great first season and made a truly great second season. \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a> managed to do it with the help of an exquisite cast, both regulars and guest stars. There are enough powerful performances on that show to make five more just like it. When pastry chef Marcus went off to Copenhagen and studied with Luca, played by Will Poulter, the fact that the focus was far away from Carmy did nothing to detract from the episode’s power and its thematic connections to the season.\u003c/p>\n\u003cp>4. The changes to Amy’s (Ali Wong) hair over the course of \u003cem>\u003ca href=\"https://www.kqed.org/arts/13927211/ali-wong-steven-yeun-serve-up-epic-feud-in-netflixs-beef\">Beef\u003c/a> —\u003c/em> long and straight, blond and bobbed and parted on the side, dark and bobbed with bangs — are really effective at underscoring her struggle with who she is and wants to be. Hair department head Nicole Venables was clearly working at the top of her game.\u003c/p>\n\u003cfigure id=\"attachment_13939915\" class=\"wp-caption aligncenter\" style=\"max-width: 1866px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939915\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM.png\" alt=\"The same attractive Asian woman is seen with her hair worn in a black bob with bangs, a white bob and long and flowing.\" width=\"1866\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM.png 1866w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-800x454.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-1020x579.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-160x91.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-768x436.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-1536x873.png 1536w\" sizes=\"(max-width: 1866px) 100vw, 1866px\">\u003cfigcaption class=\"wp-caption-text\">A look back at Amy’s hairstyles in ‘Beef.’ \u003ccite>(Andrew Cooper/ Netflix )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>5. Michael Schulman’s book \u003ca href=\"https://www.npr.org/2023/02/22/1158513159/oscar-wars-michael-schulman-academy-awards-controversies\">\u003cem>Oscar Wars\u003c/em>\u003c/a> is a great education in Hollywood history, but it’s also dishy as all get out. My highlight? A story about Joan Fontaine (supposedly!) telling people that she was considered for the role of Melanie in \u003cem>Gone With the Wind\u003c/em>, but was told she wasn’t plain enough, so she recommended her sister (and frenemy at best), Olivia de Havilland. That is so ice-cold, you could wrap it up and use it on your swollen ankle.\u003c/p>\n\u003cp>6. Greta Lee should be and likely will be in every awards conversation for her stellar work in \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>. But even on Apple’s inconsistent \u003ca href=\"https://www.npr.org/2023/09/13/1198991146/the-morning-show-season-3-review\">\u003cem>The Morning Show\u003c/em>,\u003c/a> she’s always a standout as Stella, a young entertainment executive who faced some terrible choices in the show’s third season.\u003c/p>\n\u003cp>7. Had I been involved in the making of \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>, I would have cared about nothing so much as exactly what song all the Kens should play when they, soaking in a bath of toxic masculinity, attempt to impress and win over the Barbies. Whatever I settled on would have been nowhere near as perfect as “\u003ca href=\"https://www.youtube.com/watch?v=uJLgKXp375I&ab_channel=AtlanticRecords\">Push\u003c/a>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x8Y57NWv5m0\u003c/p>\n\u003cp>8. The bright romantic comedy \u003ca href=\"https://www.npr.org/2023/03/30/1166717149/rye-lane-review\">\u003cem>Rye Lane\u003c/em>\u003c/a> has a lot to recommend it. But perhaps nothing stuck with me as much as its stunning colors — deep golds and yellows, bright pinks and reds, rich greens and blues. From director Raine Allen-Miller, it would be a stunner even with the sound off.\u003c/p>\n\u003cp>9. Whatever your feelings about the franchise, there is nothing to fault in the sequence in \u003ca href=\"https://www.npr.org/2023/06/29/1185129902/mission-impossible-is-back-but-will-you-accept-it-or-will-it-self-destruct\">\u003cem>Mission: Impossible — Dead Reckoning Part One\u003c/em>\u003c/a> in which Tom Cruise and Hayley Atwell are struggling to survive in a train that’s dangling off a cliff. A gas line, vats of oil, and a ratz-a-fratzin \u003cem>grand piano \u003c/em>all play into the gloriously silly, tooth-grindingly tense scene.\u003c/p>\n\u003cfigure id=\"attachment_13939901\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939901\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/shrinking_photo_010402_wide-42f66da259a6934d5edc408a57896cea18f00257-scaled-e1703838143772.jpg\" alt=\"A man in his seventies sits in a leather chair, his glasses propped on his forehead, looking concerned.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Harrison Ford in ‘Shrinking.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>10. Harrison Ford hasn’t made a lot of straight-up comedy in this stage of his career, so what a joy to see him in \u003ca href=\"https://www.npr.org/2023/01/31/1152527309/shrinking-review-harrison-ford-jason-segel\">\u003cem>Shrinking\u003c/em>\u003c/a>, alongside Jason Segel and Jessica Williams. All three play therapists who work together, and Ford deploys his brutal deadpan to make completely ordinary dialogue feel like punchline after punchline.\u003c/p>\n\u003cp>11. About five minutes into \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a>, Julianne Moore, seen in profile, opens the refrigerator in her sunny kitchen. The foreboding piano of the score (by Marcelo Zarvos, adapting a 1971 score by Michel Legrand for the film \u003cem>The Go-Between\u003c/em>) suddenly sounds loudly, and she stares into the refrigerator, as if she’s seeing the Ark of the Covenant. The camera pushes in. And then she says, “I don’t think we have enough hot dogs.” Is this a comedy? A drama? A horror movie? In that early moment, it is, as it will remain, hard to say.\u003c/p>\n\u003cfigure id=\"attachment_13939902\" class=\"wp-caption aligncenter\" style=\"max-width: 1424px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939902\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180.jpg\" alt=\"A crazed bear, howls in the woods, its tongue sticking out.\" width=\"1424\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180.jpg 1424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-768x432.jpg 768w\" sizes=\"(max-width: 1424px) 100vw, 1424px\">\u003cfigcaption class=\"wp-caption-text\">The title ‘Cocaine Bear’ says it all, and the film delivers on that promise in 95 minutes. \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>12. \u003ca href=\"https://www.kqed.org/arts/13925388/cocaine-bear-is-here-to-strike-a-blow-to-staid-hollywood\">\u003cem>Cocaine Bear\u003c/em>\u003c/a>. The fact that they made it, the fact that they gave it that title, the fact that it’s so gory and gleeful and comfortable being what it is.\u003c/p>\n\u003cp>13. There is a scene near the end of \u003ca href=\"https://www.kqed.org/arts/13938358/saltburn-review-emerald-fennell-shocking-scenes-jacob-elordi\">\u003cem>Saltburn\u003c/em>\u003c/a> in which an elaborate lunch table full of wealthy people trying desperately to act normal under bizarre circumstances is plunged into haunting red light by the closing of the curtains. Emerald Fennell, who wrote and directed, simply doesn’t do anything halfway.\u003c/p>\n\u003cfigure id=\"attachment_13939897\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939897\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gro-09769_r-1-_wide-e73d26bb40e8b60f639bffe967b22f0abb2b2ba5-scaled-e1703838474386.jpg\" alt=\"Three women stand and gaze upwards. They are wearing superhero uniforms.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Iman Vellani as Ms. Marvel, Brie Larson as Captain Marvel and Teyonah Parris as Captain Monica Rambeau in ‘The Marvels.’ \u003ccite>(Laura Radford/ Marvel Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>14. Iman Vellani’s performance as Kamala Khan in \u003ca href=\"https://www.npr.org/2023/11/10/1197956743/the-marvels-is-a-light-comedy-about-light-powers\">\u003cem>The Marvels\u003c/em>\u003c/a> bubbles with energy, and a scene where she and Captain Marvel (Brie Larson) keep switching places, disappearing and reappearing in her parents’ house, is a kinetic, rambunctious delight. If you were put off by the talk about \u003cem>The Marvels \u003c/em>falling flat at the box office, don’t let that keep you from checking it out.\u003c/p>\n\u003cp>15. My favorite food host of the year is a three-way tie. Sohla El-Waylly and her husband Ham have been doing the series \u003ca href=\"https://www.youtube.com/watch?v=rVLIdFk-8no&list=PLYG6O_GQCZwikXIXw5p0vFQBif-RxUpHy&ab_channel=NYTCooking\">“Mystery Menu”\u003c/a> for the NYT cooking channel for a while now, but if you haven’t seen it — their experimentation with durian, for instance — check it out immediately. \u003cem>Also\u003c/em>: an equally good way to approach the NYT cooking channel is to watch absolutely anything \u003ca href=\"https://www.youtube.com/watch?v=pyv6lO1SBS0&list=PLYG6O_GQCZwgKmY38LuycalANW67g_yYV&ab_channel=NYTCooking\">featuring Eric Kim\u003c/a>, who is enchanting. \u003cem>Also also\u003c/em>: Anything on the Epicurious channel with chef Saul Montiel will brighten your day. \u003ca href=\"https://www.youtube.com/watch?v=QjyyDCPXy7k&list=PLz3-p2q6vFYWi_e0AWEkj2h22l0u1bqER&index=29&ab_channel=Epicurious\">Here he is making calzones.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13939903\" class=\"wp-caption aligncenter\" style=\"max-width: 1798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939903\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2.jpg\" alt=\"A tall young man and a shorter, older man with a mustache stand side by side in a snowy field. \" width=\"1798\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2.jpg 1798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-768x460.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-1536x921.jpg 1536w\" sizes=\"(max-width: 1798px) 100vw, 1798px\">\u003cfigcaption class=\"wp-caption-text\">Dominic Sessa, left, and Paul Giamatti in ‘The Holdovers.’ \u003ccite>(Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>16. All of the performances in \u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a> are top-notch, but it was especially promising to discover Dominic Sessa, a young actor on the screen for the first time. Playing Angus Tully, a high school kid who’s both smart and foolish (as so many are), he offers exquisite touches of both swagger and insecurity, enough to keep up with towering performances from Paul Giamatti and Da’Vine Joy Randolph. All three leads deserve many award nominations; he may be the one who loses out. But bet on him in the future. He’ll be back.\u003c/p>\n\u003cp>17. The tense final moments of the suspense thriller \u003ca href=\"https://www.kqed.org/arts/13935443/fair-play-review-netflix-gender-phoebe-dynevor#:~:text=Fair%20Play%20is%20visually%20moody,gray%20of%20their%20austere%20office.\">\u003cem>Fair Play\u003c/em>\u003c/a> had me unsure what I even \u003cem>wanted\u003c/em> to happen, and what actually happened was better than what I would have come up with anyway. That is exactly the ending you want from a psychologically complex story like this one, about a couple torn asunder by a promotion at work.\u003c/p>\n\u003cfigure id=\"attachment_13939904\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939904\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/platonic_photo_010403_wide-a74509800a306a1af17583f3735bdaa794cf2065-scaled-e1703838852943.jpg\" alt=\"A 30-something man sits confidently at an office desk, smiling at someone somewhat awkwardly.\" width=\"1920\" height=\"1079\">\u003cfigcaption class=\"wp-caption-text\">Luke Macfarlane in ‘Platonic.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>18. Luke MacFarlane is a veteran of holiday love stories (it’s probably adequate to note he was in films called both \u003cem>Sense & Sensibility & Snowmen \u003c/em>and \u003cem>A Shoe Addict’s Christmas\u003c/em>), and he made a splash with Billy Eichner in \u003cem>Bros\u003c/em> in 2022. This year, he was very funny in \u003ca href=\"https://tv.apple.com/us/show/platonic/umc.cmc.y7bc18x7co813l8i2tlsyb4l\">\u003cem>Platonic\u003c/em>\u003c/a>, playing the loving husband of a woman (Rose Byrne) whose friendship with an old pal (Seth Rogen) takes off anew. The part could be a real nothing; he makes it sing. (\u003cem>Platonic \u003c/em>runner-up: the scene, featuring Guy Branum, in which he throws electric scooters like a track star throws a discus is a sport. As it should be.)\u003c/p>\n\u003cp>19. There was nothing like the go-for-broke madness of Peacock’s\u003ca href=\"#1170610821\"> \u003cem>Mrs. Davis\u003c/em>, \u003c/a>an action-adventure comedic thriller about a nun who’s trying to resist the intrusions of an all-knowing AI who is suddenly in everyone’s ear. (Said AI is called Mrs. Davis, you see.) Betty Gilpin played Simone, the nun, with such control and flexibility that the wild plot developments around her didn’t distract from the character work.\u003c/p>\n\u003cfigure id=\"attachment_13939905\" class=\"wp-caption aligncenter\" style=\"max-width: 776px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939905\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137.jpg\" alt=\"A woman with long shaggy blond hair stares worried into a phone screen. \" width=\"776\" height=\"436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137-768x432.jpg 768w\" sizes=\"(max-width: 776px) 100vw, 776px\">\u003cfigcaption class=\"wp-caption-text\">Natasha Lyonne in ‘Poker Face.’ \u003ccite>(Phillip Caruso/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>20. Rian Johnson created the episodic mystery show \u003ca href=\"https://www.kqed.org/arts/13924192/no-lie-natasha-lyonne-is-unforgettable-in-poker-face\">\u003cem>Poker Face\u003c/em>\u003c/a>, in which Natasha Lyonne played Charlie, a woman on the run who encounters a new mystery in every new town. Yes, the writing sparkled, and yes, the roster of guest stars — Judith Light! Lil Rel Howery! Hong Chau! Adrien Brody! — was top-tier. But at the center was Lyonne. From the minute she emerges from a trailer into the hot Nevada sun, sinks into a lawn chair, and grabs herself a beer and a smoke, the character already feels like an icon, and the show like a classic.\u003c/p>\n\u003cp>21. \u003ca href=\"https://www.npr.org/2023/01/15/1149054904/the-traitors-review-alan-cumming\">\u003cem>The Traitors\u003c/em> \u003c/a>is a fun reality competition show. But what set it apart was host Alan Cumming, whose pronunciation of “murrrrrder” and succession of impossibly debonair suits made him host of the year.\u003c/p>\n\u003cp>22. I had a spectacular time — spectacular! — watching the Philadelphia Phillies this fall. How do you not love Bryce Harper \u003ca href=\"https://www.mlb.com/video/harper-sprints-first-to-home\">running through a sign\u003c/a> from the third-base coach, scoring, and popping up on his toe?\u003c/p>\n\u003cfigure id=\"attachment_13939907\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939907\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/71nzsmfyhwl._sl1500__custom-1bdc6680756a679edab8654b3a8629a5f434f87d.jpg\" alt=\"A book cover featuring a cat in a suit.\" width=\"200\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/71nzsmfyhwl._sl1500__custom-1bdc6680756a679edab8654b3a8629a5f434f87d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/71nzsmfyhwl._sl1500__custom-1bdc6680756a679edab8654b3a8629a5f434f87d-160x246.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Starter Villain.’ \u003ccite>(Tor Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>23. I dare you not to giggle at least once as the weird world of John Scalzi’s novel, \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=232\">\u003cem>Starter Villain\u003c/em>\u003c/a> unwinds in front of you. Is there a labor dispute? Yes. Does it involve dolphins? Yes. Is there a volcano, and are there supervillains? Yes and yes.\u003c/p>\n\u003cp>24. Sometimes it’s fun to just have something scare your socks off, and that’s what happened with \u003ca href=\"https://www.hulu.com/movie/9e96f51e-6806-4306-9773-e96b68d25305\">\u003cem>No One Will Save You\u003c/em>\u003c/a>, an eerie, almost dialogue-free “locked in the house and something terrible is happening” story starring Kaitlyn Dever. She hears a noise. She hides under the bed. She sees a pair of very upsetting feet go by. From there, she’s on her own.\u003c/p>\n\u003cp>25. Podcasts diving extra-deep into a particular film or show are of wildly differing quality. But\u003ca href=\"https://50mphpodcast.com/\"> \u003cem>50MPH\u003c/em>,\u003c/a> a planned 50-part (!!) series about the making of \u003cem>Speed\u003c/em>, has offered choice moments for the movie’s fans. Try \u003ca href=\"https://podcasts.apple.com/us/podcast/50-mph/id1691020723?i=1000625961446\">episode 12\u003c/a>, about the script development, which includes a detour into the involvement of one Joss Whedon.\u003c/p>\n\u003cp>26. Emma Cline’s novel \u003ca href=\"https://www.npr.org/2023/05/25/1178300477/in-the-guest-a-sex-worker-wreaks-havoc-on-the-glitzy-social-scene-at-the-hampton\">\u003cem>The Guest\u003c/em>\u003c/a> is about a woman whose boyfriend kicks her out and leaves her adrift in the Hamptons to survive with nothing. She imposes upon one person, then another, and Cline builds a sense of dread amid all the wealth: “No one on the shore noticed her, or looked twice. A couple walked past, heads bent, studying the sand for shells … Surely, if Alex had been in any real danger, someone would have reacted, one of these people would have stepped in to help.”\u003c/p>\n\u003cfigure id=\"attachment_13939908\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-a1a2587a9eee11ca90b5d981b831f43c13702513-e1703839359528.jpg\" alt=\"A man in a grey suit and red bowtie gestures wildly, mouth agape.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Paul Reubens, better known as Pee-wee Herman, died in July at age 70. \u003ccite>(Danny Moloshok/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>27. Paul Reubens, who created the character Pee-wee Herman, died on July 30, and was warmly and appropriately appreciated. What a delightful surprise, then, to see him in a cameo appearance in the affable comedy\u003ca href=\"https://www.npr.org/2023/11/08/1197956693/sandra-oh-and-awkwafina-are-perfect-opposites-in-quiz-lady\"> \u003cem>Quiz Lady\u003c/em>, \u003c/a>playing himself as the baffled target of a fan’s affections.\u003c/p>\n\u003cp>[aside postid='arts_13938757']28. I had trouble following the plot of the drama series \u003ca href=\"https://www.max.com/shows/full-circle/8996a19c-8e8b-4d8b-8f1a-fa146751d544\">\u003cem>Full Circle\u003c/em>,\u003c/a> which starred Claire Danes and Timothy Olyphant as a couple that learns their son has been kidnapped, which is only the very beginning of their problems. I did, however, greatly appreciate Vulture’s Kathryn VanArendonk \u003ca href=\"https://www.vulture.com/article/dennis-quaid-full-circle-braid-explained.html\">making a thorough investigation\u003c/a> of why on earth Dennis Quaid ended up wearing a braid. It involves a last-minute dash to a wig shop. It’s quite a tale.\u003c/p>\n\u003cp>29. Yes, Maureen Ryan is one of my very good friends and colleagues in the writing-about-television industry. But plenty of people agreed that as hard as it was to read, her book \u003ca href=\"https://www.npr.org/2023/06/03/1180008736/beloved-tv-show-lost-wasnt-immune-to-industrys-pervasive-toxic-culture\">\u003cem>Burn It Down\u003c/em>\u003c/a>, about abuse in Hollywood and the systems that enable it, was a tremendous example of dogged journalism that does what it sets out to do. Pleasant to read? No. Wonderful to know that this kind of work is still being done, and done so well? Yes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kes2P4IC2bQ&t=3s\u003c/p>\n\u003cp>30. The Tiny Desk at NPR has been growing and growing in the breadth of its offerings, the devotion of its audience, and the vibrancy of its innovation. This year, nothing landed quite like the \u003ca href=\"https://www.youtube.com/watch?v=kes2P4IC2bQ&t=3s&ab_channel=NPRMusic\">appearance by Juvenile\u003c/a>, which is irresistible even to people who don’t necessarily think they’re “Back That Azz Up” people. Trombone Shorty was there! Jon Batiste flew in from London! What a wondrous thing.\u003c/p>\n\u003cp>[aside postid='arts_13938881']31. Jimmy Tatro appeared in the comedy \u003ca href=\"https://www.hulu.com/watch/2e9ba993-a6a8-46e6-b2ac-6705badd7503\">\u003cem>Theater Camp\u003c/em>\u003c/a>, playing a character not dissimilar to the doofus jock he played in \u003cem>American Vandal\u003c/em>. Not to pigeonhole Tatro, but some actors have an eerily perfect touch with a particular kind of role, and Tatro is perhaps our foremost lovably lunkheaded bro.\u003c/p>\n\u003cp>32. Sam Sanders juggled two podcasts for much of the year: \u003ca href=\"https://www.vulture.com/into-it/\">\u003cem>Into It \u003c/em>\u003c/a>at Vulture and \u003ca href=\"https://www.stitcherstudios.com/shows/vibe-check\">\u003cem>Vibe Check\u003c/em>, \u003c/a>which he does with his friends Saeed Jones and Zach Stafford. Disappointingly, \u003cem>Into It \u003c/em>was a victim of cutbacks, but \u003cem>Vibe Check \u003c/em>continues, and it provided \u003ca href=\"https://podcasts.apple.com/us/podcast/life-has-been-lifing-lately/id1637476174?i=1000620850273\">one of the most moving episodes of the year\u003c/a> in a discussion of grief following the death of Sam’s mother.\u003c/p>\n\u003cp>33. There is a long history of shows making baffling choices when forced to replace a beloved host. When Padma Lakshmi decided to step away from \u003cem>Top Chef\u003c/em>, a lot of us thought, “They should pick somebody like [\u003cem>Top Chef \u003c/em>champion] Kristen Kish, but they won’t.” And then they did! Welcome the Kish era!\u003c/p>\n\u003cfigure id=\"attachment_13939909\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939909\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83.jpg\" alt=\"A Black man and a white man sit side-by-side in a jury box.\" width=\"1920\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-1536x862.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ishmel Sahid, left, and James Marsden play alternate jurors in the series ‘Jury Duty.’ \u003ccite>(Amazon Freevee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>34. \u003ca href=\"https://www.amazon.com/Jury-Duty-Season-1/dp/B0B8JM2BBS\">\u003cem>Jury Duty\u003c/em>\u003c/a> is the Amazon Freevee series in which a man named Ronald is called for jury duty, and he doesn’t know that everyone else from the judge to the other jurors to the lawyers and parties, is an actor. At the end, all is revealed to him — that he’s been sitting on a fake jury of a fake trial — and it could have been so, so painful to watch. But Ronald has a good sense of humor, and he chooses not to feel let down, even by his new pal, James Marsden (who plays himself in the fake scenario). They lucked out with Ronald, for sure.\u003c/p>\n\u003cp>35. There were some impressive videos of striking actors advocating for themselves and their colleagues as their strike (and the WGA strike) wore on. One of the best \u003ca href=\"https://x.com/LisaCullen/status/1656337549495762951?s=20\">came from Mandy Patinkin\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/LisaCullen/status/1656337549495762951?s=20\u003c/p>\n\u003cp>36. John Mulaney’s Netflix special\u003ca href=\"https://www.kqed.org/arts/13928322/baby-j-john-mulaney-stand-up-review-netflix\">\u003cem> Baby J\u003c/em>\u003c/a> was deeply uncomfortable to watch, as he recounted his experiences with addiction, intervention and rehab. But the story of having an intervention with a room full of comedians sparkled. “Do you know what it’s like to have 12 people save your life?” he asks in a discussion of his indebtedness. “It’s too many people.”\u003c/p>\n\u003cp>37. Last year in this space, I saluted Karina Longworth’s excellent podcast series \u003cem>You Must Remember This\u003c/em>, and its miniseries \u003cem>Erotic ’80s\u003c/em>. What happened this year? \u003cem>Erotic ’90s\u003c/em>, of course, and it was perhaps even better. Try the \u003ca href=\"https://podcasts.apple.com/us/podcast/you-must-remember-this/id858124601?i=1000607274568\">Julia Roberts episode\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13939911\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939911\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-tcp-05246_high_res_jpeg_wide-5c0544d47d9f6bbc91455c849ba94e8d7f075681-scaled-e1703839832634.jpe\" alt=\"One Black woman leans on the shoulder of another, outdoors in the sun.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Danielle Brooks and Fantasia Barrino in ‘The Color Purple.’ \u003ccite>(Eli Adé/ Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>38. Danielle Brooks gives only one of several excellent performances in \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a>. (What a joy to see Fantasia Barrino thriving, having watched her on \u003cem>American Idol \u003c/em>so many years ago.) But Brooks’ work is emotional and haunting and also tremendously funny — she plays Sofia, played in the Spielberg movie by Oprah Winfrey — and she never misses a step.\u003c/p>\n\u003cp>[aside postid='arts_13939793']39. I don’t spend as much time dunking on terrible things as I used to, but there’s a particular pleasure to be found in an evisceration of something you very much disliked. Thus, please enjoy \u003ca href=\"https://buttnews.substack.com/p/fat-suit-fart-attack-the-whale\">Lindy West’s piece\u003c/a> on \u003cem>The Whale\u003c/em>.\u003c/p>\n\u003cp>40. In \u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em>\u003c/a>, Sandra Hüller plays a woman who might — or might not — have done something terrible. In effect, to sustain the uncertainty, she has to play two women simultaneously: one who is covering up guilt, and one who is being unfairly accused. It’s a remarkable trick.\u003c/p>\n\u003cp>41. It has sometimes been hard to remember, as Twitter becomes unusable for me, that it could be a genuine source of friendly small talk. As a salute to that particular piece of its history, \u003ca href=\"https://twitter.com/lindaholmes/status/1633277824906797058\">enjoy this thread\u003c/a> in which a thousand people answered the call for pictures of their pets.\u003c/p>\n\u003cfigure id=\"attachment_13939912\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939912\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/american-fiction-f_03320_r_rgb_custom-9c4efdd6045ee9b2208c20de69d920421838c08b-scaled-e1703840068351.jpg\" alt=\"A Black woman and man walk down a grassy path, surrounded on both sides by tall shrubs and plants. They are smiling.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Erika Alexander and Jeffrey Wright in ‘American Fiction.’ \u003ccite>(Claire Folger/ Orion Releasing LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>42. Jeffrey Wright’s performance in \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a> as an intellectual convinced that he’s at the mercy of a foolish literary establishment (which is … probably right) is part of the movie’s appeal. But maybe even better is the part of the performance that focuses on the character’s complex, fractured relationships with his family. Wright is one of our very best.\u003c/p>\n\u003cp>[aside postid='arts_13932204']43. \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a> is a category of movie we’ve seen before, in that it’s an examination of a very famous man with a complicated legacy. But director Christopher Nolan is a master of capturing the unthinkably enormous, so it’s unsurprising that his approach to presenting the detonation of a nuclear bomb is inventive and meticulously done.\u003c/p>\n\u003cp>44. The crime thriller \u003cem>Sharper \u003c/em>sort of came and went (\u003ca href=\"https://tv.apple.com/us/movie/sharper/umc.cmc.5ud0ivpwgqw2st0u4z73gwpar\">you can find it on Apple TV+\u003c/a>); it stars Julianne Moore, Sebastian Stan and Justice Smith as three of the people tied up in a complicated (really complicated) plot that involves con artists, guns, money and a lot of beautiful people. There’s a kind of pleasure in twisty thrillers that you can’t quite get anywhere else, and the closing chapter of this one delivered it.\u003c/p>\n\u003cfigure id=\"attachment_13939913\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939913\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/the_diplomat_s1_e4_-native-_00_38_18_16r_wide-4e9514c2c795b64e9326a8f746d70853f47cd2b6-scaled-e1703840309929.jpg\" alt=\"An attractive middle-aged woman holds a telephone to her ear. She looks concerned.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Keri Russell in ‘The Diplomat.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>45. After \u003cem>The Americans \u003c/em>and \u003cem>Felicity \u003c/em>(and, sure, \u003cem>Cocaine Bear\u003c/em>), nobody needs to prove the versatility of Keri Russell. But playing a new ambassador named Kate in \u003ca href=\"https://www.npr.org/2023/04/19/1170685432/the-diplomat-review-keri-russell\">\u003cem>The Diplomat\u003c/em>\u003c/a>, the way she moves from one room to another, the way she picks up and puts down various objects, even the way she squirms as someone puts makeup on her, all contribute to a vision of Kate as a superbly competent and capable person, which makes her spy-thriller adventures much easier to care about.\u003c/p>\n\u003cp>[aside postid='arts_13939092']46. The level of difficulty in Emma Stone’s performance in Yorgos Lanthimos’ \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a> is extraordinary: she’s playing a woman who is, sort of, a child. But she rapidly grows emotionally and intellectually older, more and more independent and lustful. Stone makes it all seem like one performance, one character.\u003c/p>\n\u003cp>47. I very much liked \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.bff6d26e-9aa3-47b3-9bbb-92acb9942cdb?autoplay=0&ref_=atv_cf_strg_wb\">\u003cem>Deadloch\u003c/em>\u003c/a>, an Australian comedy-crime series that is both a small-time crime series in the tradition of \u003cem>Broadchurch \u003c/em>and a send-up of those very shows. I didn’t know the actors, I didn’t know much about the show until I watched it, and I was delighted to discover it. Most of those things are also true of runner-up Australian comedy \u003ca href=\"https://www.npr.org/2023/12/04/1197958569/colin-from-accounts-deserves-a-raise\">\u003cem>Colin From Accounts\u003c/em>\u003c/a>, which is also worth a watch.\u003c/p>\n\u003cp>48. I was slow to get attached to \u003cem>Only Murders in the Building\u003c/em>, which focused this season on the production of a musical. But Steve Martin’s delivery of the patter song \u003ca href=\"https://www.youtube.com/watch?v=Piv19tK4lH4&t=2s&ab_channel=Hulu\">“Which of the Pickwick Triplets Did it?”\u003c/a> was the best reason of all to get on board.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Piv19tK4lH4&t=2s&ab_channel=Hulu\u003c/p>\n\u003cp>49. Hopefully, I can be forgiven for sneaking some older stuff in here by talking about a project that was great for me this year: The Criterion Collection continues to be a wonderful source for classic movies, and I used its collection of some of the films from the \u003ca href=\"https://www.criterionchannel.com/sight-sound-s-greatest-films-of-all-time\">Sight & Sound poll\u003c/a> as a way into movies including \u003cem>The Passion of Joan of Arc\u003c/em>, \u003cem>Black Orpheus\u003c/em>, \u003cem>Cleo from 5 to 7\u003c/em>, and the film that topped the list: \u003cem>Jean Dielman, 23, quai du Commerce, 1080 Bruxelles\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>50. This was the year I got (deeply) into \u003cem>The Flop House\u003c/em>, a podcast that’s been around since late 2007 (what? I was busy) and passed its 400th episode. Each week, hosts Dan McCoy, Stuart Wellington and Elliott Kalan talk about a movie that’s either a commercial or critical disappointment. There are guest hosts sometimes, there is a longstanding fixation on the more disposable work of Nicolas Cage (whom they rightly revere as an actor), and you can start right at the beginning of January with \u003ca href=\"https://podcasts.apple.com/us/podcast/the-flop-house/id263585537?i=1000594413409\">their consideration of \u003cem>Black Adam\u003c/em>\u003c/a>. From the not-so-wonderful, the wonderful can sometimes emerge.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=The+year+in+review%3A+50+wonderful+things+from+2023&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ve been making annual lists of \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1221652903&live=1\">50 Wonderful Pop Culture Things\u003c/a> since 2010. They include things you’ve probably heard of and things you might not have, things that are meaningful and things that are hilarious, things that matter and things that don’t at all. In this year in which TV and film were both interrupted for months as a result of labor disputes, there was plenty to admire even as production ground to a halt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The usual caveats apply: These are not objectively the best things; they are just wonderful things. There were far more than 50 wonderful things to admire this year, and there is far (far) more that I never saw or read or heard at all. But it never hurts to look back on the year and realize that in fact, delight was upon you over and over.\u003c/p>\n\u003cp>1. The best podcast I started listening to this year was\u003ca href=\"https://www.ifbookspod.com/\"> \u003cem>If Books Could Kill\u003c/em>, \u003c/a>hosted by Michael Hobbes and Peter Shamshiri. The premise is that they dive into “airport books” from self-help to political posturing to investigate their claims. It’s very funny and deeply researched, and in a world where it’s easy to feel like you’re losing your grip, it’s a good reminder: your grip is fine. You’re just being handed a lot of slippery things. Start with their January episode \u003ca href=\"https://podcasts.apple.com/us/podcast/if-books-could-kill/id1651876897?i=1000596707945\">about John Gray’s \u003cem>Men Are From Mars, Women Are From Venus\u003c/em>\u003c/a>. You never forget an episode that makes you cackle in your car.\u003c/p>\n\u003cp>2. It’s hard to pick a single moment from the scorching fourth and final season of \u003cem>Succession. \u003c/em>But the \u003ca href=\"https://www.youtube.com/watch?v=KH55hmX0-Uo&ab_channel=HBO\">balcony fight between Shiv and Tom\u003c/a> that went on and on and got worse and worse, more and more painful, encapsulated exactly what has worked so well about the show. It was a years-long story reaching its inevitable nuclear meltdown, and Sarah Snook and Matthew Macfadyen played it brilliantly. “I think you are incapable of love.” Yikes.\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/KH55hmX0-Uo'\n title='//www.youtube.com/embed/KH55hmX0-Uo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>3. Rarely has a show come back from a truly great first season and made a truly great second season. \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a> managed to do it with the help of an exquisite cast, both regulars and guest stars. There are enough powerful performances on that show to make five more just like it. When pastry chef Marcus went off to Copenhagen and studied with Luca, played by Will Poulter, the fact that the focus was far away from Carmy did nothing to detract from the episode’s power and its thematic connections to the season.\u003c/p>\n\u003cp>4. The changes to Amy’s (Ali Wong) hair over the course of \u003cem>\u003ca href=\"https://www.kqed.org/arts/13927211/ali-wong-steven-yeun-serve-up-epic-feud-in-netflixs-beef\">Beef\u003c/a> —\u003c/em> long and straight, blond and bobbed and parted on the side, dark and bobbed with bangs — are really effective at underscoring her struggle with who she is and wants to be. Hair department head Nicole Venables was clearly working at the top of her game.\u003c/p>\n\u003cfigure id=\"attachment_13939915\" class=\"wp-caption aligncenter\" style=\"max-width: 1866px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939915\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM.png\" alt=\"The same attractive Asian woman is seen with her hair worn in a black bob with bangs, a white bob and long and flowing.\" width=\"1866\" height=\"1060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM.png 1866w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-800x454.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-1020x579.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-160x91.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-768x436.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-29-at-8.10.47-AM-1536x873.png 1536w\" sizes=\"(max-width: 1866px) 100vw, 1866px\">\u003cfigcaption class=\"wp-caption-text\">A look back at Amy’s hairstyles in ‘Beef.’ \u003ccite>(Andrew Cooper/ Netflix )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>5. Michael Schulman’s book \u003ca href=\"https://www.npr.org/2023/02/22/1158513159/oscar-wars-michael-schulman-academy-awards-controversies\">\u003cem>Oscar Wars\u003c/em>\u003c/a> is a great education in Hollywood history, but it’s also dishy as all get out. My highlight? A story about Joan Fontaine (supposedly!) telling people that she was considered for the role of Melanie in \u003cem>Gone With the Wind\u003c/em>, but was told she wasn’t plain enough, so she recommended her sister (and frenemy at best), Olivia de Havilland. That is so ice-cold, you could wrap it up and use it on your swollen ankle.\u003c/p>\n\u003cp>6. Greta Lee should be and likely will be in every awards conversation for her stellar work in \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>. But even on Apple’s inconsistent \u003ca href=\"https://www.npr.org/2023/09/13/1198991146/the-morning-show-season-3-review\">\u003cem>The Morning Show\u003c/em>,\u003c/a> she’s always a standout as Stella, a young entertainment executive who faced some terrible choices in the show’s third season.\u003c/p>\n\u003cp>7. Had I been involved in the making of \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a>, I would have cared about nothing so much as exactly what song all the Kens should play when they, soaking in a bath of toxic masculinity, attempt to impress and win over the Barbies. Whatever I settled on would have been nowhere near as perfect as “\u003ca href=\"https://www.youtube.com/watch?v=uJLgKXp375I&ab_channel=AtlanticRecords\">Push\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/x8Y57NWv5m0'\n title='//www.youtube.com/embed/x8Y57NWv5m0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>8. The bright romantic comedy \u003ca href=\"https://www.npr.org/2023/03/30/1166717149/rye-lane-review\">\u003cem>Rye Lane\u003c/em>\u003c/a> has a lot to recommend it. But perhaps nothing stuck with me as much as its stunning colors — deep golds and yellows, bright pinks and reds, rich greens and blues. From director Raine Allen-Miller, it would be a stunner even with the sound off.\u003c/p>\n\u003cp>9. Whatever your feelings about the franchise, there is nothing to fault in the sequence in \u003ca href=\"https://www.npr.org/2023/06/29/1185129902/mission-impossible-is-back-but-will-you-accept-it-or-will-it-self-destruct\">\u003cem>Mission: Impossible — Dead Reckoning Part One\u003c/em>\u003c/a> in which Tom Cruise and Hayley Atwell are struggling to survive in a train that’s dangling off a cliff. A gas line, vats of oil, and a ratz-a-fratzin \u003cem>grand piano \u003c/em>all play into the gloriously silly, tooth-grindingly tense scene.\u003c/p>\n\u003cfigure id=\"attachment_13939901\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939901\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/shrinking_photo_010402_wide-42f66da259a6934d5edc408a57896cea18f00257-scaled-e1703838143772.jpg\" alt=\"A man in his seventies sits in a leather chair, his glasses propped on his forehead, looking concerned.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Harrison Ford in ‘Shrinking.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>10. Harrison Ford hasn’t made a lot of straight-up comedy in this stage of his career, so what a joy to see him in \u003ca href=\"https://www.npr.org/2023/01/31/1152527309/shrinking-review-harrison-ford-jason-segel\">\u003cem>Shrinking\u003c/em>\u003c/a>, alongside Jason Segel and Jessica Williams. All three play therapists who work together, and Ford deploys his brutal deadpan to make completely ordinary dialogue feel like punchline after punchline.\u003c/p>\n\u003cp>11. About five minutes into \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a>, Julianne Moore, seen in profile, opens the refrigerator in her sunny kitchen. The foreboding piano of the score (by Marcelo Zarvos, adapting a 1971 score by Michel Legrand for the film \u003cem>The Go-Between\u003c/em>) suddenly sounds loudly, and she stares into the refrigerator, as if she’s seeing the Ark of the Covenant. The camera pushes in. And then she says, “I don’t think we have enough hot dogs.” Is this a comedy? A drama? A horror movie? In that early moment, it is, as it will remain, hard to say.\u003c/p>\n\u003cfigure id=\"attachment_13939902\" class=\"wp-caption aligncenter\" style=\"max-width: 1424px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939902\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180.jpg\" alt=\"A crazed bear, howls in the woods, its tongue sticking out.\" width=\"1424\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180.jpg 1424w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/2549_fp_00298-1920x802-e909bc9_wide-342797280c20ccc911b09410342a0d34778da180-768x432.jpg 768w\" sizes=\"(max-width: 1424px) 100vw, 1424px\">\u003cfigcaption class=\"wp-caption-text\">The title ‘Cocaine Bear’ says it all, and the film delivers on that promise in 95 minutes. \u003ccite>(Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>12. \u003ca href=\"https://www.kqed.org/arts/13925388/cocaine-bear-is-here-to-strike-a-blow-to-staid-hollywood\">\u003cem>Cocaine Bear\u003c/em>\u003c/a>. The fact that they made it, the fact that they gave it that title, the fact that it’s so gory and gleeful and comfortable being what it is.\u003c/p>\n\u003cp>13. There is a scene near the end of \u003ca href=\"https://www.kqed.org/arts/13938358/saltburn-review-emerald-fennell-shocking-scenes-jacob-elordi\">\u003cem>Saltburn\u003c/em>\u003c/a> in which an elaborate lunch table full of wealthy people trying desperately to act normal under bizarre circumstances is plunged into haunting red light by the closing of the curtains. Emerald Fennell, who wrote and directed, simply doesn’t do anything halfway.\u003c/p>\n\u003cfigure id=\"attachment_13939897\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939897\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/gro-09769_r-1-_wide-e73d26bb40e8b60f639bffe967b22f0abb2b2ba5-scaled-e1703838474386.jpg\" alt=\"Three women stand and gaze upwards. They are wearing superhero uniforms.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">(L-R): Iman Vellani as Ms. Marvel, Brie Larson as Captain Marvel and Teyonah Parris as Captain Monica Rambeau in ‘The Marvels.’ \u003ccite>(Laura Radford/ Marvel Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>14. Iman Vellani’s performance as Kamala Khan in \u003ca href=\"https://www.npr.org/2023/11/10/1197956743/the-marvels-is-a-light-comedy-about-light-powers\">\u003cem>The Marvels\u003c/em>\u003c/a> bubbles with energy, and a scene where she and Captain Marvel (Brie Larson) keep switching places, disappearing and reappearing in her parents’ house, is a kinetic, rambunctious delight. If you were put off by the talk about \u003cem>The Marvels \u003c/em>falling flat at the box office, don’t let that keep you from checking it out.\u003c/p>\n\u003cp>15. My favorite food host of the year is a three-way tie. Sohla El-Waylly and her husband Ham have been doing the series \u003ca href=\"https://www.youtube.com/watch?v=rVLIdFk-8no&list=PLYG6O_GQCZwikXIXw5p0vFQBif-RxUpHy&ab_channel=NYTCooking\">“Mystery Menu”\u003c/a> for the NYT cooking channel for a while now, but if you haven’t seen it — their experimentation with durian, for instance — check it out immediately. \u003cem>Also\u003c/em>: an equally good way to approach the NYT cooking channel is to watch absolutely anything \u003ca href=\"https://www.youtube.com/watch?v=pyv6lO1SBS0&list=PLYG6O_GQCZwgKmY38LuycalANW67g_yYV&ab_channel=NYTCooking\">featuring Eric Kim\u003c/a>, who is enchanting. \u003cem>Also also\u003c/em>: Anything on the Epicurious channel with chef Saul Montiel will brighten your day. \u003ca href=\"https://www.youtube.com/watch?v=QjyyDCPXy7k&list=PLz3-p2q6vFYWi_e0AWEkj2h22l0u1bqER&index=29&ab_channel=Epicurious\">Here he is making calzones.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13939903\" class=\"wp-caption aligncenter\" style=\"max-width: 1798px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939903\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2.jpg\" alt=\"A tall young man and a shorter, older man with a mustache stand side by side in a snowy field. \" width=\"1798\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2.jpg 1798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-800x480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-1020x612.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-768x460.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/holdovers_fp_00406_r_custom-6ade333ddba964cced852124fceb3e7c742a81a2-1536x921.jpg 1536w\" sizes=\"(max-width: 1798px) 100vw, 1798px\">\u003cfigcaption class=\"wp-caption-text\">Dominic Sessa, left, and Paul Giamatti in ‘The Holdovers.’ \u003ccite>(Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>16. All of the performances in \u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a> are top-notch, but it was especially promising to discover Dominic Sessa, a young actor on the screen for the first time. Playing Angus Tully, a high school kid who’s both smart and foolish (as so many are), he offers exquisite touches of both swagger and insecurity, enough to keep up with towering performances from Paul Giamatti and Da’Vine Joy Randolph. All three leads deserve many award nominations; he may be the one who loses out. But bet on him in the future. He’ll be back.\u003c/p>\n\u003cp>17. The tense final moments of the suspense thriller \u003ca href=\"https://www.kqed.org/arts/13935443/fair-play-review-netflix-gender-phoebe-dynevor#:~:text=Fair%20Play%20is%20visually%20moody,gray%20of%20their%20austere%20office.\">\u003cem>Fair Play\u003c/em>\u003c/a> had me unsure what I even \u003cem>wanted\u003c/em> to happen, and what actually happened was better than what I would have come up with anyway. That is exactly the ending you want from a psychologically complex story like this one, about a couple torn asunder by a promotion at work.\u003c/p>\n\u003cfigure id=\"attachment_13939904\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939904\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/platonic_photo_010403_wide-a74509800a306a1af17583f3735bdaa794cf2065-scaled-e1703838852943.jpg\" alt=\"A 30-something man sits confidently at an office desk, smiling at someone somewhat awkwardly.\" width=\"1920\" height=\"1079\">\u003cfigcaption class=\"wp-caption-text\">Luke Macfarlane in ‘Platonic.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>18. Luke MacFarlane is a veteran of holiday love stories (it’s probably adequate to note he was in films called both \u003cem>Sense & Sensibility & Snowmen \u003c/em>and \u003cem>A Shoe Addict’s Christmas\u003c/em>), and he made a splash with Billy Eichner in \u003cem>Bros\u003c/em> in 2022. This year, he was very funny in \u003ca href=\"https://tv.apple.com/us/show/platonic/umc.cmc.y7bc18x7co813l8i2tlsyb4l\">\u003cem>Platonic\u003c/em>\u003c/a>, playing the loving husband of a woman (Rose Byrne) whose friendship with an old pal (Seth Rogen) takes off anew. The part could be a real nothing; he makes it sing. (\u003cem>Platonic \u003c/em>runner-up: the scene, featuring Guy Branum, in which he throws electric scooters like a track star throws a discus is a sport. As it should be.)\u003c/p>\n\u003cp>19. There was nothing like the go-for-broke madness of Peacock’s\u003ca href=\"#1170610821\"> \u003cem>Mrs. Davis\u003c/em>, \u003c/a>an action-adventure comedic thriller about a nun who’s trying to resist the intrusions of an all-knowing AI who is suddenly in everyone’s ear. (Said AI is called Mrs. Davis, you see.) Betty Gilpin played Simone, the nun, with such control and flexibility that the wild plot developments around her didn’t distract from the character work.\u003c/p>\n\u003cfigure id=\"attachment_13939905\" class=\"wp-caption aligncenter\" style=\"max-width: 776px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939905\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137.jpg\" alt=\"A woman with long shaggy blond hair stares worried into a phone screen. \" width=\"776\" height=\"436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137.jpg 776w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_197587_00171_wide-5aaca6d0f9b84408cb67b0d3276fcda1a9256137-768x432.jpg 768w\" sizes=\"(max-width: 776px) 100vw, 776px\">\u003cfigcaption class=\"wp-caption-text\">Natasha Lyonne in ‘Poker Face.’ \u003ccite>(Phillip Caruso/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>20. Rian Johnson created the episodic mystery show \u003ca href=\"https://www.kqed.org/arts/13924192/no-lie-natasha-lyonne-is-unforgettable-in-poker-face\">\u003cem>Poker Face\u003c/em>\u003c/a>, in which Natasha Lyonne played Charlie, a woman on the run who encounters a new mystery in every new town. Yes, the writing sparkled, and yes, the roster of guest stars — Judith Light! Lil Rel Howery! Hong Chau! Adrien Brody! — was top-tier. But at the center was Lyonne. From the minute she emerges from a trailer into the hot Nevada sun, sinks into a lawn chair, and grabs herself a beer and a smoke, the character already feels like an icon, and the show like a classic.\u003c/p>\n\u003cp>21. \u003ca href=\"https://www.npr.org/2023/01/15/1149054904/the-traitors-review-alan-cumming\">\u003cem>The Traitors\u003c/em> \u003c/a>is a fun reality competition show. But what set it apart was host Alan Cumming, whose pronunciation of “murrrrrder” and succession of impossibly debonair suits made him host of the year.\u003c/p>\n\u003cp>22. I had a spectacular time — spectacular! — watching the Philadelphia Phillies this fall. How do you not love Bryce Harper \u003ca href=\"https://www.mlb.com/video/harper-sprints-first-to-home\">running through a sign\u003c/a> from the third-base coach, scoring, and popping up on his toe?\u003c/p>\n\u003cfigure id=\"attachment_13939907\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939907\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/71nzsmfyhwl._sl1500__custom-1bdc6680756a679edab8654b3a8629a5f434f87d.jpg\" alt=\"A book cover featuring a cat in a suit.\" width=\"200\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/71nzsmfyhwl._sl1500__custom-1bdc6680756a679edab8654b3a8629a5f434f87d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/71nzsmfyhwl._sl1500__custom-1bdc6680756a679edab8654b3a8629a5f434f87d-160x246.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Starter Villain.’ \u003ccite>(Tor Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>23. I dare you not to giggle at least once as the weird world of John Scalzi’s novel, \u003ca href=\"https://apps.npr.org/best-books/#year=2023&book=232\">\u003cem>Starter Villain\u003c/em>\u003c/a> unwinds in front of you. Is there a labor dispute? Yes. Does it involve dolphins? Yes. Is there a volcano, and are there supervillains? Yes and yes.\u003c/p>\n\u003cp>24. Sometimes it’s fun to just have something scare your socks off, and that’s what happened with \u003ca href=\"https://www.hulu.com/movie/9e96f51e-6806-4306-9773-e96b68d25305\">\u003cem>No One Will Save You\u003c/em>\u003c/a>, an eerie, almost dialogue-free “locked in the house and something terrible is happening” story starring Kaitlyn Dever. She hears a noise. She hides under the bed. She sees a pair of very upsetting feet go by. From there, she’s on her own.\u003c/p>\n\u003cp>25. Podcasts diving extra-deep into a particular film or show are of wildly differing quality. But\u003ca href=\"https://50mphpodcast.com/\"> \u003cem>50MPH\u003c/em>,\u003c/a> a planned 50-part (!!) series about the making of \u003cem>Speed\u003c/em>, has offered choice moments for the movie’s fans. Try \u003ca href=\"https://podcasts.apple.com/us/podcast/50-mph/id1691020723?i=1000625961446\">episode 12\u003c/a>, about the script development, which includes a detour into the involvement of one Joss Whedon.\u003c/p>\n\u003cp>26. Emma Cline’s novel \u003ca href=\"https://www.npr.org/2023/05/25/1178300477/in-the-guest-a-sex-worker-wreaks-havoc-on-the-glitzy-social-scene-at-the-hampton\">\u003cem>The Guest\u003c/em>\u003c/a> is about a woman whose boyfriend kicks her out and leaves her adrift in the Hamptons to survive with nothing. She imposes upon one person, then another, and Cline builds a sense of dread amid all the wealth: “No one on the shore noticed her, or looked twice. A couple walked past, heads bent, studying the sand for shells … Surely, if Alex had been in any real danger, someone would have reacted, one of these people would have stepped in to help.”\u003c/p>\n\u003cfigure id=\"attachment_13939908\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ap091207034728_wide-a1a2587a9eee11ca90b5d981b831f43c13702513-e1703839359528.jpg\" alt=\"A man in a grey suit and red bowtie gestures wildly, mouth agape.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Paul Reubens, better known as Pee-wee Herman, died in July at age 70. \u003ccite>(Danny Moloshok/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>27. Paul Reubens, who created the character Pee-wee Herman, died on July 30, and was warmly and appropriately appreciated. What a delightful surprise, then, to see him in a cameo appearance in the affable comedy\u003ca href=\"https://www.npr.org/2023/11/08/1197956693/sandra-oh-and-awkwafina-are-perfect-opposites-in-quiz-lady\"> \u003cem>Quiz Lady\u003c/em>, \u003c/a>playing himself as the baffled target of a fan’s affections.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>28. I had trouble following the plot of the drama series \u003ca href=\"https://www.max.com/shows/full-circle/8996a19c-8e8b-4d8b-8f1a-fa146751d544\">\u003cem>Full Circle\u003c/em>,\u003c/a> which starred Claire Danes and Timothy Olyphant as a couple that learns their son has been kidnapped, which is only the very beginning of their problems. I did, however, greatly appreciate Vulture’s Kathryn VanArendonk \u003ca href=\"https://www.vulture.com/article/dennis-quaid-full-circle-braid-explained.html\">making a thorough investigation\u003c/a> of why on earth Dennis Quaid ended up wearing a braid. It involves a last-minute dash to a wig shop. It’s quite a tale.\u003c/p>\n\u003cp>29. Yes, Maureen Ryan is one of my very good friends and colleagues in the writing-about-television industry. But plenty of people agreed that as hard as it was to read, her book \u003ca href=\"https://www.npr.org/2023/06/03/1180008736/beloved-tv-show-lost-wasnt-immune-to-industrys-pervasive-toxic-culture\">\u003cem>Burn It Down\u003c/em>\u003c/a>, about abuse in Hollywood and the systems that enable it, was a tremendous example of dogged journalism that does what it sets out to do. Pleasant to read? No. Wonderful to know that this kind of work is still being done, and done so well? Yes.\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/kes2P4IC2bQ'\n title='//www.youtube.com/embed/kes2P4IC2bQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>30. The Tiny Desk at NPR has been growing and growing in the breadth of its offerings, the devotion of its audience, and the vibrancy of its innovation. This year, nothing landed quite like the \u003ca href=\"https://www.youtube.com/watch?v=kes2P4IC2bQ&t=3s&ab_channel=NPRMusic\">appearance by Juvenile\u003c/a>, which is irresistible even to people who don’t necessarily think they’re “Back That Azz Up” people. Trombone Shorty was there! Jon Batiste flew in from London! What a wondrous thing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>31. Jimmy Tatro appeared in the comedy \u003ca href=\"https://www.hulu.com/watch/2e9ba993-a6a8-46e6-b2ac-6705badd7503\">\u003cem>Theater Camp\u003c/em>\u003c/a>, playing a character not dissimilar to the doofus jock he played in \u003cem>American Vandal\u003c/em>. Not to pigeonhole Tatro, but some actors have an eerily perfect touch with a particular kind of role, and Tatro is perhaps our foremost lovably lunkheaded bro.\u003c/p>\n\u003cp>32. Sam Sanders juggled two podcasts for much of the year: \u003ca href=\"https://www.vulture.com/into-it/\">\u003cem>Into It \u003c/em>\u003c/a>at Vulture and \u003ca href=\"https://www.stitcherstudios.com/shows/vibe-check\">\u003cem>Vibe Check\u003c/em>, \u003c/a>which he does with his friends Saeed Jones and Zach Stafford. Disappointingly, \u003cem>Into It \u003c/em>was a victim of cutbacks, but \u003cem>Vibe Check \u003c/em>continues, and it provided \u003ca href=\"https://podcasts.apple.com/us/podcast/life-has-been-lifing-lately/id1637476174?i=1000620850273\">one of the most moving episodes of the year\u003c/a> in a discussion of grief following the death of Sam’s mother.\u003c/p>\n\u003cp>33. There is a long history of shows making baffling choices when forced to replace a beloved host. When Padma Lakshmi decided to step away from \u003cem>Top Chef\u003c/em>, a lot of us thought, “They should pick somebody like [\u003cem>Top Chef \u003c/em>champion] Kristen Kish, but they won’t.” And then they did! Welcome the Kish era!\u003c/p>\n\u003cfigure id=\"attachment_13939909\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939909\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83.jpg\" alt=\"A Black man and a white man sit side-by-side in a jury box.\" width=\"1920\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/ishmel-sahid-l-and-james-marsden_custom-90be34d67efc99b6446f46e8d096d995dd66cf83-1536x862.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Ishmel Sahid, left, and James Marsden play alternate jurors in the series ‘Jury Duty.’ \u003ccite>(Amazon Freevee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>34. \u003ca href=\"https://www.amazon.com/Jury-Duty-Season-1/dp/B0B8JM2BBS\">\u003cem>Jury Duty\u003c/em>\u003c/a> is the Amazon Freevee series in which a man named Ronald is called for jury duty, and he doesn’t know that everyone else from the judge to the other jurors to the lawyers and parties, is an actor. At the end, all is revealed to him — that he’s been sitting on a fake jury of a fake trial — and it could have been so, so painful to watch. But Ronald has a good sense of humor, and he chooses not to feel let down, even by his new pal, James Marsden (who plays himself in the fake scenario). They lucked out with Ronald, for sure.\u003c/p>\n\u003cp>35. There were some impressive videos of striking actors advocating for themselves and their colleagues as their strike (and the WGA strike) wore on. One of the best \u003ca href=\"https://x.com/LisaCullen/status/1656337549495762951?s=20\">came from Mandy Patinkin\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>36. John Mulaney’s Netflix special\u003ca href=\"https://www.kqed.org/arts/13928322/baby-j-john-mulaney-stand-up-review-netflix\">\u003cem> Baby J\u003c/em>\u003c/a> was deeply uncomfortable to watch, as he recounted his experiences with addiction, intervention and rehab. But the story of having an intervention with a room full of comedians sparkled. “Do you know what it’s like to have 12 people save your life?” he asks in a discussion of his indebtedness. “It’s too many people.”\u003c/p>\n\u003cp>37. Last year in this space, I saluted Karina Longworth’s excellent podcast series \u003cem>You Must Remember This\u003c/em>, and its miniseries \u003cem>Erotic ’80s\u003c/em>. What happened this year? \u003cem>Erotic ’90s\u003c/em>, of course, and it was perhaps even better. Try the \u003ca href=\"https://podcasts.apple.com/us/podcast/you-must-remember-this/id858124601?i=1000607274568\">Julia Roberts episode\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13939911\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939911\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/rev-1-tcp-05246_high_res_jpeg_wide-5c0544d47d9f6bbc91455c849ba94e8d7f075681-scaled-e1703839832634.jpe\" alt=\"One Black woman leans on the shoulder of another, outdoors in the sun.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Danielle Brooks and Fantasia Barrino in ‘The Color Purple.’ \u003ccite>(Eli Adé/ Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>38. Danielle Brooks gives only one of several excellent performances in \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a>. (What a joy to see Fantasia Barrino thriving, having watched her on \u003cem>American Idol \u003c/em>so many years ago.) But Brooks’ work is emotional and haunting and also tremendously funny — she plays Sofia, played in the Spielberg movie by Oprah Winfrey — and she never misses a step.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>39. I don’t spend as much time dunking on terrible things as I used to, but there’s a particular pleasure to be found in an evisceration of something you very much disliked. Thus, please enjoy \u003ca href=\"https://buttnews.substack.com/p/fat-suit-fart-attack-the-whale\">Lindy West’s piece\u003c/a> on \u003cem>The Whale\u003c/em>.\u003c/p>\n\u003cp>40. In \u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em>\u003c/a>, Sandra Hüller plays a woman who might — or might not — have done something terrible. In effect, to sustain the uncertainty, she has to play two women simultaneously: one who is covering up guilt, and one who is being unfairly accused. It’s a remarkable trick.\u003c/p>\n\u003cp>41. It has sometimes been hard to remember, as Twitter becomes unusable for me, that it could be a genuine source of friendly small talk. As a salute to that particular piece of its history, \u003ca href=\"https://twitter.com/lindaholmes/status/1633277824906797058\">enjoy this thread\u003c/a> in which a thousand people answered the call for pictures of their pets.\u003c/p>\n\u003cfigure id=\"attachment_13939912\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939912\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/american-fiction-f_03320_r_rgb_custom-9c4efdd6045ee9b2208c20de69d920421838c08b-scaled-e1703840068351.jpg\" alt=\"A Black woman and man walk down a grassy path, surrounded on both sides by tall shrubs and plants. They are smiling.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">Erika Alexander and Jeffrey Wright in ‘American Fiction.’ \u003ccite>(Claire Folger/ Orion Releasing LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>42. Jeffrey Wright’s performance in \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a> as an intellectual convinced that he’s at the mercy of a foolish literary establishment (which is … probably right) is part of the movie’s appeal. But maybe even better is the part of the performance that focuses on the character’s complex, fractured relationships with his family. Wright is one of our very best.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>43. \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a> is a category of movie we’ve seen before, in that it’s an examination of a very famous man with a complicated legacy. But director Christopher Nolan is a master of capturing the unthinkably enormous, so it’s unsurprising that his approach to presenting the detonation of a nuclear bomb is inventive and meticulously done.\u003c/p>\n\u003cp>44. The crime thriller \u003cem>Sharper \u003c/em>sort of came and went (\u003ca href=\"https://tv.apple.com/us/movie/sharper/umc.cmc.5ud0ivpwgqw2st0u4z73gwpar\">you can find it on Apple TV+\u003c/a>); it stars Julianne Moore, Sebastian Stan and Justice Smith as three of the people tied up in a complicated (really complicated) plot that involves con artists, guns, money and a lot of beautiful people. There’s a kind of pleasure in twisty thrillers that you can’t quite get anywhere else, and the closing chapter of this one delivered it.\u003c/p>\n\u003cfigure id=\"attachment_13939913\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939913\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/the_diplomat_s1_e4_-native-_00_38_18_16r_wide-4e9514c2c795b64e9326a8f746d70853f47cd2b6-scaled-e1703840309929.jpg\" alt=\"An attractive middle-aged woman holds a telephone to her ear. She looks concerned.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Keri Russell in ‘The Diplomat.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>45. After \u003cem>The Americans \u003c/em>and \u003cem>Felicity \u003c/em>(and, sure, \u003cem>Cocaine Bear\u003c/em>), nobody needs to prove the versatility of Keri Russell. But playing a new ambassador named Kate in \u003ca href=\"https://www.npr.org/2023/04/19/1170685432/the-diplomat-review-keri-russell\">\u003cem>The Diplomat\u003c/em>\u003c/a>, the way she moves from one room to another, the way she picks up and puts down various objects, even the way she squirms as someone puts makeup on her, all contribute to a vision of Kate as a superbly competent and capable person, which makes her spy-thriller adventures much easier to care about.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>46. The level of difficulty in Emma Stone’s performance in Yorgos Lanthimos’ \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a> is extraordinary: she’s playing a woman who is, sort of, a child. But she rapidly grows emotionally and intellectually older, more and more independent and lustful. Stone makes it all seem like one performance, one character.\u003c/p>\n\u003cp>47. I very much liked \u003ca href=\"https://www.amazon.com/gp/video/detail/amzn1.dv.gti.bff6d26e-9aa3-47b3-9bbb-92acb9942cdb?autoplay=0&ref_=atv_cf_strg_wb\">\u003cem>Deadloch\u003c/em>\u003c/a>, an Australian comedy-crime series that is both a small-time crime series in the tradition of \u003cem>Broadchurch \u003c/em>and a send-up of those very shows. I didn’t know the actors, I didn’t know much about the show until I watched it, and I was delighted to discover it. Most of those things are also true of runner-up Australian comedy \u003ca href=\"https://www.npr.org/2023/12/04/1197958569/colin-from-accounts-deserves-a-raise\">\u003cem>Colin From Accounts\u003c/em>\u003c/a>, which is also worth a watch.\u003c/p>\n\u003cp>48. I was slow to get attached to \u003cem>Only Murders in the Building\u003c/em>, which focused this season on the production of a musical. But Steve Martin’s delivery of the patter song \u003ca href=\"https://www.youtube.com/watch?v=Piv19tK4lH4&t=2s&ab_channel=Hulu\">“Which of the Pickwick Triplets Did it?”\u003c/a> was the best reason of all to get on board.\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/Piv19tK4lH4'\n title='//www.youtube.com/embed/Piv19tK4lH4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>49. Hopefully, I can be forgiven for sneaking some older stuff in here by talking about a project that was great for me this year: The Criterion Collection continues to be a wonderful source for classic movies, and I used its collection of some of the films from the \u003ca href=\"https://www.criterionchannel.com/sight-sound-s-greatest-films-of-all-time\">Sight & Sound poll\u003c/a> as a way into movies including \u003cem>The Passion of Joan of Arc\u003c/em>, \u003cem>Black Orpheus\u003c/em>, \u003cem>Cleo from 5 to 7\u003c/em>, and the film that topped the list: \u003cem>Jean Dielman, 23, quai du Commerce, 1080 Bruxelles\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>50. This was the year I got (deeply) into \u003cem>The Flop House\u003c/em>, a podcast that’s been around since late 2007 (what? I was busy) and passed its 400th episode. Each week, hosts Dan McCoy, Stuart Wellington and Elliott Kalan talk about a movie that’s either a commercial or critical disappointment. There are guest hosts sometimes, there is a longstanding fixation on the more disposable work of Nicolas Cage (whom they rightly revere as an actor), and you can start right at the beginning of January with \u003ca href=\"https://podcasts.apple.com/us/podcast/the-flop-house/id263585537?i=1000594413409\">their consideration of \u003cem>Black Adam\u003c/em>\u003c/a>. From the not-so-wonderful, the wonderful can sometimes emerge.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=The+year+in+review%3A+50+wonderful+things+from+2023&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Jack Frost’ Is Two of the Worst Christmas Movies Ever Made",
"headTitle": "‘Jack Frost’ Is Two of the Worst Christmas Movies Ever Made | KQED",
"content": "\u003cp>It’s impossible to fathom why Hollywood does a lot of things — \u003ca href=\"https://www.sheknows.com/entertainment/slideshow/2538896/actresses-who-play-moms-to-same-age-actors/4/\">casting women as the mothers of people the same age\u003c/a>, continuing to make James Bond movies, letting Mel Gibson do literally anything, etc. The list is long. You get it.\u003c/p>\n\u003cp>One of the most perplexing things that movie studios do is put out incredibly similar projects almost at the same time. Remember when we got \u003ca href=\"https://www.kqed.org/arts/1173/capote\">two Truman Capote biopics\u003c/a>? And when \u003cem>Armageddon\u003c/em> and \u003cem>Deep Impact\u003c/em> were released two months apart? Or when \u003ca href=\"https://jamesjguild.com/blog/2021/4/10/a-bugs-life-vs-antz-how-pixar-took-on-dreamworks-and-won\">\u003cem>A Bug’s Life\u003c/em> came out directly after \u003cem>Antz\u003c/em>\u003c/a>? Perhaps the most astounding example occurred in the late 1990s, when we got not one, but two movies about — dear, sweet Lord — possessed snowmen. Oh, and they were both called \u003cem>Jack Frost\u003c/em>, because the ’90s were apparently a simpler time when you could get away with that sort of thing.\u003c/p>\n\u003cp>The fact that both projects rolled with that title after an entirely different (and beloved) \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0079357/?ref_=nv_sr_srsg_3_tt_7_nm_1_q_jack%2520frost\">Jack Frost\u003c/a>\u003c/em> movie had already existed for 20 years only adds to the madness. To be clear, the 1979 \u003cem>Jack Frost\u003c/em> is bonkers, in a pseudo-psychedelic sort of way. The stop-motion movie begins with a bow tie–wearing groundhog singing “Me and My Shadow,” for crying out loud.\u003c/p>\n\u003cp>[aside postid='arts_13922351']The ’90s \u003cem>Jack Frost\u003c/em>s had something else in mind, to put it lightly. \u003ca href=\"https://www.imdb.com/title/tt0116671/?ref_=nv_sr_srsg_2_tt_7_nm_1_q_jack%2520frost\">The 1997 one\u003c/a> is a grisly little tale about a crazed serial killer doing a bunch of murders while inside the body of a snowman. (\u003cem>I know\u003c/em>.) \u003ca href=\"https://www.imdb.com/title/tt0141109/?ref_=nv_sr_srsg_0_tt_7_nm_1_q_jack%2520fro\">The 1998 \u003cem>Jack Frost\u003c/em>\u003c/a> is a strange little story in which the spirit of Michael Keaton’s eyebrows possesses a snowman so he can spend more time with his grieving son. And while, yes, those do make for distinctly different plot directions, the two movies have more in common than you might think.\u003c/p>\n\u003cp>Both have main characters who are named Jack Frost while they are living, human men, yet no one ever notes the incredible synchronicity of them suddenly becoming actual snowmen. Both men end up in their legless white forms after dying in crashes caused by snowstorms. Both immediately seek revenge on teen bullies for some reason. Both are, at one time or another, threatened with hairdryers. (Yes, in case you were wondering, melting does serve as a major plot point in both \u003cem>Jack Frost\u003c/em>s.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s the plot of 1998 \u003cem>Jack Frost\u003c/em> in more detail. Charlie is an 11-year-old boy who lives in a supremely irritating Colorado town where everyone is perpetually throwing snowballs at each other. Henry Rollins is Charlie’s hockey coach because Henry Rollins applied no discernment whatsoever to the movies he appeared in during the 1990s. Charlie’s mom is a generic blond mom and his dad is a white blues musician named — but of course — Jack Frost.\u003c/p>\n\u003cfigure id=\"attachment_13939156\" class=\"wp-caption aligncenter\" style=\"max-width: 1722px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM.png\" alt=\"A boy in winter clothes sits on the front of a sled as it zips down a snow-covered hill. Behind him sits a snowman holding onto his waist.\" width=\"1722\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM.png 1722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-800x505.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-1020x643.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-768x484.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-1536x969.png 1536w\" sizes=\"(max-width: 1722px) 100vw, 1722px\">\u003cfigcaption class=\"wp-caption-text\">Oh, look! It’s a boy sledding with a snowman that’s possessed by the spirit of his dead father! Cool. \u003ccite>(Warner Movies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One Christmas Day, Jack dies in a car crash (festive fun!) while off doing white blues-related nonsense. Time then jumps forward a year because no audience wants to watch a child cry grief tears for an hour and a half. One night, Charlie builds a snowman that is suddenly, inexplicably occupied by the spirit of his dead father. At first, Charlie is rightly horrified. But then Jack helps Charlie in — what else? — a snowball fight, so they start hanging out all the time. The movie is preposterous and in poor taste and yet somehow still incredibly dull.\u003c/p>\n\u003cp>All of those descriptors also apply to the 1997 \u003cem>Jack Frost\u003c/em>, though for entirely different reasons. In this one, a prison truck carrying a serial killer through a snowstorm to his execution collides with a genetic research truck. The serial killer ends up drenched in an experimental substance that kills and liquifies him, but then — ah, winter magic — helps him to become one with the snow. Jack Frost the serial killer transforms into Jack Frost the snowman … and also serial killer. This snowman serial killer has the puffiest little mitten hands you’ve ever seen, too, which is incredibly distracting during every single murder scene that follows.\u003c/p>\n\u003cfigure id=\"attachment_13939159\" class=\"wp-caption aligncenter\" style=\"max-width: 1888px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM.png\" alt=\"A snowman with twig eyebrows and icicle fangs interacts with a human.\" width=\"1888\" height=\"1262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM.png 1888w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-1536x1027.png 1536w\" sizes=\"(max-width: 1888px) 100vw, 1888px\">\u003cfigcaption class=\"wp-caption-text\">When your snowman is possessed by a serial killer, it needs twig eyebrows in order to convey its menacing soul. \u003ccite>(Prism Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The one good thing I will say for this trashiest of horror movies is that at least I got a couple of laughs out of it — one of which I’m fairly sure was intentional!\u003c/p>\n\u003cp>[aside postid='arts_13889748']There’s no making sense of the fact that these two movies were made in such close proximity, with the same central theme, but for entirely different audiences. But know this: If you have a vested interest in torturing your loved ones with truly terrible movies this holiday season, one or both of these will do the job.\u003c/p>\n\u003cp>And if even contemplating that prospect leaves you in need of a little palate cleanser, then please accept this clip from 1979’s \u003cem>Jack Frost\u003c/em>. Yes, it’s the dapper little groundhog singing “Me and My Shadow.”\u003c/p>\n\u003cp>Happy holidays, everyone.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AEGl8gh3Vks&t=48s\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘\u003ca href=\"https://tubitv.com/movies/545176/jack-frost\">Jack Frost\u003c/a>’ (1979), ‘\u003ca href=\"https://tubitv.com/movies/473246/jack-frost\">Jack Frost\u003c/a>’ (1997) and ‘\u003ca href=\"https://tubitv.com/movies/571531/jack-frost-2-revenge-of-the-mutant-killer-snowman\">Jack Frost 2\u003c/a>’ (2000) — because yes, of course there was a sequel — are all streaming on Tubi right now. ‘\u003ca href=\"https://www.hulu.com/movie/jack-frost-48a1a9ca-c5e7-44a8-9fe6-2a2cd1234ded\">Jack Frost\u003c/a>’ (1998) is over on Hulu.\u003c/em>\u003c/p>\n\n",
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"excerpt": "In the late-1990s, we got not one, but two movies about snowmen possessed with the spirits of human men named Jack Frost. Yeah.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s impossible to fathom why Hollywood does a lot of things — \u003ca href=\"https://www.sheknows.com/entertainment/slideshow/2538896/actresses-who-play-moms-to-same-age-actors/4/\">casting women as the mothers of people the same age\u003c/a>, continuing to make James Bond movies, letting Mel Gibson do literally anything, etc. The list is long. You get it.\u003c/p>\n\u003cp>One of the most perplexing things that movie studios do is put out incredibly similar projects almost at the same time. Remember when we got \u003ca href=\"https://www.kqed.org/arts/1173/capote\">two Truman Capote biopics\u003c/a>? And when \u003cem>Armageddon\u003c/em> and \u003cem>Deep Impact\u003c/em> were released two months apart? Or when \u003ca href=\"https://jamesjguild.com/blog/2021/4/10/a-bugs-life-vs-antz-how-pixar-took-on-dreamworks-and-won\">\u003cem>A Bug’s Life\u003c/em> came out directly after \u003cem>Antz\u003c/em>\u003c/a>? Perhaps the most astounding example occurred in the late 1990s, when we got not one, but two movies about — dear, sweet Lord — possessed snowmen. Oh, and they were both called \u003cem>Jack Frost\u003c/em>, because the ’90s were apparently a simpler time when you could get away with that sort of thing.\u003c/p>\n\u003cp>The fact that both projects rolled with that title after an entirely different (and beloved) \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0079357/?ref_=nv_sr_srsg_3_tt_7_nm_1_q_jack%2520frost\">Jack Frost\u003c/a>\u003c/em> movie had already existed for 20 years only adds to the madness. To be clear, the 1979 \u003cem>Jack Frost\u003c/em> is bonkers, in a pseudo-psychedelic sort of way. The stop-motion movie begins with a bow tie–wearing groundhog singing “Me and My Shadow,” for crying out loud.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The ’90s \u003cem>Jack Frost\u003c/em>s had something else in mind, to put it lightly. \u003ca href=\"https://www.imdb.com/title/tt0116671/?ref_=nv_sr_srsg_2_tt_7_nm_1_q_jack%2520frost\">The 1997 one\u003c/a> is a grisly little tale about a crazed serial killer doing a bunch of murders while inside the body of a snowman. (\u003cem>I know\u003c/em>.) \u003ca href=\"https://www.imdb.com/title/tt0141109/?ref_=nv_sr_srsg_0_tt_7_nm_1_q_jack%2520fro\">The 1998 \u003cem>Jack Frost\u003c/em>\u003c/a> is a strange little story in which the spirit of Michael Keaton’s eyebrows possesses a snowman so he can spend more time with his grieving son. And while, yes, those do make for distinctly different plot directions, the two movies have more in common than you might think.\u003c/p>\n\u003cp>Both have main characters who are named Jack Frost while they are living, human men, yet no one ever notes the incredible synchronicity of them suddenly becoming actual snowmen. Both men end up in their legless white forms after dying in crashes caused by snowstorms. Both immediately seek revenge on teen bullies for some reason. Both are, at one time or another, threatened with hairdryers. (Yes, in case you were wondering, melting does serve as a major plot point in both \u003cem>Jack Frost\u003c/em>s.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s the plot of 1998 \u003cem>Jack Frost\u003c/em> in more detail. Charlie is an 11-year-old boy who lives in a supremely irritating Colorado town where everyone is perpetually throwing snowballs at each other. Henry Rollins is Charlie’s hockey coach because Henry Rollins applied no discernment whatsoever to the movies he appeared in during the 1990s. Charlie’s mom is a generic blond mom and his dad is a white blues musician named — but of course — Jack Frost.\u003c/p>\n\u003cfigure id=\"attachment_13939156\" class=\"wp-caption aligncenter\" style=\"max-width: 1722px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM.png\" alt=\"A boy in winter clothes sits on the front of a sled as it zips down a snow-covered hill. Behind him sits a snowman holding onto his waist.\" width=\"1722\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM.png 1722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-800x505.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-1020x643.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-768x484.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-1536x969.png 1536w\" sizes=\"(max-width: 1722px) 100vw, 1722px\">\u003cfigcaption class=\"wp-caption-text\">Oh, look! It’s a boy sledding with a snowman that’s possessed by the spirit of his dead father! Cool. \u003ccite>(Warner Movies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One Christmas Day, Jack dies in a car crash (festive fun!) while off doing white blues-related nonsense. Time then jumps forward a year because no audience wants to watch a child cry grief tears for an hour and a half. One night, Charlie builds a snowman that is suddenly, inexplicably occupied by the spirit of his dead father. At first, Charlie is rightly horrified. But then Jack helps Charlie in — what else? — a snowball fight, so they start hanging out all the time. The movie is preposterous and in poor taste and yet somehow still incredibly dull.\u003c/p>\n\u003cp>All of those descriptors also apply to the 1997 \u003cem>Jack Frost\u003c/em>, though for entirely different reasons. In this one, a prison truck carrying a serial killer through a snowstorm to his execution collides with a genetic research truck. The serial killer ends up drenched in an experimental substance that kills and liquifies him, but then — ah, winter magic — helps him to become one with the snow. Jack Frost the serial killer transforms into Jack Frost the snowman … and also serial killer. This snowman serial killer has the puffiest little mitten hands you’ve ever seen, too, which is incredibly distracting during every single murder scene that follows.\u003c/p>\n\u003cfigure id=\"attachment_13939159\" class=\"wp-caption aligncenter\" style=\"max-width: 1888px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM.png\" alt=\"A snowman with twig eyebrows and icicle fangs interacts with a human.\" width=\"1888\" height=\"1262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM.png 1888w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-1536x1027.png 1536w\" sizes=\"(max-width: 1888px) 100vw, 1888px\">\u003cfigcaption class=\"wp-caption-text\">When your snowman is possessed by a serial killer, it needs twig eyebrows in order to convey its menacing soul. \u003ccite>(Prism Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The one good thing I will say for this trashiest of horror movies is that at least I got a couple of laughs out of it — one of which I’m fairly sure was intentional!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s no making sense of the fact that these two movies were made in such close proximity, with the same central theme, but for entirely different audiences. But know this: If you have a vested interest in torturing your loved ones with truly terrible movies this holiday season, one or both of these will do the job.\u003c/p>\n\u003cp>And if even contemplating that prospect leaves you in need of a little palate cleanser, then please accept this clip from 1979’s \u003cem>Jack Frost\u003c/em>. Yes, it’s the dapper little groundhog singing “Me and My Shadow.”\u003c/p>\n\u003cp>Happy holidays, everyone.\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/AEGl8gh3Vks'\n title='//www.youtube.com/embed/AEGl8gh3Vks'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘\u003ca href=\"https://tubitv.com/movies/545176/jack-frost\">Jack Frost\u003c/a>’ (1979), ‘\u003ca href=\"https://tubitv.com/movies/473246/jack-frost\">Jack Frost\u003c/a>’ (1997) and ‘\u003ca href=\"https://tubitv.com/movies/571531/jack-frost-2-revenge-of-the-mutant-killer-snowman\">Jack Frost 2\u003c/a>’ (2000) — because yes, of course there was a sequel — are all streaming on Tubi right now. ‘\u003ca href=\"https://www.hulu.com/movie/jack-frost-48a1a9ca-c5e7-44a8-9fe6-2a2cd1234ded\">Jack Frost\u003c/a>’ (1998) is over on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are two distinctly different stories scuffing up against one another in \u003cem>American Fiction\u003c/em>. One concerns a professionally successful but personally messy family navigating a series of hardships. The other is about what happens when an intellectual writer allows his frustration with the world to compromise his artistic vision.\u003c/p>\n\u003cp>Based on Percival Everett’s 2011 novel \u003cem>\u003ca href=\"https://www.graywolfpress.org/books/erasure\">Erasure\u003c/a>\u003c/em>, \u003cem>American Fiction\u003c/em>, written and directed by Cord Jefferson, revolves around author Thelonious “Monk” Ellison (played engagingly by Jeffrey Wright). When we first find him, Monk is tired of seeing his novels sidelined into the African American Studies section of the bookstore, while works that reinforce racist stereotypes are welcomed into central displays. His frustration is compounded when he is forced to take a leave of absence from his university job for being too unfiltered and ornery.\u003c/p>\n\u003cp>[aside postid='arts_13938158']In the midst of dealing with those professional problems, Monk is called home to Boston where he faces additional issues hitting his mother and siblings. (Wright’s chemistry with Sterling K. Brown and Tracee Ellis Ross, who play Monk’s brother and sister, is a consistent delight). The combination of all these stresses one night prompts Monk to sit down and angrily pen a manuscript steeped in Black stereotypes and awash with pandering storylines. The book, titled \u003cem>My Pafology\u003c/em>, is intended as a middle finger to the publishers who think Monk’s other most recent novel isn’t “Black enough” to warrant release.\u003c/p>\n\u003cp>To Monk’s surprise and consternation, those same publishers fall over themselves to pick up \u003cem>Pafology\u003c/em>. Before long, the writer is doing interviews as his alter-ego, Stagg. R. Leigh (a fun nod to \u003ca href=\"https://en.wikipedia.org/wiki/Lee_Shelton\">infamous 19th century pimp Stagger Lee\u003c/a>, who has inspired \u003ca href=\"https://en.wikipedia.org/wiki/Stagger_Lee\">countless songs\u003c/a> over the years). A series of increasingly ludicrous events follow as Monk’s personal ethical conundrums spiral out into the wider literary world.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i0MbLCpYJPA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Within \u003cem>American Fiction\u003c/em>, the delicate family drama at play does not always gel cohesively with its often comedic rendering of the publishing world. But perhaps dissonance is the point. \u003cem>American Fiction\u003c/em> is, at its core, a story about the many ways that mainstream popular culture fails to reflect the true breadth of the Black American experience. By juxtaposing Monk’s home life — his academic career, his doctor siblings and quaint beach house — with the cartoonish criminal persona he is forced to adopt to promote \u003cem>Pafology\u003c/em>, the absurdity of America’s cultural status quo is quite thoroughly reflected.\u003c/p>\n\u003cp>[aside postid='arts_13938942']\u003cem>American Fiction\u003c/em> is at its most fun when it’s mocking white thirst for violent and reductive Black stories. Adam Brody is deliciously smarmy as a misguided movie producer who profits from peddling racial stereotypes. Miriam Shor is hilarious as an urbane publisher pretending to understand street life. A scene in which two white literary judges shut down two Black judges because “it’s essential to listen to Black voices right now,” is brilliantly executed. All of these moments are aimed squarely at white people who feel they can absolve themselves of racism if they look directly at depictions of Black suffering for long enough. That these white folks think they’re brave for doing so is the punchline.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>American Fiction\u003c/em> is, all at once, an effective family drama, a hilarious critique of institutional racism and a complicated look at the consequences (and potential benefits) of complicity. The fact that no easy answers or solutions are provided to the many questions the movie prompts will keep you pondering long after the credits have rolled. And you’ll never view \u003cem>Precious: Based on the Novel ‘Push’ by Sapphire\u003c/em> the same way again.\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\"> \u003cem>‘American Fiction’ opens nationwide on Dec. 22, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Within \u003cem>American Fiction\u003c/em>, the delicate family drama at play does not always gel cohesively with its often comedic rendering of the publishing world. But perhaps dissonance is the point. \u003cem>American Fiction\u003c/em> is, at its core, a story about the many ways that mainstream popular culture fails to reflect the true breadth of the Black American experience. By juxtaposing Monk’s home life — his academic career, his doctor siblings and quaint beach house — with the cartoonish criminal persona he is forced to adopt to promote \u003cem>Pafology\u003c/em>, the absurdity of America’s cultural status quo is quite thoroughly reflected.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>American Fiction\u003c/em> is at its most fun when it’s mocking white thirst for violent and reductive Black stories. Adam Brody is deliciously smarmy as a misguided movie producer who profits from peddling racial stereotypes. Miriam Shor is hilarious as an urbane publisher pretending to understand street life. A scene in which two white literary judges shut down two Black judges because “it’s essential to listen to Black voices right now,” is brilliantly executed. All of these moments are aimed squarely at white people who feel they can absolve themselves of racism if they look directly at depictions of Black suffering for long enough. That these white folks think they’re brave for doing so is the punchline.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>American Fiction\u003c/em> is, all at once, an effective family drama, a hilarious critique of institutional racism and a complicated look at the consequences (and potential benefits) of complicity. The fact that no easy answers or solutions are provided to the many questions the movie prompts will keep you pondering long after the credits have rolled. And you’ll never view \u003cem>Precious: Based on the Novel ‘Push’ by Sapphire\u003c/em> the same way again.\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\"> \u003cem>‘American Fiction’ opens nationwide on Dec. 22, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "One Last Hanukkah Gift From Hallmark: ‘Round and Round’ Is a Really Fun Romcom",
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"content": "\u003cp>I’ve always defended my love of Hallmark movies — the Christmas trees, the meet-cutes, the small-town businesses struggling to avoid being taken over by people from the big city. But there’s no denying that they are \u003cem>of a type\u003c/em>, shall we say, and many times, their precise pleasure is that you wouldn’t mistake them for anything else. Furthermore, even as Hallmark has expanded its vision with changes like introducing LGBTQ+ characters and stories now and then, their efforts to expand beyond Christmas into Hanukkah have sometimes felt a bit tentative.\u003c/p>\n\u003cp>Imagine my delight at finding \u003ca href=\"https://www.hallmarkchannel.com/round-and-round\">\u003cem>Round and Round\u003c/em>,\u003c/a> a lovely new entry that’s a solid light romantic comedy that you wouldn’t be surprised to find somewhere else besides Hallmark, and that also embraces Hanukkah as its theme in a way that feels complete and thoughtful.\u003c/p>\n\u003cp>[aside postid='arts_13889581']The structure is familiar: it’s a time-loop movie. Rachel (Vic Michaelis) goes to her parents’ Hanukkah party, where her grandmother tries to set her up with Zach (Bryan Greenberg), a handsome fellow who unfortunately bumped into her earlier in the day and destroyed the box of \u003cem>sufganiyot \u003c/em>(jelly doughnuts) she was bringing to the party. But Rachel has a boyfriend, so she doesn’t take much of an interest, but when she wakes up the next morning … it’s the same morning all over again, the seventh night of Hanukkah. So now, like so many protagonists before her (\u003cem>Groundhog Day\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13883236/kick-back-with-palm-springs-a-witty-romcom-about-fighting-despair\">\u003cem>Palm Springs \u003c/em>\u003c/a>both get explicit shout-outs in the dialogue), she’s trapped and needs to figure out how to break the loop so her life can continue.\u003c/p>\n\u003cp>As she continues in the loop, she decides to bring Zach in on her problem, and he — an adorable nerd who’s carrying around his D&D dice in a special box, and whose friends run a comic-book store — resolves to try to help, even though every day he has to be brought up to speed all over again.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-uFjJH8NhnY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This all sounds very familiar, I know. But the execution is terrific. The dialogue sparkles, the relationship feels genuine, the ending is warm and really satisfying, and you get to watch the marvelous Rick Hoffman (who played Louis on \u003cem>Suits\u003c/em>!) play Rachel’s loving father, who is the smart and fun kind of weird dad. And Rachel’s sister is married to a woman and they have a child, and their relationship is treated just like everybody else’s, which is a nice place for Hallmark to be.\u003c/p>\n\u003cp>But maybe what I liked most, the farther from the film I got, is that it takes themes of the family’s celebration of Hanukkah — miracles, especially — and \u003cem>lightly \u003c/em>incorporates them, so that without being heavy-handed, when the characters talk about the holiday, it resonates a bit with the underlying story. (And with the eventual resolution to the time loop, which is a delight.) Between the traditions the family observes (not just the menorah, but the food, the prayers, and so on) and some recognition that this is not a huge gift-giving holiday for adults but mostly a family celebration, it really seems like a Hanukkah movie, while also being a \u003cem>lot \u003c/em>of fun. (I don’t celebrate Hanukkah, but here’s a \u003ca href=\"https://www.kveller.com/round-and-round-is-hallmarks-best-hanukkah-movie-yet/\">similarly positive take\u003c/a> from someone who does.)\u003c/p>\n\u003cp>[aside postid='arts_13889748']It helps that Michaelis comes from oddball comedy — they hosted a show for the comedy streaming service \u003cem>Dropout\u003c/em>, and they’ve worked with \u003ca href=\"https://ucbcomedy.com/people/vic-michaelis/\">Upright Citizens Brigade\u003c/a>. You can see those comedy chops in Rachel’s sharp approach to her dilemma that is somehow both confident and baffled. The script from Tamar Laddy and the direction from Stacey N. Harding are very well-suited to the project.\u003c/p>\n\u003cp>When I tell people a Hallmark movie is good, they often assume that there’s an undercurrent that you grade these things on a curve — that they are not good in the way other things are good. \u003cem>Round and Round \u003c/em>is plain old good, a spry and funny romcom I’d have been delighted to discover inside or outside the Hallmark universe.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=One+last+Hanukkah+gift+from+Hallmark%3A+%27Round+and+Round%27+is+a+really+fun+romcom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>‘Round and Round’ is streaming now on Hallmark Movies Now and Peacock.\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The structure is familiar: it’s a time-loop movie. Rachel (Vic Michaelis) goes to her parents’ Hanukkah party, where her grandmother tries to set her up with Zach (Bryan Greenberg), a handsome fellow who unfortunately bumped into her earlier in the day and destroyed the box of \u003cem>sufganiyot \u003c/em>(jelly doughnuts) she was bringing to the party. But Rachel has a boyfriend, so she doesn’t take much of an interest, but when she wakes up the next morning … it’s the same morning all over again, the seventh night of Hanukkah. So now, like so many protagonists before her (\u003cem>Groundhog Day\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13883236/kick-back-with-palm-springs-a-witty-romcom-about-fighting-despair\">\u003cem>Palm Springs \u003c/em>\u003c/a>both get explicit shout-outs in the dialogue), she’s trapped and needs to figure out how to break the loop so her life can continue.\u003c/p>\n\u003cp>As she continues in the loop, she decides to bring Zach in on her problem, and he — an adorable nerd who’s carrying around his D&D dice in a special box, and whose friends run a comic-book store — resolves to try to help, even though every day he has to be brought up to speed all over again.\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/-uFjJH8NhnY'\n title='//www.youtube.com/embed/-uFjJH8NhnY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This all sounds very familiar, I know. But the execution is terrific. The dialogue sparkles, the relationship feels genuine, the ending is warm and really satisfying, and you get to watch the marvelous Rick Hoffman (who played Louis on \u003cem>Suits\u003c/em>!) play Rachel’s loving father, who is the smart and fun kind of weird dad. And Rachel’s sister is married to a woman and they have a child, and their relationship is treated just like everybody else’s, which is a nice place for Hallmark to be.\u003c/p>\n\u003cp>But maybe what I liked most, the farther from the film I got, is that it takes themes of the family’s celebration of Hanukkah — miracles, especially — and \u003cem>lightly \u003c/em>incorporates them, so that without being heavy-handed, when the characters talk about the holiday, it resonates a bit with the underlying story. (And with the eventual resolution to the time loop, which is a delight.) Between the traditions the family observes (not just the menorah, but the food, the prayers, and so on) and some recognition that this is not a huge gift-giving holiday for adults but mostly a family celebration, it really seems like a Hanukkah movie, while also being a \u003cem>lot \u003c/em>of fun. (I don’t celebrate Hanukkah, but here’s a \u003ca href=\"https://www.kveller.com/round-and-round-is-hallmarks-best-hanukkah-movie-yet/\">similarly positive take\u003c/a> from someone who does.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It helps that Michaelis comes from oddball comedy — they hosted a show for the comedy streaming service \u003cem>Dropout\u003c/em>, and they’ve worked with \u003ca href=\"https://ucbcomedy.com/people/vic-michaelis/\">Upright Citizens Brigade\u003c/a>. You can see those comedy chops in Rachel’s sharp approach to her dilemma that is somehow both confident and baffled. The script from Tamar Laddy and the direction from Stacey N. Harding are very well-suited to the project.\u003c/p>\n\u003cp>When I tell people a Hallmark movie is good, they often assume that there’s an undercurrent that you grade these things on a curve — that they are not good in the way other things are good. \u003cem>Round and Round \u003c/em>is plain old good, a spry and funny romcom I’d have been delighted to discover inside or outside the Hallmark universe.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=One+last+Hanukkah+gift+from+Hallmark%3A+%27Round+and+Round%27+is+a+really+fun+romcom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>‘Round and Round’ is streaming now on Hallmark Movies Now and Peacock.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Are You Playing ‘Whamageddon’? It’s the Christmas Game You’ve Probably Already Lost",
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"content": "\u003cp>Last weekend, a DJ caused a stir in Britain after playing the hit Wham! song “Last Christmas” at a soccer game in front of about 60,000 people.\u003c/p>\n\u003cp>A week earlier, another DJ had done the same at a match with 7,000 people, prompting him to apologize in \u003ca href=\"https://www.bbc.com/news/uk-england-northamptonshire-67659010\">an interview with the BBC\u003c/a>.\u003c/p>\n\u003cp>Why? These tune-slingers had just “whammed” their audience, potentially knocking tens of thousands of people out of a long-running Christmas game.\u003c/p>\n\u003cp>Confused? Let’s back up.\u003c/p>\n\u003cp>There is a game called Whamaggedon that’s popular this time of year — especially in Britain — which consists of not listening to the holiday classic by the ’80s pop duo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ReK9MVrOq0w\u003c/p>\n\u003cp>From Dec 1-24, if you listen and recognize the original version of the song, it’s game over. Listening to remixes and covers is fine.\u003c/p>\n\u003cp>[aside postid='arts_13890578']“The very moment you have that ‘Oh no’ feeling in your brain, that’s the moment you’re out,” said Thomas Mertz, who lives in Copenhagen, Denmark, and created the game almost two decades ago with some friends.\u003c/p>\n\u003cp>It’s all for fun, there are no prizes, and if you do get “whammed,” as Mertz called it, you just drop out.\u003c/p>\n\u003cp>Mertz made it clear that the song isn’t the problem. In fact, he plays it repeatedly the week before the game starts, and again as a sort of celebration after he gets whammed. But he said in the early 2000s in Denmark, you pretty much couldn’t go anywhere without hearing those dulcet tones.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7SFtYd1mWgs&t=125s\u003c/p>\n\u003cp>“We were thinking, like, it’s frustrating and it’s getting to the point of being annoying. But rather than becoming upset about it, we turned it into a game,” he said.\u003c/p>\n\u003cp>The challenge eventually became a hashtag and a Facebook page. It also blew up when Wham! lead singer George Michael died in 2016.\u003c/p>\n\u003cp>“That created a social storm of attention that the next year kind of launched it into a much, much bigger thing than we ever imagined it could become,” Mertz said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-15-at-11.27.53-AM.png\" alt=\"\" width=\"1012\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-15-at-11.27.53-AM.png 1012w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-15-at-11.27.53-AM-800x321.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-15-at-11.27.53-AM-160x64.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-15-at-11.27.53-AM-768x308.png 768w\" sizes=\"(max-width: 1012px) 100vw, 1012px\">\u003c/p>\n\u003cp>As for tactics, Mertz said he has seen two methods to avoid losing.\u003c/p>\n\u003cp>“The most effective thing is what people already have, which is noise-canceling headphones,” he said. “They are the best tool, hands down, to survive.”\u003c/p>\n\u003cp>[aside postid='arts_13939198']A little bit of obliviousness also helps: “A lot of people tell me that they are the kind of people who kind of go through life a little bit oblivious to their surroundings, and they have an easier time of it than most, I think, because they just don’t pick up on music.”\u003c/p>\n\u003cp>In Britain, some pubs have even \u003ca href=\"https://www.vice.com/en/article/gy73p7/over-200-british-pubs-will-refuse-to-play-whams-last-christmas-this-month\">taken the song out of their Christmas playlists\u003c/a>, so as to not ruin the game for people. But the whole point of the game is that there is a risk of listening to the song, Mertz said.\u003c/p>\n\u003cp>So for those who are still in the game, best of luck. For those who are already knocked out, or just want a bit of Wham! magic this holiday season, have another spin of the Christmas classic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E8gmARGvPlI\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=Are+you+playing+%27Whamageddon%27%3F+It%27s+the+Christmas+game+you%27ve+probably+already+lost&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The very moment you have that ‘Oh no’ feeling in your brain, that’s the moment you’re out,” said Thomas Mertz, who lives in Copenhagen, Denmark, and created the game almost two decades ago with some friends.\u003c/p>\n\u003cp>It’s all for fun, there are no prizes, and if you do get “whammed,” as Mertz called it, you just drop out.\u003c/p>\n\u003cp>Mertz made it clear that the song isn’t the problem. In fact, he plays it repeatedly the week before the game starts, and again as a sort of celebration after he gets whammed. But he said in the early 2000s in Denmark, you pretty much couldn’t go anywhere without hearing those dulcet tones.\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/7SFtYd1mWgs'\n title='//www.youtube.com/embed/7SFtYd1mWgs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We were thinking, like, it’s frustrating and it’s getting to the point of being annoying. But rather than becoming upset about it, we turned it into a game,” he said.\u003c/p>\n\u003cp>The challenge eventually became a hashtag and a Facebook page. It also blew up when Wham! lead singer George Michael died in 2016.\u003c/p>\n\u003cp>“That created a social storm of attention that the next year kind of launched it into a much, much bigger thing than we ever imagined it could become,” Mertz said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-15-at-11.27.53-AM.png\" alt=\"\" width=\"1012\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-15-at-11.27.53-AM.png 1012w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-15-at-11.27.53-AM-800x321.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-15-at-11.27.53-AM-160x64.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-15-at-11.27.53-AM-768x308.png 768w\" sizes=\"(max-width: 1012px) 100vw, 1012px\">\u003c/p>\n\u003cp>As for tactics, Mertz said he has seen two methods to avoid losing.\u003c/p>\n\u003cp>“The most effective thing is what people already have, which is noise-canceling headphones,” he said. “They are the best tool, hands down, to survive.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A little bit of obliviousness also helps: “A lot of people tell me that they are the kind of people who kind of go through life a little bit oblivious to their surroundings, and they have an easier time of it than most, I think, because they just don’t pick up on music.”\u003c/p>\n\u003cp>In Britain, some pubs have even \u003ca href=\"https://www.vice.com/en/article/gy73p7/over-200-british-pubs-will-refuse-to-play-whams-last-christmas-this-month\">taken the song out of their Christmas playlists\u003c/a>, so as to not ruin the game for people. But the whole point of the game is that there is a risk of listening to the song, Mertz said.\u003c/p>\n\u003cp>So for those who are still in the game, best of luck. For those who are already knocked out, or just want a bit of Wham! magic this holiday season, have another spin of the Christmas classic.\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/E8gmARGvPlI'\n title='//www.youtube.com/embed/E8gmARGvPlI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=Are+you+playing+%27Whamageddon%27%3F+It%27s+the+Christmas+game+you%27ve+probably+already+lost&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Crown’ Ends as Pensive Meditation on the Most Private Public Family on Earth",
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"content": "\u003cp>\u003cem>(Hear ye hear ye — Be warned the following analysis reveals details from the final batch of episodes in Netflix’s \u003c/em>The Crown.\u003cem>)\u003c/em>\u003c/p>\n\u003cp>It makes a certain kind of sense that Netflix’s \u003cem>The Crown\u003c/em> is ending now — as criticisms for the series’ depiction of Britain’s royal family have grown and its status as one of TV’s most acclaimed dramas has eroded.\u003c/p>\n\u003cp>[aside postid='arts_13938187']Indeed, the final batch of episodes dropping in the show’s sixth and last season — four episodes depicting the death of Diana, Princess of Wales were released last month — feel like a slow-moving, if thoughtful, conclusion, after all the controversy and emotion detailing Diana’s untimely end.\u003c/p>\n\u003cp>These new episodes show us how a college-age Prince William wooed Kate Middleton, the lengths then-Prince Charles had to navigate for his mother’s permission to marry Camilla Parker Bowles, and Queen Elizabeth literally debating herself over whether she should step aside after the wedding and allow Charles to become king before her death.\u003c/p>\n\u003cp>“Admit it… you sometimes think there’s a difference between you and the rest of the family,” she says to herself, in a scene that underscores a major theme running through the entire series.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It comes naturally to you,” she adds. “They all seem to make such a mess of it … shouldn’t you stay for every single day that you can?”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RtJLfEX8tKM\u003c/p>\n\u003ch3>The story of duty vs. personal fulfillment\u003c/h3>\n\u003cp>History tells us how that decision turned out; \u003cem>The Crown\u003c/em> shows the Queen scratching out lines in her speech prepared for Charles’ wedding reception in 2005, eliminating the sentences which would have presumably announced her retirement.\u003c/p>\n\u003cp>It is also fitting that the final episode would linger on the Queen’s meditation about her own duty, the longevity of her rule and whether continuing on would be best for the monarchy and Britain itself. \u003cem>The Crown\u003c/em> has always been an extended love letter to the woman who would become the longest-serving British monarch in history, while continually wrestling with the implications of her reign.\u003c/p>\n\u003cp>Over the series’ broad sweep, we’ve seen Queen Elizabeth challenged in any number of ways, from learning to channel the nation’s grief \u003ca href=\"https://www.vulture.com/2019/11/aberfan-disaster-the-crown-season-3.html\">after a disaster in the Welsh mining village of Aberfan\u003c/a>, to handling husband Prince Philip’s frustrations at always coming second, to facing down the ways her own emotional distance affected her children or how she felt threatened by Diana’s popularity and unwillingness to accept a loveless marriage to Charles.\u003c/p>\n\u003cfigure id=\"attachment_13939417\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939417\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/queen-and-philip_wide-eafb3a0d08736cb5ebce0a96427c35afa601c221-e1702581962746.jpe\" alt=\"An elderly woman in a blue suit and matching hat looks up fondly at an elderly man in a suit.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Imelda Staunton and Jonathan Pryce as Queen Elizabeth II and Prince Philip. \u003ccite>(Justin Downing/ Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Creator and showrunner Peter Morgan has always kept the same themes front and center, asking potent questions while keeping his finger on the scale, tilted firmly toward the Queen. What role does or should a monarchy have in a modern, changing democracy? How much should duty and tradition bind the royal family serving as the embodiment of a nation’s spirit? Where is the line between leading a family which heads a nation and simply being a good wife, mother and grandmother?\u003c/p>\n\u003ch3>Telling the story with three different Queens\u003c/h3>\n\u003cp>Along the way, the show deftly deployed an inspired strategy, casting different collections of performers to play the royal family in different decades, leveraging an astonishing lineup of talented names.\u003c/p>\n\u003cp>[aside postid='arts_13866072']From Claire Foy, Matt Smith and Vanessa Kirby as Queen Elizabeth, Prince Philip and Princess Margaret in the first two seasons, to Olivia Colman, Tobias Menzies and Helena Bonham Carter as the same characters in seasons three and four and Imelda Staunton, Jonathan Pryce and Lesley Manville for the last two seasons — each trio presented a different chemistry while maintaining a continuity with those who came before.\u003c/p>\n\u003cp>Some performers, like Elizabeth Debicki as Diana, manage the feat of looking like carbon copies of the figures they are playing, while bringing serious acting chops to their scenes. Others, like Dominic West as Prince Charles, don’t necessarily resemble the characters as much as embody what’s needed for the story — in West’s case, he’s an actor skilled at playing sympathetic cads, capable of keeping audiences invested in a character who often acts terribly, envying both his mother and his ex-wife for their popularity and power.\u003c/p>\n\u003cp>Each season unfolds with the lush production values of a feature film, with inspired supporting performances from names like Jared Harris (King George IV), John Lithgow (Winston Churchill), Gillian Anderson (Margaret Thatcher) and Emerald Fennell (young Camilla).\u003c/p>\n\u003cfigure id=\"attachment_13939418\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939418\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/thecrown_first-season-foy-and-smith-11_wide-7b219b8818496e420eb7f17e79483c634bd20d87-e1702582041559.jpe\" alt=\"A young woman wearing a diamond crown and earrings glances over her shoulder. She is wearing a white fur. A man stands behind her wearing a tuxedo.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Claire Foy and Matt Smith as Queen Elizabeth II and Prince Philip. \u003ccite>(Robert Viglasky/ Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>More than propaganda for the monarchy\u003c/h3>\n\u003cp>Critics say the series often seems like a six-season advertisement for the royal family — at a time when public support for the institution \u003ca href=\"https://www.theguardian.com/uk-news/2023/apr/28/public-support-monarchy-historic-low-poll-reveals#:~:text=A%20survey%20by%20the%20National,important%20or%20not%20very%20important.\">is at historic lows\u003c/a> — and they have a point. But there is a subtle difference between lionizing characters and humanizing them; by showing the inner workings of a family which has worked so hard to keep such things from public view, the impact is bound to produce sympathy, even when they’re acting awfully.\u003c/p>\n\u003cp>Of course, that also means the show is constantly re-creating conversations and scenes which few outside the royal family have ever seen; backlash from major names like actor Dame Judi Dench led to calls for a disclaimer highlighting the speculation involved. The show \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2022-10-21/netflix-the-crown-disclaimer-judi-dench-backlash\">has often called itself\u003c/a> a “fictional dramatization” — isn’t that what most scripted TV shows are? — as if a bit of fine print could overcome the power of seeing disputed events, like Dodi Fayed proposing marriage to Diana, given life.\u003c/p>\n\u003cp>[aside postid='arts_13919284']Over six seasons, \u003cem>The Crown\u003c/em> has emerged as a high-quality melodrama centered on the most famous family on the planet. The final six episodes strain under the weight of that legacy a bit, with heavy-handed foreshadowing of things we know are coming, from the rift between Princes William and Harry to the death of the Queen herself — who closes out the series working with her aides to plan a funeral which wouldn’t happen for another 17 years.\u003c/p>\n\u003cp>In the end, Morgan doesn’t fully answer many of the questions his show has raised, particularly the big one: whether a monarchy with a hereditary sovereign even makes sense for the United Kingdom, anymore.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That may be the criticism which stings most. After such close dissection of the Queen’s 70-year reign, \u003cem>The Crown\u003c/em> ends with important questions left unsettled — even those asked by monarch herself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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+Crown%27+ends+as+pensive+meditation+on+the+most+private+public+family+on+Earth&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Indeed, the final batch of episodes dropping in the show’s sixth and last season — four episodes depicting the death of Diana, Princess of Wales were released last month — feel like a slow-moving, if thoughtful, conclusion, after all the controversy and emotion detailing Diana’s untimely end.\u003c/p>\n\u003cp>These new episodes show us how a college-age Prince William wooed Kate Middleton, the lengths then-Prince Charles had to navigate for his mother’s permission to marry Camilla Parker Bowles, and Queen Elizabeth literally debating herself over whether she should step aside after the wedding and allow Charles to become king before her death.\u003c/p>\n\u003cp>“Admit it… you sometimes think there’s a difference between you and the rest of the family,” she says to herself, in a scene that underscores a major theme running through the entire series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It comes naturally to you,” she adds. “They all seem to make such a mess of it … shouldn’t you stay for every single day that you can?”\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/RtJLfEX8tKM'\n title='//www.youtube.com/embed/RtJLfEX8tKM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The story of duty vs. personal fulfillment\u003c/h3>\n\u003cp>History tells us how that decision turned out; \u003cem>The Crown\u003c/em> shows the Queen scratching out lines in her speech prepared for Charles’ wedding reception in 2005, eliminating the sentences which would have presumably announced her retirement.\u003c/p>\n\u003cp>It is also fitting that the final episode would linger on the Queen’s meditation about her own duty, the longevity of her rule and whether continuing on would be best for the monarchy and Britain itself. \u003cem>The Crown\u003c/em> has always been an extended love letter to the woman who would become the longest-serving British monarch in history, while continually wrestling with the implications of her reign.\u003c/p>\n\u003cp>Over the series’ broad sweep, we’ve seen Queen Elizabeth challenged in any number of ways, from learning to channel the nation’s grief \u003ca href=\"https://www.vulture.com/2019/11/aberfan-disaster-the-crown-season-3.html\">after a disaster in the Welsh mining village of Aberfan\u003c/a>, to handling husband Prince Philip’s frustrations at always coming second, to facing down the ways her own emotional distance affected her children or how she felt threatened by Diana’s popularity and unwillingness to accept a loveless marriage to Charles.\u003c/p>\n\u003cfigure id=\"attachment_13939417\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939417\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/queen-and-philip_wide-eafb3a0d08736cb5ebce0a96427c35afa601c221-e1702581962746.jpe\" alt=\"An elderly woman in a blue suit and matching hat looks up fondly at an elderly man in a suit.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Imelda Staunton and Jonathan Pryce as Queen Elizabeth II and Prince Philip. \u003ccite>(Justin Downing/ Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Creator and showrunner Peter Morgan has always kept the same themes front and center, asking potent questions while keeping his finger on the scale, tilted firmly toward the Queen. What role does or should a monarchy have in a modern, changing democracy? How much should duty and tradition bind the royal family serving as the embodiment of a nation’s spirit? Where is the line between leading a family which heads a nation and simply being a good wife, mother and grandmother?\u003c/p>\n\u003ch3>Telling the story with three different Queens\u003c/h3>\n\u003cp>Along the way, the show deftly deployed an inspired strategy, casting different collections of performers to play the royal family in different decades, leveraging an astonishing lineup of talented names.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>From Claire Foy, Matt Smith and Vanessa Kirby as Queen Elizabeth, Prince Philip and Princess Margaret in the first two seasons, to Olivia Colman, Tobias Menzies and Helena Bonham Carter as the same characters in seasons three and four and Imelda Staunton, Jonathan Pryce and Lesley Manville for the last two seasons — each trio presented a different chemistry while maintaining a continuity with those who came before.\u003c/p>\n\u003cp>Some performers, like Elizabeth Debicki as Diana, manage the feat of looking like carbon copies of the figures they are playing, while bringing serious acting chops to their scenes. Others, like Dominic West as Prince Charles, don’t necessarily resemble the characters as much as embody what’s needed for the story — in West’s case, he’s an actor skilled at playing sympathetic cads, capable of keeping audiences invested in a character who often acts terribly, envying both his mother and his ex-wife for their popularity and power.\u003c/p>\n\u003cp>Each season unfolds with the lush production values of a feature film, with inspired supporting performances from names like Jared Harris (King George IV), John Lithgow (Winston Churchill), Gillian Anderson (Margaret Thatcher) and Emerald Fennell (young Camilla).\u003c/p>\n\u003cfigure id=\"attachment_13939418\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939418\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/thecrown_first-season-foy-and-smith-11_wide-7b219b8818496e420eb7f17e79483c634bd20d87-e1702582041559.jpe\" alt=\"A young woman wearing a diamond crown and earrings glances over her shoulder. She is wearing a white fur. A man stands behind her wearing a tuxedo.\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">Claire Foy and Matt Smith as Queen Elizabeth II and Prince Philip. \u003ccite>(Robert Viglasky/ Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>More than propaganda for the monarchy\u003c/h3>\n\u003cp>Critics say the series often seems like a six-season advertisement for the royal family — at a time when public support for the institution \u003ca href=\"https://www.theguardian.com/uk-news/2023/apr/28/public-support-monarchy-historic-low-poll-reveals#:~:text=A%20survey%20by%20the%20National,important%20or%20not%20very%20important.\">is at historic lows\u003c/a> — and they have a point. But there is a subtle difference between lionizing characters and humanizing them; by showing the inner workings of a family which has worked so hard to keep such things from public view, the impact is bound to produce sympathy, even when they’re acting awfully.\u003c/p>\n\u003cp>Of course, that also means the show is constantly re-creating conversations and scenes which few outside the royal family have ever seen; backlash from major names like actor Dame Judi Dench led to calls for a disclaimer highlighting the speculation involved. The show \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2022-10-21/netflix-the-crown-disclaimer-judi-dench-backlash\">has often called itself\u003c/a> a “fictional dramatization” — isn’t that what most scripted TV shows are? — as if a bit of fine print could overcome the power of seeing disputed events, like Dodi Fayed proposing marriage to Diana, given life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That may be the criticism which stings most. After such close dissection of the Queen’s 70-year reign, \u003cem>The Crown\u003c/em> ends with important questions left unsettled — even those asked by monarch herself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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+Crown%27+ends+as+pensive+meditation+on+the+most+private+public+family+on+Earth&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Monk’ Returns for One ‘Last Case’ and It’s a Heaping Serving of TV Comfort Food",
"headTitle": "‘Monk’ Returns for One ‘Last Case’ and It’s a Heaping Serving of TV Comfort Food | KQED",
"content": "\u003cp>The USA Network detective series \u003cem>Monk\u003c/em>, like its title character, always stood out as being a little … unusual.\u003c/p>\n\u003cp>An hour-long police procedural, the show aired from 2002 until 2009 and presented a different murder to solve each episode. Yet — like the classic TV series \u003cem>Columbo\u003c/em> — it not only focused on the particulars of its central mystery, but also took time to have fun with the quirky brilliance of its lead investigator, Adrian Monk (played by \u003ca href=\"https://www.npr.org/2018/07/31/634299761/tony-shalhoub-on-mrs-maisel-and-questioning-his-worth-as-an-actor\">Tony Shalhoub\u003c/a>), who had obsessive-compulsive disorder. Now, after almost 15 years, Shalhoub and most of his original castmates are back, in a new movie on the Peacock streaming service, titled \u003cem>Mr. Monk’s Last Case.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13939092']Despite some dark and dramatic moments, the original \u003cem>Monk \u003c/em>played like a comedy. In fact, creator Andy Breckman submitted the show for Emmy consideration in the comedy categories, and Shalhoub competed against sitcom stars to win the award for lead actor three times. And until \u003ca href=\"https://www.npr.org/2017/10/23/559035940/the-walking-dead-returns-to-form-in-season-8-premiere\">\u003cem>The Walking Dead\u003c/em>\u003c/a> came along, the finale of \u003cem>Monk \u003c/em>held the record as the most-viewed scripted drama on cable television.\u003c/p>\n\u003cp>In that last episode of \u003cem>Monk\u003c/em>, back in 2009, Adrian finally cracked the case that had triggered his OCD compulsions — the unsolved murder of his wife, Trudy. Now, in this movie sequel, writer Breckman and director Randy Zisk revisit the character after all this time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Krfd3OWb4hs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Mr. Monk’s Last Case\u003c/em> begins by establishing how the title character has, and hasn’t, moved on since we last saw him. We learn that Adrian retired from the crime-solving business and got a hefty cash advance to write a book about all the murders he’d solved.\u003c/p>\n\u003cp>[aside postid='arts_13938662']Unfortunately, Adrian’s fears and compulsions didn’t leave him, and while working obsessively on his memoirs, he became a relative recluse. The outbreak of COVID didn’t help, but his stepdaughter Molly, a newly introduced character played by Caitlin McGee, moved in with Adrian during the pandemic. She quickly became the most important person in his life, and he was so grateful, he promised to use his book advance to pay for her impending wedding.\u003c/p>\n\u003cp>As this new \u003cem>Monk \u003c/em>movie begins, all seems fine — but not for long. Very quickly, there’s a murder that Adrian feels compelled to solve. And even before that, there’s bad news when Adrian visits the office of his publisher. She’s read the first several hundred pages of his manuscript — and hates them.\u003c/p>\n\u003cp>Adrian’s attention to detail, which helps him solve crimes, apparently doesn’t help so much when it comes to writing memoirs — especially when he goes on for pages about how one murder suspect and he coincidentally used the exact same model of vacuum cleaner. The publisher delivers the blow that she’s rejecting Adrian’s manuscript — and she demands he returns the advance.\u003c/p>\n\u003cfigure id=\"attachment_13939342\" class=\"wp-caption aligncenter\" style=\"max-width: 851px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939342\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de.jpg\" alt=\"A smiling woman wearing a white shirt places something in the jacket pocket of an older man.\" width=\"851\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de.jpg 851w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-768x576.jpg 768w\" sizes=\"(max-width: 851px) 100vw, 851px\">\u003cfigcaption class=\"wp-caption-text\">Molly (Caitlin McGee) helps look after Monk (Tony Shalhoub) in ‘Mr. Monk’s Last Case.’ \u003ccite>(Steve Wilkie/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The publisher’s concern that people may not care as much about Monk after all these years is a sly little nod to what this TV movie is facing. It’s waited so long to reintroduce the character that it’s a whole new world out here — reflected by the fact that \u003cem>Mr. Monk’s Last Case \u003c/em>is premiering not on cable, but streaming on Peacock.\u003c/p>\n\u003cp>[aside postid='arts_13939170']But Adrian Monk and his cohorts do just fine in their 2023 return. Shalhoub slips back into the character with assurance and precision, nailing the comedy in each scene while making room for some somber tones of loss and depression.\u003c/p>\n\u003cp>This movie sequel, however, is anything but depressing. It’s TV comfort food, and it’s enjoyable to catch up not only with Adrian Monk, but with his castmates from the original series. The title of this new Peacock movie is \u003cem>Mr. Monk’s Last Case —\u003c/em> but given how well its ingredients fold together, I wouldn’t necessarily take that title literally.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=%27Monk%27+returns+for+one+%27Last+Case%27+and+it%27s+a+heaping+serving+of+TV+comfort+food&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>‘Mr. Monk’s Last Case’ is streaming now on Peacock.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The USA Network detective series \u003cem>Monk\u003c/em>, like its title character, always stood out as being a little … unusual.\u003c/p>\n\u003cp>An hour-long police procedural, the show aired from 2002 until 2009 and presented a different murder to solve each episode. Yet — like the classic TV series \u003cem>Columbo\u003c/em> — it not only focused on the particulars of its central mystery, but also took time to have fun with the quirky brilliance of its lead investigator, Adrian Monk (played by \u003ca href=\"https://www.npr.org/2018/07/31/634299761/tony-shalhoub-on-mrs-maisel-and-questioning-his-worth-as-an-actor\">Tony Shalhoub\u003c/a>), who had obsessive-compulsive disorder. Now, after almost 15 years, Shalhoub and most of his original castmates are back, in a new movie on the Peacock streaming service, titled \u003cem>Mr. Monk’s Last Case.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite some dark and dramatic moments, the original \u003cem>Monk \u003c/em>played like a comedy. In fact, creator Andy Breckman submitted the show for Emmy consideration in the comedy categories, and Shalhoub competed against sitcom stars to win the award for lead actor three times. And until \u003ca href=\"https://www.npr.org/2017/10/23/559035940/the-walking-dead-returns-to-form-in-season-8-premiere\">\u003cem>The Walking Dead\u003c/em>\u003c/a> came along, the finale of \u003cem>Monk \u003c/em>held the record as the most-viewed scripted drama on cable television.\u003c/p>\n\u003cp>In that last episode of \u003cem>Monk\u003c/em>, back in 2009, Adrian finally cracked the case that had triggered his OCD compulsions — the unsolved murder of his wife, Trudy. Now, in this movie sequel, writer Breckman and director Randy Zisk revisit the character after all this time.\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/Krfd3OWb4hs'\n title='//www.youtube.com/embed/Krfd3OWb4hs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Mr. Monk’s Last Case\u003c/em> begins by establishing how the title character has, and hasn’t, moved on since we last saw him. We learn that Adrian retired from the crime-solving business and got a hefty cash advance to write a book about all the murders he’d solved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Unfortunately, Adrian’s fears and compulsions didn’t leave him, and while working obsessively on his memoirs, he became a relative recluse. The outbreak of COVID didn’t help, but his stepdaughter Molly, a newly introduced character played by Caitlin McGee, moved in with Adrian during the pandemic. She quickly became the most important person in his life, and he was so grateful, he promised to use his book advance to pay for her impending wedding.\u003c/p>\n\u003cp>As this new \u003cem>Monk \u003c/em>movie begins, all seems fine — but not for long. Very quickly, there’s a murder that Adrian feels compelled to solve. And even before that, there’s bad news when Adrian visits the office of his publisher. She’s read the first several hundred pages of his manuscript — and hates them.\u003c/p>\n\u003cp>Adrian’s attention to detail, which helps him solve crimes, apparently doesn’t help so much when it comes to writing memoirs — especially when he goes on for pages about how one murder suspect and he coincidentally used the exact same model of vacuum cleaner. The publisher delivers the blow that she’s rejecting Adrian’s manuscript — and she demands he returns the advance.\u003c/p>\n\u003cfigure id=\"attachment_13939342\" class=\"wp-caption aligncenter\" style=\"max-width: 851px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939342\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de.jpg\" alt=\"A smiling woman wearing a white shirt places something in the jacket pocket of an older man.\" width=\"851\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de.jpg 851w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-768x576.jpg 768w\" sizes=\"(max-width: 851px) 100vw, 851px\">\u003cfigcaption class=\"wp-caption-text\">Molly (Caitlin McGee) helps look after Monk (Tony Shalhoub) in ‘Mr. Monk’s Last Case.’ \u003ccite>(Steve Wilkie/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The publisher’s concern that people may not care as much about Monk after all these years is a sly little nod to what this TV movie is facing. It’s waited so long to reintroduce the character that it’s a whole new world out here — reflected by the fact that \u003cem>Mr. Monk’s Last Case \u003c/em>is premiering not on cable, but streaming on Peacock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Adrian Monk and his cohorts do just fine in their 2023 return. Shalhoub slips back into the character with assurance and precision, nailing the comedy in each scene while making room for some somber tones of loss and depression.\u003c/p>\n\u003cp>This movie sequel, however, is anything but depressing. It’s TV comfort food, and it’s enjoyable to catch up not only with Adrian Monk, but with his castmates from the original series. The title of this new Peacock movie is \u003cem>Mr. Monk’s Last Case —\u003c/em> but given how well its ingredients fold together, I wouldn’t necessarily take that title literally.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=%27Monk%27+returns+for+one+%27Last+Case%27+and+it%27s+a+heaping+serving+of+TV+comfort+food&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>‘Mr. Monk’s Last Case’ is streaming now on Peacock.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cowboys-in-2023-beyonce-reneigh-barbie-bass-reeves-nathan-young-flower-moon",
"title": "How the Remixed American ‘Cowboy’ Became the Breakout Star of 2023",
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"headTitle": "How the Remixed American ‘Cowboy’ Became the Breakout Star of 2023 | KQED",
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"content": "\u003cp>When it came to some of the most urgent and enduring pop culture of 2023, \u003ca href=\"https://www.kqed.org/arts/13939278/charles-lee-sweat-dirt-sf-camerawork-photography\">the cowboy\u003c/a> was center stage. As far as I could see, listen and experience, that most iconic of American characters was being remixed and reframed, often by a new and defiantly inclusive generation.\u003c/p>\n\u003cp>[aside postid='arts_13935703']There were the mirrorball cowboy hats of the \u003cem>Renaissance\u003c/em> tour, the pastel prairie looks of the\u003cem> Eras\u003c/em> concertgoers, and that unforgettable magenta getup Margot Robbie donned in \u003cem>Barbie\u003c/em>. \u003cem>Yellowstone\u003c/em>, a modern Western starring Kevin Costner, was one of the most-watched shows on television, and its new spin-offs \u003cem>1923\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13937598/bass-reeves-deserves-better-lawmen-doesnt-do-justice-to-the-black-u-s-marshal\">\u003cem>Lawmen: Bass Reeves\u003c/em>\u003c/a> lassoed along even more audiences. In New York City, where I live, it seemed like half of all twentysomethings spent the summer in cowboy boots, despite the record-breaking heat. Recently I took some time on \u003cem>It’s Been a Minute\u003c/em>\u003ca href=\"https://www.npr.org/2023/12/08/1197954380/its-been-a-minute-draft-12-08-2023\"> to make sense of the pastoral themes\u003c/a> that drove the year in culture.\u003c/p>\n\u003cp>One could argue that even before this zeigeist-forging year, however, the appeal of the cowboy as a wistful, malleable symbol of Americanhood has never left us. But something about this year’s cowboy kick felt deeper than aesthetics; deeper than a call back to nature beyond our digital lives. 2023 represented a collective and proud reclamation of the cowboy for those who have traditionally felt threatened or excluded by the archetype of the white, patriarchal, ruggedly individualistic gunslinger.\u003c/p>\n\u003cfigure id=\"attachment_13939319\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939319\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM.png\" alt=\"A Black cowboy wearing a sheriff's badge stands in front of a white tent.\" width=\"1296\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-768x511.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">David Oyelowo as Bass Reeves. \u003ccite>(Lauren Smith/ Paramount)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"https://mcadenver.org/exhibitions/cowboy\">the new exhibition, \u003cem>Cowboy\u003c/em>, \u003c/a>at the Museum of Contemporary Art in Denver, a collection of works curated by Nora Burnett Abrams explores and deconstructs the mythology of that archetype. With Denver as its backdrop, a multiracial and gender-spanning mix of artists reframe the cowboy as a uniquely American mingling of traditions that have nothing to do with the Marlboro Man.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CxJkSW2MTpo\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM.png\" alt=\"A painting of a Black cowboy wearing blue jeans, an American flag shirt and a black hat.\" width=\"806\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM.png 806w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-800x1310.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-160x262.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-768x1258.png 768w\" sizes=\"(max-width: 806px) 100vw, 806px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We saw this idea in its most mainstream and live incarnation at the \u003cem>Renaissance\u003c/em> tour. Near the show’s end, a glittering Beyoncé climbed atop the twinkling disco steed that has come to symbolize this era, dubbed “Reneigh” by fans. Suspended by a complex pulley system and showered in sheets of raining confetti, they floated out above a shrieking audience decked out in their space cowboy best.\u003c/p>\n\u003cp>For all the futuristic and android references in the Renaissance stage design, I found it fitting that Beyoncé chose to close her show with an equine moment. Reneigh isn’t just a reference to that famous photo of \u003ca href=\"https://www.vanityfair.com/hollywood/2015/04/bianca-jagger-studio-54\">Bianca Jagger at Studio 54\u003c/a>, she’s also a nod to Beyoncé’s Texan roots. “I grew up going to the Houston Rodeo every year,” Beyoncé told \u003cem>Harper’s Bazaar\u003c/em> in 2021. “It was this amazing diverse and multicultural experience where there was something for every member of the family, including great performances, Houston-style fried Snickers, and fried turkey legs.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CoHxOQhrTHX\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939321\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM.png\" alt=\"A Black woman sits atop a horse wearing diamante encrusted underwear and a shiny dark silver cowboy hat.\" width=\"808\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM.png 808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-800x1309.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-160x262.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-768x1257.png 768w\" sizes=\"(max-width: 808px) 100vw, 808px\">\u003c/a>\u003c/p>\n\u003cp>As curator Abrams told me during our conversation for \u003cem>It’s Been a Minute\u003c/em>, the word “cowboy” has its origins with the enslaved and indentured Black men who cared for American cattle, with “boy” a belittling term aimed at Black men of all ages. Although the culturally imagined cowboy is often white, in reality, Abrams says, in the mid-1800s, between a third and a quarter of all cowboys were either Black or Mexican.\u003c/p>\n\u003cp>[aside postid='arts_13939278']By centering herself as an intergalactic disco cowboy, Beyoncé, a Black Texan woman, is both imagining a radical Black future and recalling the truth of the past. The image of the silvery-spangled pop empress evokes the idea of the cowboy as adventurer, but instead of championing westward expansion, she begs us to extend our capacity for pleasure under the pulsating thump of her musical command.\u003c/p>\n\u003cp>The music scenes that inspired Beyoncé’s \u003cem>Renaissance\u003c/em> are home to queer communities that have been responsible for some of the most inventive and memorable interpretations of the cowboy this year. Director Pedro Almodóvar premiered his short film \u003cem>Strange Way of Life \u003c/em>at the Cannes Film Festival in May, a Western romance starring Ethan Hawke and Pedro Pascal as newly rekindled paramours on the open range.\u003c/p>\n\u003cfigure id=\"attachment_13939322\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939322\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM.png\" alt=\"A man is embraced from behind by another, shorter man.\" width=\"1300\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM.png 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-768x509.png 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Pedro Pascal and Ethan Hawke in Pedro Almodóvar’s film ‘Strange Way of Life.’ \u003ccite>(El Deseo/ Nico Bustos/ Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Almodóvar once declined the offer to direct \u003cem>Brokeback Mountain\u003c/em> but found this an ideal moment to queer the gay cowboy canon in his distinct and lush style. Critics embraced this reinvigoration through the film’s overt references to Douglas Sirk and Sergio Leone, but its brief runtime and limited release somewhat dampened its reception. Fortunately the internet’s thirst for Pascal, and a desire to re-examine the cowboy from a new vantage point in queer cinema, secured the film a prominent spot in the discourse.\u003c/p>\n\u003cp>Another festival favorite this year was \u003cem>National Anthem\u003c/em>, photographer Luke Gilford’s portrait of the queer rodeo scene. Gilford has long meditated on cowboy figures in his portraiture, but the premiere of his film punctuates our current moment.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CxPLwK-sjee\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939323\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM.png\" alt=\"\" width=\"968\" height=\"1342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM.png 968w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-800x1109.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-160x222.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-768x1065.png 768w\" sizes=\"(max-width: 968px) 100vw, 968px\">\u003c/a>\u003c/p>\n\u003cp>Queer notions of the cowboy breathe new life into what is often a staid beacon of traditional masculinity. As\u003cem> New York Times Magazine \u003c/em>writer and culture critic J Wortham explained to me, in this context, the “boy” in “cowboy” is a gender-neutral suggestion. They also pointed out that the cowboy’s accouterments are rife with sexual possibility. A lasso doesn’t have to be \u003cem>just\u003c/em> a lasso, and chaps are sometimes best worn alone. Perhaps the cowboy is not a terrifying interloper, but your sturdy protector, like \u003ca href=\"https://www.gq.com/story/storme-delarverie-suiting\">Stormé DeLarverie,\u003c/a> the pistol-packing guardian of West Village gay and lesbian bars for nearly four decades — a black cowboy hat was often part of her signature look.\u003c/p>\n\u003cp>In Denver’s current \u003cem>Cowboy\u003c/em> exhibition, one artist wrestling with the legacy and future of this image is multidisciplinary artist and composer Nathan Young, a member of the Delaware Tribe of Indians, and descendant of the Pawnee Nation and Kiowa Tribe. Young’s installation is \u003ca href=\"https://wheelwright.org/exhibitions/activation-transformation/\">\u003cem>Activation/Transformation\u003c/em>\u003c/a>, a collection of photographs, boots, hats, and other personal items collected from different generations of his family, some of whom were involved in Native American rodeo culture.\u003c/p>\n\u003cp>[aside postid='arts_13936628']Abrams pointed out how Young’s work exposes the hypocrisy and inaccuracy of the racist “cowboys vs. Indians” trope. “[\u003cem>Activation/Transformation\u003c/em>] upends that silly binary by showing through actual materials how ‘cowboy’ [Young’s] family and his community has always been,” said Abrams. How can the stereotypical cowboy be a calling card of whiteness if so much of its material culture is based in and entwined with the Native American traditions it wishes to annihilate?” It’s this worthy question that surrounds Young’s installation, and also certainly haunts another of one the year’s biggest pop culture moments, Martin Scorsese’s 1920s saga set on the Osage nation, \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This year proved that despite the enduring power of pop culture icons like John Wayne and Buffalo Bill, the symbol of the cowboy — and the stallions, chaps, and lassos that go with it — isn’t owned by colonial expansion or mainstream Hollywood narratives. Over the centuries the cowboy has become an immovable entry in our public domain, free for the most alienated to deconstruct, confront and reclaim as America forges a new path for its future. In trying to put words to the project of “claim[ing] Americanness” while also reckoning with the violence traditionally symbolized by the cowboy’s presence, as critic J Wortham says, “maybe there are other alternate ways of being, and we have to try to embrace them in order to bring them into today.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=How+the+remixed+American+%27cowboy%27+became+the+breakout+star+of+2023&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When it came to some of the most urgent and enduring pop culture of 2023, \u003ca href=\"https://www.kqed.org/arts/13939278/charles-lee-sweat-dirt-sf-camerawork-photography\">the cowboy\u003c/a> was center stage. As far as I could see, listen and experience, that most iconic of American characters was being remixed and reframed, often by a new and defiantly inclusive generation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There were the mirrorball cowboy hats of the \u003cem>Renaissance\u003c/em> tour, the pastel prairie looks of the\u003cem> Eras\u003c/em> concertgoers, and that unforgettable magenta getup Margot Robbie donned in \u003cem>Barbie\u003c/em>. \u003cem>Yellowstone\u003c/em>, a modern Western starring Kevin Costner, was one of the most-watched shows on television, and its new spin-offs \u003cem>1923\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/13937598/bass-reeves-deserves-better-lawmen-doesnt-do-justice-to-the-black-u-s-marshal\">\u003cem>Lawmen: Bass Reeves\u003c/em>\u003c/a> lassoed along even more audiences. In New York City, where I live, it seemed like half of all twentysomethings spent the summer in cowboy boots, despite the record-breaking heat. Recently I took some time on \u003cem>It’s Been a Minute\u003c/em>\u003ca href=\"https://www.npr.org/2023/12/08/1197954380/its-been-a-minute-draft-12-08-2023\"> to make sense of the pastoral themes\u003c/a> that drove the year in culture.\u003c/p>\n\u003cp>One could argue that even before this zeigeist-forging year, however, the appeal of the cowboy as a wistful, malleable symbol of Americanhood has never left us. But something about this year’s cowboy kick felt deeper than aesthetics; deeper than a call back to nature beyond our digital lives. 2023 represented a collective and proud reclamation of the cowboy for those who have traditionally felt threatened or excluded by the archetype of the white, patriarchal, ruggedly individualistic gunslinger.\u003c/p>\n\u003cfigure id=\"attachment_13939319\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939319\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM.png\" alt=\"A Black cowboy wearing a sheriff's badge stands in front of a white tent.\" width=\"1296\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.37.27-AM-768x511.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">David Oyelowo as Bass Reeves. \u003ccite>(Lauren Smith/ Paramount)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ca href=\"https://mcadenver.org/exhibitions/cowboy\">the new exhibition, \u003cem>Cowboy\u003c/em>, \u003c/a>at the Museum of Contemporary Art in Denver, a collection of works curated by Nora Burnett Abrams explores and deconstructs the mythology of that archetype. With Denver as its backdrop, a multiracial and gender-spanning mix of artists reframe the cowboy as a uniquely American mingling of traditions that have nothing to do with the Marlboro Man.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CxJkSW2MTpo\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939320\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM.png\" alt=\"A painting of a Black cowboy wearing blue jeans, an American flag shirt and a black hat.\" width=\"806\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM.png 806w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-800x1310.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-160x262.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.39.25-AM-768x1258.png 768w\" sizes=\"(max-width: 806px) 100vw, 806px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We saw this idea in its most mainstream and live incarnation at the \u003cem>Renaissance\u003c/em> tour. Near the show’s end, a glittering Beyoncé climbed atop the twinkling disco steed that has come to symbolize this era, dubbed “Reneigh” by fans. Suspended by a complex pulley system and showered in sheets of raining confetti, they floated out above a shrieking audience decked out in their space cowboy best.\u003c/p>\n\u003cp>For all the futuristic and android references in the Renaissance stage design, I found it fitting that Beyoncé chose to close her show with an equine moment. Reneigh isn’t just a reference to that famous photo of \u003ca href=\"https://www.vanityfair.com/hollywood/2015/04/bianca-jagger-studio-54\">Bianca Jagger at Studio 54\u003c/a>, she’s also a nod to Beyoncé’s Texan roots. “I grew up going to the Houston Rodeo every year,” Beyoncé told \u003cem>Harper’s Bazaar\u003c/em> in 2021. “It was this amazing diverse and multicultural experience where there was something for every member of the family, including great performances, Houston-style fried Snickers, and fried turkey legs.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CoHxOQhrTHX\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939321\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM.png\" alt=\"A Black woman sits atop a horse wearing diamante encrusted underwear and a shiny dark silver cowboy hat.\" width=\"808\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM.png 808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-800x1309.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-160x262.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.42.16-AM-768x1257.png 768w\" sizes=\"(max-width: 808px) 100vw, 808px\">\u003c/a>\u003c/p>\n\u003cp>As curator Abrams told me during our conversation for \u003cem>It’s Been a Minute\u003c/em>, the word “cowboy” has its origins with the enslaved and indentured Black men who cared for American cattle, with “boy” a belittling term aimed at Black men of all ages. Although the culturally imagined cowboy is often white, in reality, Abrams says, in the mid-1800s, between a third and a quarter of all cowboys were either Black or Mexican.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>By centering herself as an intergalactic disco cowboy, Beyoncé, a Black Texan woman, is both imagining a radical Black future and recalling the truth of the past. The image of the silvery-spangled pop empress evokes the idea of the cowboy as adventurer, but instead of championing westward expansion, she begs us to extend our capacity for pleasure under the pulsating thump of her musical command.\u003c/p>\n\u003cp>The music scenes that inspired Beyoncé’s \u003cem>Renaissance\u003c/em> are home to queer communities that have been responsible for some of the most inventive and memorable interpretations of the cowboy this year. Director Pedro Almodóvar premiered his short film \u003cem>Strange Way of Life \u003c/em>at the Cannes Film Festival in May, a Western romance starring Ethan Hawke and Pedro Pascal as newly rekindled paramours on the open range.\u003c/p>\n\u003cfigure id=\"attachment_13939322\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939322\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM.png\" alt=\"A man is embraced from behind by another, shorter man.\" width=\"1300\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM.png 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.44.17-AM-768x509.png 768w\" sizes=\"(max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Pedro Pascal and Ethan Hawke in Pedro Almodóvar’s film ‘Strange Way of Life.’ \u003ccite>(El Deseo/ Nico Bustos/ Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Almodóvar once declined the offer to direct \u003cem>Brokeback Mountain\u003c/em> but found this an ideal moment to queer the gay cowboy canon in his distinct and lush style. Critics embraced this reinvigoration through the film’s overt references to Douglas Sirk and Sergio Leone, but its brief runtime and limited release somewhat dampened its reception. Fortunately the internet’s thirst for Pascal, and a desire to re-examine the cowboy from a new vantage point in queer cinema, secured the film a prominent spot in the discourse.\u003c/p>\n\u003cp>Another festival favorite this year was \u003cem>National Anthem\u003c/em>, photographer Luke Gilford’s portrait of the queer rodeo scene. Gilford has long meditated on cowboy figures in his portraiture, but the premiere of his film punctuates our current moment.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CxPLwK-sjee\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13939323\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM.png\" alt=\"\" width=\"968\" height=\"1342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM.png 968w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-800x1109.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-160x222.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-13-at-10.47.34-AM-768x1065.png 768w\" sizes=\"(max-width: 968px) 100vw, 968px\">\u003c/a>\u003c/p>\n\u003cp>Queer notions of the cowboy breathe new life into what is often a staid beacon of traditional masculinity. As\u003cem> New York Times Magazine \u003c/em>writer and culture critic J Wortham explained to me, in this context, the “boy” in “cowboy” is a gender-neutral suggestion. They also pointed out that the cowboy’s accouterments are rife with sexual possibility. A lasso doesn’t have to be \u003cem>just\u003c/em> a lasso, and chaps are sometimes best worn alone. Perhaps the cowboy is not a terrifying interloper, but your sturdy protector, like \u003ca href=\"https://www.gq.com/story/storme-delarverie-suiting\">Stormé DeLarverie,\u003c/a> the pistol-packing guardian of West Village gay and lesbian bars for nearly four decades — a black cowboy hat was often part of her signature look.\u003c/p>\n\u003cp>In Denver’s current \u003cem>Cowboy\u003c/em> exhibition, one artist wrestling with the legacy and future of this image is multidisciplinary artist and composer Nathan Young, a member of the Delaware Tribe of Indians, and descendant of the Pawnee Nation and Kiowa Tribe. Young’s installation is \u003ca href=\"https://wheelwright.org/exhibitions/activation-transformation/\">\u003cem>Activation/Transformation\u003c/em>\u003c/a>, a collection of photographs, boots, hats, and other personal items collected from different generations of his family, some of whom were involved in Native American rodeo culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Abrams pointed out how Young’s work exposes the hypocrisy and inaccuracy of the racist “cowboys vs. Indians” trope. “[\u003cem>Activation/Transformation\u003c/em>] upends that silly binary by showing through actual materials how ‘cowboy’ [Young’s] family and his community has always been,” said Abrams. How can the stereotypical cowboy be a calling card of whiteness if so much of its material culture is based in and entwined with the Native American traditions it wishes to annihilate?” It’s this worthy question that surrounds Young’s installation, and also certainly haunts another of one the year’s biggest pop culture moments, Martin Scorsese’s 1920s saga set on the Osage nation, \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year proved that despite the enduring power of pop culture icons like John Wayne and Buffalo Bill, the symbol of the cowboy — and the stallions, chaps, and lassos that go with it — isn’t owned by colonial expansion or mainstream Hollywood narratives. Over the centuries the cowboy has become an immovable entry in our public domain, free for the most alienated to deconstruct, confront and reclaim as America forges a new path for its future. In trying to put words to the project of “claim[ing] Americanness” while also reckoning with the violence traditionally symbolized by the cowboy’s presence, as critic J Wortham says, “maybe there are other alternate ways of being, and we have to try to embrace them in order to bring them into today.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=How+the+remixed+American+%27cowboy%27+became+the+breakout+star+of+2023&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Barbie’ Leads Golden Globe Nominations With 9, Followed by ‘Oppenheimer’",
"headTitle": "‘Barbie’ Leads Golden Globe Nominations With 9, Followed by ‘Oppenheimer’ | KQED",
"content": "\u003cp>Greta Gerwig’s \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a> dominated the Golden Globe Awards nominations with nine nods for the blockbuster film, including best picture musical or comedy as well as acting nominations for Margot Robbie and Ryan Gosling, and three of its original songs.\u003c/p>\n\u003cp>It was closely followed by its release date and \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">meme companion\u003c/a> Christopher Nolan’s \u003cem>Oppenheimer\u003c/em>, which scored eight nominations, including best picture drama and for actors Cillian Murphy, Robert Downey Jr. and Emily Blunt.\u003c/p>\n\u003cp>[aside postid='arts_13931753']The revamped group, now a for-profit endeavor with a larger and more diverse voting body, announced nominations Monday for its January awards show, after scandal and several troubled years, including one without a broadcast. Cedric the Entertainer and Wilmer Valderrama presided over the announcements from the Beverly Hilton Hotel, where the show will also take place on Jan. 7.\u003c/p>\n\u003cp>Films nominated for best motion picture drama included \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a>, Martin Scorsese’s \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>, Bradley Cooper’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13938332/maestro-bradley-cooper-review\">Maestro\u003c/a>\u003c/em>, Celine Song’s \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>, Justine Triet’s \u003cem>Anatomy of a Fall\u003c/em> and Jonathan Glazer’s \u003cem>The Zone of Interest\u003c/em>.\u003c/p>\n\u003cp>In the best motion picture musical or comedy category, \u003cem>Barbie\u003c/em> was joined by \u003cem>Air\u003c/em>, \u003cem>American Fiction\u003c/em>, \u003cem>The Holdovers\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yorgos Lanthimos’ \u003cem>Poor Things\u003c/em> and Scorsese’s \u003cem>Killers of the Flower Moon\u003c/em> both received seven nominations each.\u003cem> Poor Things\u003c/em> saw nominations for Lanthimos, its actors Emma Stone, Mark Ruffalo, Willem Dafoe, and Tony McNamara for screenplay. \u003cem>Killers of the Flower Moon\u003c/em> got nods for Scorsese, for direction and co-writing the screenplay with Eric Roth, and stars Leonardo DiCaprio, Lily Gladstone and Robert De Niro.\u003c/p>\n\u003cp>[aside postid='arts_13938158']Stone, who was also nominated for the Showtime series \u003cem>The Curse\u003c/em>, said in a statement that she was “Feeling extremely bewildered and thankful for it all.” She also said her \u003cem>Poor Things\u003c/em> character Bella Baxter is her favorite and that she was “so grateful for the opportunity to be a part of this magical film experience.”\u003c/p>\n\u003cp>DiCaprio also used his statement to praise Gladstone: “She is the soul of our film and helped to bring this sinister and painful part of our nation’s history to life,” he wrote. The film is about the murders of wealthy Osage individuals in Oklahoma in the early 20th century.\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em> tied for second-most nominations in Globes history with \u003cem>Cabaret\u003c/em>, from 1972. Robert Altman’s \u003cem>Nashville\u003c/em> remains the record-holder with 11 nominations. It went into the morning as a favorite top, and got a big boost from its three original song nominations, including “I’m Just Ken,” and one of the year’s new categories, recognizing cinematic and box office achievement. One person who was not nominated was America Ferrera, who delivered the movie’s most memorable monologue.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13926773/succession-returns-for-a-fourth-and-final-season-of-family-back-stabbing\">\u003cem>Succession\u003c/em>\u003c/a> was the top-nominated television program, with nine nods including for series stars Brian Cox, Jeremy Strong, Sarah Snook and Kieran Culkin, followed by Hulu’s \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13938143']As always there were some big surprises, like Jennifer Lawrence getting nominated for her bawdy R-rated comedy \u003ca href=\"https://www.kqed.org/arts/13930807/jennifer-lawrences-new-raunchy-teen-comedy-is-better-than-it-should-be\">\u003cem>No Hard Feelings\u003c/em>\u003c/a> for best performance by a female actor in a musical or comedy. She was nominated alongside Robbie, Stone and Fantasia Barrino (\u003cem>The Color Purple\u003c/em>), Natalie Portman (\u003cem>May December\u003c/em>) and Alma Pöysti (\u003cem>Fallen Leaves\u003c/em>).\u003c/p>\n\u003cp>Lawrence, in a statement, said she had so much fun making the movie that “it almost feels wrong to accept such an honor — but I will!!!… I cannot wait for some lukewarm Chardonnay. Let’s go!!!”\u003c/p>\n\u003cp>\u003cem>The Color Purple\u003c/em> was expected to do better. The adaption of the stage musical got only two nominations total, both for actors, for Barrino and Danielle Brooks for her supporting performance. Left out was \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a>, who was nominated for best drama actor for \u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Cord Jefferson’s comedy \u003cem>American Fiction\u003c/em> also came up with only two nods, best musical or comedy and for lead actor Jeffrey Wright.\u003c/p>\n\u003cp>Sofia Coppola’s widely acclaimed \u003ca href=\"https://www.kqed.org/arts/13936970/priscilla-movie-review-sofia-coppola-jacob-elordi-cailee-spaeny\">\u003cem>Priscilla\u003c/em>\u003c/a> got only one nomination, for actor Cailee Spaeny’s portrayal of Priscilla Presley. Her category mates in best female performance in a drama include Gladstone, Annette Bening for \u003ca href=\"https://www.kqed.org/arts/13936754/nyad-movie-review-true-story-jodie-foster-swimming-annette-bening\">\u003cem>Nyad\u003c/em>\u003c/a>, Sandra Hüller for \u003cem>Anatomy of a Fall\u003c/em>, Greta Lee for\u003cem> Past Lives\u003c/em> and Carey Mulligan for \u003cem>Maestro\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13936970']The Globes won’t have to worry about anyone criticizing its “all male” directors this year, however. Gerwig was nominated as was Celine Song, for her romantic debut \u003cem>Past Lives\u003c/em>, alongside Nolan, Scorsese, Cooper and Lanthimos.\u003c/p>\n\u003cp>Netflix got the most nominations overall, with 13 total for a slate which included \u003cem>Maestro\u003c/em>, \u003cem>May December\u003c/em> and \u003cem>Rustin\u003c/em>, followed by Warner Bros., which made \u003cem>Barbie\u003c/em> and \u003cem>The Color Purple\u003c/em> with 12.\u003c/p>\n\u003cp>Ridley Scott’s \u003ca href=\"https://www.kqed.org/arts/13938168/ridley-scott-napoleon-movie-review-joaquin-phoenix\">\u003cem>Napoleon\u003c/em>\u003c/a> was not nominated at all. Instead, its star Joaquin Phoenix was recognized for \u003cem>Beau Is Afraid\u003c/em> in the lead actor comedy/musical category, with Wright, Matt Damon (\u003cem>Air\u003c/em>), Nicolas Cage (\u003ca href=\"https://www.kqed.org/arts/13937870/dream-scenario-movie-review-nicolas-cage-julianne-nicholson-kristoffer-borgli\">\u003cem>Dream Scenario\u003c/em>\u003c/a>), Timothée Chalamet (\u003cem>Wonka\u003c/em>) and Paul Giamatti (\u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>). Michael Mann’s \u003cem>Ferrari\u003c/em>, with Adam Driver, and Wes Anderson’s starry \u003ca href=\"https://www.kqed.org/arts/13930502/asteroid-city-review-wes-anderson-scarlet-johansson-jason-schwartzman\">\u003cem>Asteroid City\u003c/em>\u003c/a> also got zero nominations.\u003c/p>\n\u003cp>The voting body has now grown to 300 members, following backlash to a 2021 report in the \u003cem>Los Angeles Times\u003c/em> that found that there were zero Black members in the group that was then composed of only 87 foreign journalists.\u003c/p>\n\u003cp>Perhaps as a result, there were more international films and actors nominated in prominent categories including the Finnish comedy \u003cem>Fallen Leaves\u003c/em>, the courtroom thriller \u003cem>Anatomy of a Fall\u003c/em> and the harrowing Auschwitz drama \u003cem>The Zone of Interest\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13923511']The 81st Golden Globes will be the first major broadcast of awards season, with a new home on CBS, but no word on a host. And while to audiences it might look similar on the surface, it’s been tumultuous few years behind the scenes in the aftermath of the \u003cem>L.A. Times\u003c/em> report, which also exposed ethical lapses like its members accepting lavish gifts and travel from awards publicists and studios.\u003c/p>\n\u003cp>The Globes had long been one of the highest-profile awards season broadcasts, second only to the Oscars. Before the pandemic, it was still pulling in around 19 million viewers. The show was touted as a boozy, A-list party, whose hosts often took a more irreverent tone than their academy counterparts. It also only honored the flashiest filmmaking categories — picture, director, actors among them — meaning no long speeches from visual effects supervisors or directors of shorts no one has heard of.\u003c/p>\n\u003cp>Some years, the HFPA were pilloried for nominating poorly reviewed films with big name talent with hopes of getting them to the show, the most infamous being \u003cem>The Tourist\u003c/em>, with Angelina Jolie and Johnny Depp. In the past decade, they’ve more often overlapped with the Oscars.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This year, NBC’s Tuesday night broadcast got its smallest audience ever for a traditional broadcast, with 6.3 million viewers.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Greta Gerwig’s \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">\u003cem>Barbie\u003c/em>\u003c/a> dominated the Golden Globe Awards nominations with nine nods for the blockbuster film, including best picture musical or comedy as well as acting nominations for Margot Robbie and Ryan Gosling, and three of its original songs.\u003c/p>\n\u003cp>It was closely followed by its release date and \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">meme companion\u003c/a> Christopher Nolan’s \u003cem>Oppenheimer\u003c/em>, which scored eight nominations, including best picture drama and for actors Cillian Murphy, Robert Downey Jr. and Emily Blunt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The revamped group, now a for-profit endeavor with a larger and more diverse voting body, announced nominations Monday for its January awards show, after scandal and several troubled years, including one without a broadcast. Cedric the Entertainer and Wilmer Valderrama presided over the announcements from the Beverly Hilton Hotel, where the show will also take place on Jan. 7.\u003c/p>\n\u003cp>Films nominated for best motion picture drama included \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a>, Martin Scorsese’s \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em>\u003c/a>, Bradley Cooper’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13938332/maestro-bradley-cooper-review\">Maestro\u003c/a>\u003c/em>, Celine Song’s \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a>, Justine Triet’s \u003cem>Anatomy of a Fall\u003c/em> and Jonathan Glazer’s \u003cem>The Zone of Interest\u003c/em>.\u003c/p>\n\u003cp>In the best motion picture musical or comedy category, \u003cem>Barbie\u003c/em> was joined by \u003cem>Air\u003c/em>, \u003cem>American Fiction\u003c/em>, \u003cem>The Holdovers\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yorgos Lanthimos’ \u003cem>Poor Things\u003c/em> and Scorsese’s \u003cem>Killers of the Flower Moon\u003c/em> both received seven nominations each.\u003cem> Poor Things\u003c/em> saw nominations for Lanthimos, its actors Emma Stone, Mark Ruffalo, Willem Dafoe, and Tony McNamara for screenplay. \u003cem>Killers of the Flower Moon\u003c/em> got nods for Scorsese, for direction and co-writing the screenplay with Eric Roth, and stars Leonardo DiCaprio, Lily Gladstone and Robert De Niro.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Stone, who was also nominated for the Showtime series \u003cem>The Curse\u003c/em>, said in a statement that she was “Feeling extremely bewildered and thankful for it all.” She also said her \u003cem>Poor Things\u003c/em> character Bella Baxter is her favorite and that she was “so grateful for the opportunity to be a part of this magical film experience.”\u003c/p>\n\u003cp>DiCaprio also used his statement to praise Gladstone: “She is the soul of our film and helped to bring this sinister and painful part of our nation’s history to life,” he wrote. The film is about the murders of wealthy Osage individuals in Oklahoma in the early 20th century.\u003c/p>\n\u003cp>\u003cem>Barbie\u003c/em> tied for second-most nominations in Globes history with \u003cem>Cabaret\u003c/em>, from 1972. Robert Altman’s \u003cem>Nashville\u003c/em> remains the record-holder with 11 nominations. It went into the morning as a favorite top, and got a big boost from its three original song nominations, including “I’m Just Ken,” and one of the year’s new categories, recognizing cinematic and box office achievement. One person who was not nominated was America Ferrera, who delivered the movie’s most memorable monologue.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13926773/succession-returns-for-a-fourth-and-final-season-of-family-back-stabbing\">\u003cem>Succession\u003c/em>\u003c/a> was the top-nominated television program, with nine nods including for series stars Brian Cox, Jeremy Strong, Sarah Snook and Kieran Culkin, followed by Hulu’s \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As always there were some big surprises, like Jennifer Lawrence getting nominated for her bawdy R-rated comedy \u003ca href=\"https://www.kqed.org/arts/13930807/jennifer-lawrences-new-raunchy-teen-comedy-is-better-than-it-should-be\">\u003cem>No Hard Feelings\u003c/em>\u003c/a> for best performance by a female actor in a musical or comedy. She was nominated alongside Robbie, Stone and Fantasia Barrino (\u003cem>The Color Purple\u003c/em>), Natalie Portman (\u003cem>May December\u003c/em>) and Alma Pöysti (\u003cem>Fallen Leaves\u003c/em>).\u003c/p>\n\u003cp>Lawrence, in a statement, said she had so much fun making the movie that “it almost feels wrong to accept such an honor — but I will!!!… I cannot wait for some lukewarm Chardonnay. Let’s go!!!”\u003c/p>\n\u003cp>\u003cem>The Color Purple\u003c/em> was expected to do better. The adaption of the stage musical got only two nominations total, both for actors, for Barrino and Danielle Brooks for her supporting performance. Left out was \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a>, who was nominated for best drama actor for \u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Cord Jefferson’s comedy \u003cem>American Fiction\u003c/em> also came up with only two nods, best musical or comedy and for lead actor Jeffrey Wright.\u003c/p>\n\u003cp>Sofia Coppola’s widely acclaimed \u003ca href=\"https://www.kqed.org/arts/13936970/priscilla-movie-review-sofia-coppola-jacob-elordi-cailee-spaeny\">\u003cem>Priscilla\u003c/em>\u003c/a> got only one nomination, for actor Cailee Spaeny’s portrayal of Priscilla Presley. Her category mates in best female performance in a drama include Gladstone, Annette Bening for \u003ca href=\"https://www.kqed.org/arts/13936754/nyad-movie-review-true-story-jodie-foster-swimming-annette-bening\">\u003cem>Nyad\u003c/em>\u003c/a>, Sandra Hüller for \u003cem>Anatomy of a Fall\u003c/em>, Greta Lee for\u003cem> Past Lives\u003c/em> and Carey Mulligan for \u003cem>Maestro\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Globes won’t have to worry about anyone criticizing its “all male” directors this year, however. Gerwig was nominated as was Celine Song, for her romantic debut \u003cem>Past Lives\u003c/em>, alongside Nolan, Scorsese, Cooper and Lanthimos.\u003c/p>\n\u003cp>Netflix got the most nominations overall, with 13 total for a slate which included \u003cem>Maestro\u003c/em>, \u003cem>May December\u003c/em> and \u003cem>Rustin\u003c/em>, followed by Warner Bros., which made \u003cem>Barbie\u003c/em> and \u003cem>The Color Purple\u003c/em> with 12.\u003c/p>\n\u003cp>Ridley Scott’s \u003ca href=\"https://www.kqed.org/arts/13938168/ridley-scott-napoleon-movie-review-joaquin-phoenix\">\u003cem>Napoleon\u003c/em>\u003c/a> was not nominated at all. Instead, its star Joaquin Phoenix was recognized for \u003cem>Beau Is Afraid\u003c/em> in the lead actor comedy/musical category, with Wright, Matt Damon (\u003cem>Air\u003c/em>), Nicolas Cage (\u003ca href=\"https://www.kqed.org/arts/13937870/dream-scenario-movie-review-nicolas-cage-julianne-nicholson-kristoffer-borgli\">\u003cem>Dream Scenario\u003c/em>\u003c/a>), Timothée Chalamet (\u003cem>Wonka\u003c/em>) and Paul Giamatti (\u003ca href=\"https://www.kqed.org/arts/13937046/alexander-payne-keeps-real-emotion-at-bay-in-the-coyly-comic-holdovers\">\u003cem>The Holdovers\u003c/em>\u003c/a>). Michael Mann’s \u003cem>Ferrari\u003c/em>, with Adam Driver, and Wes Anderson’s starry \u003ca href=\"https://www.kqed.org/arts/13930502/asteroid-city-review-wes-anderson-scarlet-johansson-jason-schwartzman\">\u003cem>Asteroid City\u003c/em>\u003c/a> also got zero nominations.\u003c/p>\n\u003cp>The voting body has now grown to 300 members, following backlash to a 2021 report in the \u003cem>Los Angeles Times\u003c/em> that found that there were zero Black members in the group that was then composed of only 87 foreign journalists.\u003c/p>\n\u003cp>Perhaps as a result, there were more international films and actors nominated in prominent categories including the Finnish comedy \u003cem>Fallen Leaves\u003c/em>, the courtroom thriller \u003cem>Anatomy of a Fall\u003c/em> and the harrowing Auschwitz drama \u003cem>The Zone of Interest\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The 81st Golden Globes will be the first major broadcast of awards season, with a new home on CBS, but no word on a host. And while to audiences it might look similar on the surface, it’s been tumultuous few years behind the scenes in the aftermath of the \u003cem>L.A. Times\u003c/em> report, which also exposed ethical lapses like its members accepting lavish gifts and travel from awards publicists and studios.\u003c/p>\n\u003cp>The Globes had long been one of the highest-profile awards season broadcasts, second only to the Oscars. Before the pandemic, it was still pulling in around 19 million viewers. The show was touted as a boozy, A-list party, whose hosts often took a more irreverent tone than their academy counterparts. It also only honored the flashiest filmmaking categories — picture, director, actors among them — meaning no long speeches from visual effects supervisors or directors of shorts no one has heard of.\u003c/p>\n\u003cp>Some years, the HFPA were pilloried for nominating poorly reviewed films with big name talent with hopes of getting them to the show, the most infamous being \u003cem>The Tourist\u003c/em>, with Angelina Jolie and Johnny Depp. In the past decade, they’ve more often overlapped with the Oscars.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year, NBC’s Tuesday night broadcast got its smallest audience ever for a traditional broadcast, with 6.3 million viewers.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-trends-of-2023",
"title": "The Bay Area's Hottest, Weirdest, Worst and Funniest Trends of 2023",
"publishDate": 1702057187,
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"headTitle": "The Bay Area’s Hottest, Weirdest, Worst and Funniest Trends of 2023 | KQED",
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"content": "\u003cp>Welcome to our list of Bay Area arts and culture trends in 2023. Notably, it was a year that few are describing as “the worst year ever,” as many year-end listmakers were understandably wont to do for a while. We also suppose this list could have included things like AI, driverless cars, robot deliveries and the metaverse. It was just Tom Waits’ birthday; \u003ca href=\"https://www.goodreads.com/quotes/195963-we-are-buried-beneath-the-weight-of-information-which-is\">let’s let him weigh in\u003c/a>. \u003c/p>\n\u003cp>Here’s to you all, individually and collectively, \u003ca href=\"https://www.youtube.com/watch?v=q8AMZmWqgRM\">love and happiness\u003c/a> in 2024. \u003c/p>\n\u003cfigure id=\"attachment_13937426\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-scaled.jpg\" alt=\"A blonde woman with a microphone is on stage performing.\" width=\"2560\" height=\"1815\" class=\"size-full wp-image-13937426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-2048x1452.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1920x1361.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs onstage during The Eras Tour at Levi’s Stadium on July 28, 2023 in Santa Clara. \u003ccite>(Jeff Kravitz/TAS23/Getty Images for TAS Rights Management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Return of the Monoculture\u003c/h2>\n\u003cp>Twelve years after Touré’s defining treatise “\u003ca href=\"https://www.salon.com/2011/09/29/how_niches_killed_culture/\">Why I Miss the Monoculture\u003c/a>,” the monoculture is back, for better or for worse. Taylor Swift alone absolutely dominated the \u003ca href=\"https://www.billboard.com/music/chart-beat/taylor-swift-1989-taylors-version-top-album-sales-chart-1235464968/\">recording\u003c/a>, \u003ca href=\"https://www.normantranscript.com/community/taylor-swift-is-spotify-s-most-streamed-artist-of-2023-ending-bad-bunnys-3-year/article_daecf7f8-8fa4-11ee-8337-5f9be5f11a35.html\">streaming\u003c/a> and \u003ca href=\"https://www.billboard.com/pro/taylor-swift-eras-tour-top-grossing-global-tour/\">touring\u003c/a> industry, while captivating the \u003ca href=\"https://ew.com/movies/taylor-swift-eras-tour-concert-film-tops-box-office-breaks-global-record/\">box office\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13937413/uc-berkeleys-taylor-swift-business-class-set-for-2024\">UC system\u003c/a>, \u003ca href=\"https://time.com/6342806/person-of-the-year-2023-taylor-swift/\">\u003cem>TIME\u003c/em> magazine\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">our nation’s elected officials\u003c/a> — and Beyoncé was \u003ca href=\"https://variety.com/2023/music/news/beyonce-record-most-grammy-wins-all-time-1235513412/\">not far behind\u003c/a>. \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> took the nation’s multiplexes \u003ca href=\"https://variety.com/2023/film/box-office/summer-box-office-hits-4-billion-barbie-oppenheimer-1235712314/\">by storm\u003c/a>, and superhero franchises like \u003cem>Guardians of the Galaxy\u003c/em>, \u003cem>Spider-Man\u003c/em> and \u003cem>Ant-Man\u003c/em> filled out the \u003ca href=\"https://www.boxofficemojo.com/year/2023/\">Top 10 box office list\u003c/a>. In other words, if you needed common ground to talk about with coworkers, you had plenty to pick from this year.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13894605\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13894605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Immersive van Gogh at SVN West, San Francisco. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The End of Immersive ‘Art Experiences’\u003c/h2>\n\u003cp>Let me tell you one thing I didn’t miss this year: being immersed in a so-called art experience. 2022 was full of \u003ca href=\"https://www.kqed.org/arts/13894558/immersive-van-gogh-review-san-francisco\">Immersive van Gogh\u003c/a> spawn (a frankly offensive Frida Kahlo, a fine-by-comparison \u003ca href=\"https://www.kqed.org/arts/13909273/review-imagine-picasso-immersive-san-francisco\">Picasso thing\u003c/a> at the Armory). Those events, in turn, were the immaterial outcome of the \u003ca href=\"https://www.kqed.org/arts/13804930/no-filter-necessary-in-sfs-instagram-ready-color-factory\">Color Factory\u003c/a>, the Museum of Ice Cream and (my personal least favorite) the \u003ca href=\"https://www.kqed.org/arts/13861247/the-90s-experience-instagram\">90’s Experience\u003c/a>. Strangely, we’ve now come full circle: the immersive photo-op has phase-shifted back into physical artwork and taken up residence at our largest museum, courtesy of SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13935810/yayoi-kusama-sfmoma-infinite-love-review\">Yayoi Kusama exhibition\u003c/a>, which literally costs $10 a minute. If museums learned one thing from all the immersive offshoots over the years, it’s that people will pay top dollar for a limited amount of time in an audio-visual experience utterly stripped of context.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939100\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401.jpg\" alt=\"\" width=\"848\" height=\"566\" class=\"size-full wp-image-13939100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401.jpg 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-768x513.jpg 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">If San Francisco’s new marketing campaign slogan sounds familiar, well… (seen here: a sign in Las Vegas.) \u003ccite>(Darren Asay/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Spending Millions Trying to Rebrand Itself\u003c/h2>\n\u003cp>Imagine you live elsewhere, and your understanding of San Francisco is essentially Fox News footage of people pillaging Walgreens. But wait! You encounter a bus ad: “\u003ca href=\"https://www.nytimes.com/2023/10/19/us/san-francisco-ad-campaign.html\">It All Starts Here\u003c/a>.” Are you overcome with desire to travel to SF? How about “\u003ca href=\"https://www.youtube.com/watch?v=3RkuigBlSLg\">Always San Francisco\u003c/a>,” does that do anything for you? This is, as far as I can tell, the scenario on which city leaders and a handful of tech billionaires wagered a combined $10 million in 2023, attempting to reverse reputational damage caused by a dearth of affordable housing, an absurd cost of living and a devastating fentanyl crisis \u003cem>with marketing\u003c/em>. Does this feel a little like the captain of the Titanic launching a social media rebrand mid-collision? Sure! Do nuanced discussions of public health, inequality and long-term investments in the arts make for snappy copy in politicians’ campaign materials? Not really! But hey, maybe we just haven’t come up with the right slogan yet. In the meantime, we have this new “\u003ca href=\"https://sfstandard.com/2023/10/04/san-francisco-anthem-premiere-johns-grill/\">San Francisco theme song\u003c/a>,” about which I will say: \u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">We miss you, Tony Bennett\u003c/a>.\u003cem>—Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop.jpg\" alt=\"A hand reaches to pick up an icy pink beverage. There's also a iced chocolate drink and a plate of corn roti on the table.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13925324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dek Doi Cafe’s Thai-style “pink milk” and street food style sweet roti.\u003c/figcaption>\u003c/figure>\n\u003ch2>The Bay Area’s (Mom-and-Pop) Restaurant Scene Isn’t Dead Yet\u003c/h2>\n\u003cp>These days, keeping a restaurant afloat in the Bay Area seems like an impossible task — an unwinnable battle against \u003ca href=\"https://www.sfgate.com/food/article/oakland-restaurants-crime-closure-18373900.php\">thieves\u003c/a>, \u003ca href=\"https://www.instagram.com/p/Cz2mhcvLNwW/\">vandals\u003c/a> and an overall “\u003ca href=\"https://www.sfchronicle.com/bayarea/article/cafe-international-lower-haight-18339072.php\">sea of lawlessness\u003c/a>.” Or so goes the prevailing narrative, anyway. A few Oakland restaurateurs even declared a (\u003ca href=\"https://oaklandside.org/2023/09/27/strike-oakland-business-closure-protest/\">largely overblown, hour-long\u003c/a>) “strike” in protest. And it’s true that crime (and, nearly as bad, \u003ca href=\"https://www.kqed.org/arts/13933006/hina-yakitori-closing-grilled-chicken-omakase-san-francisco\">the \u003cem>perception\u003c/em> of crime\u003c/a>) is a real concern. This isn’t an economy that leaves much margin for error, and the sheer economics of the Bay have snuffed out a lot of \u003ca href=\"https://www.bonappetit.com/story/sf-bay-area-dining-problem-opinion\">innovation at the highest end\u003c/a>. Still, anyone lamenting the death of Bay Area food hasn’t been eating out at the same places we have — not when 2023 has gifted us with S-tier \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">Haitian comfort food\u003c/a>, idiosyncratic little Thai cafes serving dessert rotis and “\u003ca href=\"https://www.kqed.org/arts/13925310/dek-doi-cafe-pink-milk-thai-bl-oakland\">gay pink milk\u003c/a>,” and joyously off-kilter \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/egglicious-india-san-jose-18193681.php\">Indian egg restaurants\u003c/a>. Now as always, when it comes to niche, street-level mom-and-pops, the Bay remains undefeated.\u003cem>—Luke Tsai\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939096\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans of the Oakland A’s gather during a reverse boycott at the Oakland Coliseum to protest the ownership of the baseball team on June 13, 2023. \u003ccite>(Aryk Copley/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The A’s Resent You\u003c/h2>\n\u003cp>Well, the A’s \u003cem>owners\u003c/em> do, at least. That much was confirmed in 2023, during which, instead of my usual seven or eight games at \u003ca href=\"https://twitter.com/gmeline/status/1179463946631184384\">the greatest ballpark in America\u003c/a>, I could only bring myself to go to one. Finally, after years of neglect, the A’s owner — I’d say his name, but it’d have to be accompanied by the foulest string of obscenities imaginable — acquired approval from Major League Baseball to move the whole sad, desiccated team southward to sad, desiccated Las Vegas. Sure, there’s \u003ca href=\"https://www.kqed.org/news/11968536/new-oakland-ballers-baseball-team-aims-to-keep-the-sport-in-the-city\">another baseball team coming to town\u003c/a>. But 2023 was the year of the “SELL” T-shirt, and the broken hearts of longtime fans.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13937172\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-scaled.jpg\" alt=\"A person stands holding a sign with a building in the background.\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13937172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Soha Leach, 42, poses in front of a marching crowd at the ‘Stop the Genocide in Gaza’ rally at the Embarcadero in San Francisco on Saturday, Oct. 28. \u003ccite>(Olivia Cruz Mayeda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Pro-Palestinian Uprising Larger Than Ever\u003c/h2>\n\u003cp>This year saw the largest, most cohesive wave of \u003ca href=\"https://www.kqed.org/arts/13937170/the-art-of-protest-in-san-francisco-5-messages-from-the-gaza-rally\">pro-Palestinian protests\u003c/a> ever. In the Bay Area, Richmond became the \u003ca href=\"https://www.kron4.com/news/bay-area/richmond-city-council-passes-resolution-showing-solidarity-with-gaza/\">first American city\u003c/a> to pass a ceasefire resolution, \u003ca href=\"https://www.kqed.org/news/11968400/oakland-city-council-set-to-vote-on-gaza-cease-fire-resolution\">followed by Oakland\u003c/a>. Bay Area artists, in particular, \u003ca href=\"https://www.kqed.org/arts/13938450/400-bay-area-artists-palestine-bds-pacbi-letter\">rallied in protest\u003c/a> of Israel’s most recent siege of Gaza, which has so far killed \u003ca href=\"https://www.middleeasteye.net/live-blog/live-blog-update/gaza-death-toll-passes-15000-palestinian-official-says?nid=322376&topic=Israel-Palestine%2520war&fid=491046\">more than 15,000\u003c/a> Palestinians. Artists \u003ca href=\"https://www.kqed.org/arts/13937219/bay-area-artists-palestinian-childrens-relief-fund-continental-club\">raised upwards of $13,000\u003c/a> for Palestinian children at a November fundraiser in Oakland, matched in the restaurant scene with support for and by Palestinian \u003ca href=\"https://abc7news.com/israel-hamas-war-giving-back-to-gaza-fundraiser-san-jose-business-el-halal-amigos/13968097/\">businesses and eateries\u003c/a> here in the Bay Area. Even local surfers got involved, \u003ca href=\"https://www.kqed.org/arts/13937866/local-surfers-screening-gaza-surf-club\">screening\u003c/a> the documentary \u003cem>Gaza Surf Club\u003c/em> to call upon their community to advocate for a ceasefire. With their dollars, poetry, policy, \u003ca href=\"https://www.kqed.org/arts/13938619/porch-party-oakland-pop-up-art-activism-community\">food\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13938450/400-bay-area-artists-palestine-bds-pacbi-letter\">organized boycotts\u003c/a>, Bay Area folks are showing up for Palestinians now more than ever.\u003cem>—Olivia Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13848951\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg\" alt=\"Signage at Bandcamp's new Oakland offices goes up on Jan. 17, 2019.\" width=\"1100\" height=\"751\" class=\"size-full wp-image-13848951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-1020x696.jpg 1020w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Signage at Bandcamp’s Oakland offices goes up on Jan. 17, 2019. The downtown Oakland performance space and record showroom closed in 2023 shortly after Bandcamp’s sale to Songtradr. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Music Industry Making it Harder to Be an Artist — and Fan\u003c/h2>\n\u003cp>In 2023, we convinced ourselves that paying Ticketmaster hundreds of dollars in fees would be a fair exchange for experiencing a once-in-a-lifetime \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">Beyoncé tour\u003c/a>. But throughout the year, the ubiquitous ticketing company drove up prices for large and small concerts alike with those exorbitant add-on fees, all while its parent company, Live Nation, pocketed record profits. Meanwhile, \u003ca href=\"https://www.kqed.org/arts/13935406/fillmore-live-nation-on-road-again-touring-artists\">independent touring musicians\u003c/a> continued to lose money amidst post-pandemic gas prices and inflation. Songtradr bought Bandcamp and \u003ca href=\"https://www.kqed.org/arts/13936509/idiotic-and-cruel-musicians-slam-layoffs-at-bandcamp\">laid off staff\u003c/a> including the entire union bargaining committee, prompting a labor complaint, and Spotify announced that it will stop paying royalties on songs with under 1,000 streams. The music industry is \u003ca href=\"https://www.kqed.org/forum/2010101893314/how-musicians-are-navigating-streaming-algorithms-ai-and-automation\">increasingly stacked against up-and-coming musicians\u003c/a>, which is why it’s all the more important to be intentional about supporting our local artists.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938220\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut.jpg\" alt=\"Rubber gloved hand sprinkles chopped cilantro onto an oversized pupusa topped the meat.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13938220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Irma Morales sprinkles cilantro on a Birria Pupusa Pizza in the kitchen at Pupuseria Las Cabańas in Hayward, Calif. on Wednesday, Sept. 27, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Watch Me Eat This Pupusa The Size of Your Head and sMasH tHaT LiKe bUtToN!!\u003c/h2>\n\u003cp>Anyone chronically on TikTok and Instagram has probably already noticed this year’s biggest food trend: the proliferation of local, raucous, personality-driven food influencers. From the humorous caricatures of \u003ca href=\"https://www.instagram.com/thesnacksensei/?hl=en\">The Snack Sensei\u003c/a> and \u003ca href=\"https://www.instagram.com/bayareafoodz/\">BayAreaFoodz\u003c/a> to the health-focused feed of \u003ca href=\"https://www.kqed.org/arts/13915889/berkeley-vegan-food-festival-bizerkeley-vegan\">Bizerkeley Vegan\u003c/a> and lavish outings of \u003ca href=\"https://www.instagram.com/allie.eats/?hl=en\">Allie Eats\u003c/a> (nearly half a million followers combined between the four accounts), there’s more bombastic food-related content than ever from the Bay Area. Viral videos of an oversized pupusa or a pan dulce big enough to use as a literal pillow has fueled a \u003ca href=\"https://www.kqed.org/arts/13936325/social-media-biggest-pupusas-burritos-instagram-tiktok-latinextravagant-bay-area\">new wave of extravagant restaurateurs\u003c/a> catering to the frenzy by super-sizing, quadruple-dipping and gold-flaking everything under the sun — often collabing with foodie accounts to build hype. And all of our internet-marinated brains seem to be eating it up.\u003cem>—Alan Chazaro\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13931700\" class=\"wp-caption aligncenter\" style=\"max-width: 1630px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM.png\" alt='A blue sky background with a large Barbie logo in the center and a United airplane. Text around it reads: \"This Barbie is a dream. Now flying.\"' width=\"1630\" height=\"1196\" class=\"size-full wp-image-13931700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM.png 1630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-800x587.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-1020x748.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-768x564.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-1536x1127.png 1536w\" sizes=\"(max-width: 1630px) 100vw, 1630px\">\u003cfigcaption class=\"wp-caption-text\">This Barbie isn’t a Barbie. Now, knock it off, United. \u003ccite>(Instagram/ @united)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbie Burnout\u003c/h2>\n\u003cp>At first it was like, yay, \u003ca href=\"https://www.kqed.org/arts/13933011/its-billiongirlsummer-taylor-beyonce-and-barbie-made-for-one-epic-trifecta\">girly pop culture moment\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">female director from Sacramento making hella bank\u003c/a>, but then it was like, why is every commercial this very specific shade of pink and why are all the makeup stores pink, and the clothing stores, and the shoe stores, and why is that Burger King burger pink, and why is my Google search pink, and is it okay that everyone’s making \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">memes that combine Barbie and the actual atomic bomb\u003c/a>, and what the hell is an Ice Spice Munchkin, and isn’t it a bit weird that \u003ca href=\"https://www.kqed.org/arts/13931533/taylor-swift-irs-fbi-woke-gen-z-how-do-you-do-fellow-kidshttps://www.kqed.org/arts/13931533/taylor-swift-irs-fbi-woke-gen-z-how-do-you-do-fellow-kids\">the TSA used Barbie in a knives warning\u003c/a>, and isn’t the end of the movie where Barbie goes to the gynecologist actually lazy and reductive, and wouldn’t it have been better if she was in the Mattel CEO chair instead because women aren’t allowed that very often, and actually, just forget it, because even though \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">Allan is the literal greatest\u003c/a>, I want nothing to do with any of this now.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939095\" class=\"wp-caption aligncenter\" style=\"max-width: 928px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM.png\" alt=\"\" width=\"928\" height=\"274\" class=\"size-full wp-image-13939095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM.png 928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-800x236.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-160x47.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-768x227.png 768w\" sizes=\"(max-width: 928px) 100vw, 928px\">\u003cfigcaption class=\"wp-caption-text\">Thanks, Elon. \u003ccite>(X)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Billionaires Ruining the Internet’s Usefulness\u003c/h2>\n\u003cp>While TikTok continues to drive culture and dominate discourse among young people, adults like Elon Musk (“adults,” ha) couldn’t figure out what to do with their social media platforms if it walked up and hit them with a Cybertruck. Meta did what it always does and \u003ca href=\"https://www.kqed.org/arts/13931259/threads-meta-thanks-i-hate-it\">copied an existing platform\u003c/a> with Threads. BlueSky didn’t fully catch on, Mastodon is a distant memory, and BeReal kinda withered and died. And, in the midst of it all, Google Search became \u003ca href=\"https://www.reddit.com/r/SEO/comments/16yxzg0/google_is_no_longer_a_search_engine/\">more useless than ever\u003c/a>, prompting users seeking information to be fed pages of ads, or worse, \u003ca href=\"https://twitter.com/jakezward/status/1728032639402037610\">AI-generated garbage\u003c/a>. (This is where I repeat my catchphrase: \u003ca href=\"https://twitter.com/search?q=subscribe%20to%20a%20newspaper%20from%3Agmeline&src=typed_query&f=top\">subscribe to a newspaper\u003c/a>.)\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13923614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1455560954-scaled-e1673477731985.jpg\" alt=\"A stack of books featuring Prince Harry's face in close up, sit in a neat pile.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13923614\">\u003cfigcaption class=\"wp-caption-text\">Prince Harry’s memoir ‘Spare’ is offered for sale at a Barnes & Noble store on Jan. 10, 2023. \u003ccite>(Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Flood of Celebrity Memoirs\u003c/h2>\n\u003cp>The secret to publishing a NYT-bestselling blockbuster this year seemed to lie in aristocracy. Celebrity memoirs have never gone out of style, but the monumental success of Prince Harry’s \u003ca href=\"https://www.kqed.org/arts/13923613/dish-from-prince-harry-one-of-their-own-could-fuel-royal-change\">\u003cem>Spare\u003c/em>\u003c/a> and pop music royalty Britney Spears’ \u003ca href=\"https://www.kqed.org/arts/13936729/britney-spears-book-autobiography-the-woman-in-me-gallery-books\">\u003cem>The Woman in Me\u003c/em>\u003c/a>, which sold over 1.6 million and 1.1 million copies in the U.S. alone in their first weeks, shifted the spotlight back on the genre in 2023. For those of us seeking even more juicy, reflective stories from our aspirational tax bracket, memoirs from \u003ca href=\"https://www.kqed.org/arts/13937730/barbra-streisands-memoir-review-my-name-is-barbra\">Barbra Streisand\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13936614/dolly-parton-book-review-behind-the-seams-my-life-in-rhinestones\">Dolly Parton\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13930083/elliot-page-shares-struggles-and-former-selves-in-engaging-new-memoir\">Elliot Page\u003c/a>, \u003ca href=\"https://www.npr.org/2023/01/26/1151356491/pamela-anderson-book-memoir\">Pamela Anderson\u003c/a> and \u003ca href=\"https://www.npr.org/2023/10/17/1206140650/jada-pinkett-will-smith-tupac-worthy\">Jada Pinkett Smith\u003c/a> did not disappoint. Pro tip: These memoirs make great stocking stuffers for the pop culture fanatics in your life.\u003cem>—Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939097\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968.jpg\" alt=\"\" width=\"848\" height=\"566\" class=\"size-full wp-image-13939097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968.jpg 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-768x513.jpg 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">Pants! \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Great Pants Awakening\u003c/h2>\n\u003cp>I went to high school in the late aughts, when we all traded low-rise flares for skinny jeans, so I’ve been studying the latest Great Pants Awakening like an anthropologist, gathering data on BART and TikTok, and surveying friends and family members of all ages. Some millennials dared to break up with our beloved tapered legs and waist-cinching highrise trousers, while others clung on to their favorite cuts for dear life. Meanwhile, new pants styles challenged all generations to reconsider their notions of beauty, gender and even propriety. Unisex cargo pants paired with a baggy hoodie to hide the body; thong-revealing ultra-low-rise with nipple-baring mesh on top. It’s all fair game, and both looks can be seen on the same person in a given week. 2023 was all about poly-pantism: the way of the future.\u003cem>—Nastia Voynovskaya\u003c/em> \u003c/p>\n\u003cfigure id=\"attachment_13939094\" class=\"wp-caption aligncenter\" style=\"max-width: 1852px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin.jpg\" alt=\"\" width=\"1852\" height=\"1384\" class=\"size-full wp-image-13939094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin.jpg 1852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-1536x1148.jpg 1536w\" sizes=\"(max-width: 1852px) 100vw, 1852px\">\u003cfigcaption class=\"wp-caption-text\">The Albany Twin theater pictured on June 16, 2023, the day after its final movie screening. The theater had served Albany’s moviegoing public for 88 years. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Too Many Movie Theaters Biting the Dust\u003c/h2>\n\u003cp>Despite some hopeful reopenings such as San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13924146/4-star-theater-talk-movies-richmond-history-woody-labounty\">4-Star Theater\u003c/a>, the Bay Area’s movie theaters continue to roll credits and close down for good. The Albany Twin, the Century Theater in San Francisco’s Westfield Mall, the CGV (formerly the AMC) on Van Ness, the Rohnert Park Reading cinema and others all shuttered. “But we can watch movies at home now,” you might say! Joke’s on you, bub: fees for streaming subscriptions \u003ca href=\"https://variety.com/2023/digital/news/streaming-service-price-increase-1235784311/\">got significantly more expensive\u003c/a>. After three years of other \u003ca href=\"https://www.kqed.org/arts/13892596/historic-west-portal-theater-closes-permanently-due-to-pandemic\">tough-to-swallow theater closures\u003c/a>, and tumult for fans of \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">movies at the Castro\u003c/a>, we’re happy for even the \u003ca href=\"https://www.sfchronicle.com/realestate/article/s-f-real-estate-office-movie-theater-18431003.php\">smallest bit of good news\u003c/a> for local theaters.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"size-full wp-image-13939098\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The studio of San Francisco sign painter and pinstriper Lauren D’Amato at Headlands Center for the Arts, Oct. 22, 2023. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lots of Love for Sign Painting (and Signs in General) \u003c/h2>\n\u003cp>With a healthy local sign painting scene, it’s no surprise we saw a lot of this work in gallery spaces this year — and a greater appreciation for the artistry of signs, period. Lauren D’Amato’s \u003ca href=\"https://houseofseiko.info/complete_machine\">solo at House of Seiko\u003c/a> borrowed from real-life Bayview signs, and she later received the Headlands’ Tournesol Award for an emerging Bay Area painter. The \u003ca href=\"https://web-production-7d4c4.up.railway.app/pieces/pieces/pieces/shows/2/\">inaugural show at Berkeley’s 127010\u003c/a>, curated by Oliver Hawk Holden, focused on artists merging commercial craft and fine art (a gold leaf and enamel piece by sign painter Michelle “Meng” Nguyen was a standout). And Pacific Saw Works, a new artist-run space in Oakland, christened their walls with a show of sign painters called, simply, \u003ca href=\"https://www.pacificsawworks.com/exhibitions\">\u003ci>Signs\u003c/i>\u003c/a>. I also need to mention the \u003ca href=\"https://www.sfexaminer.com/news/tenderloin-neon-sign-district-wins-approval/article_cf388ae8-3939-11ed-94c7-3376ecdea09c.html\">legislation\u003c/a> that passed late last year to make it easier to repair old neon signs (which often include painted elements) and install new ones in the Tenderloin. This year, we saw \u003ca href=\"https://www.instagram.com/p/Cz7G72syuX0/?img_index=1\">the electric results\u003c/a>.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938611\" class=\"wp-caption aligncenter\" style=\"max-width: 1017px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg\" alt=\"\" width=\"1017\" height=\"652\" class=\"size-full wp-image-13938611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-768x492.jpg 768w\" sizes=\"(max-width: 1017px) 100vw, 1017px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>TV Going Peak ’80s and ’90s\u003c/h2>\n\u003cp>My childhood was \u003ca href=\"https://www.kqed.org/pop/97337/the-other-f-word-how-homophobic-language-has-ruined-80s-teen-movies\">the 1980s\u003c/a>, my teen years coincided with \u003ca href=\"https://www.kqed.org/arts/13915084/chloe-sherman-renegade-san-francisco-1990s-schlomer-haus\">the ’90s\u003c/a>, and goddamnit, the streaming platforms \u003cem>really\u003c/em> played into my rapidly aging hands this year. In 2023, I finally got to rewatch \u003ca href=\"https://www.kqed.org/arts/13936463/moonlighting-hulu-cybill-shepherd-bruce-willis-1980s-comedy\">\u003cem>Moonlighting\u003c/em>\u003c/a> (the endearingly preposterous detective show that launched Bruce Willis’ career) and unabashedly immerse myself in \u003cem>L.A. Law\u003c/em> at an age where I could actually understand it. But nowhere has ’80s and \u003ca href=\"https://www.kqed.org/pop/14084/90s-nostalgia-a-look-at-how-our-lives-do-and-dont-matter\">’90s nostalgia\u003c/a> shown up harder than in celebrity documentaries. Watching retrospectives about \u003ca href=\"https://www.kqed.org/arts/13938155\">\u003cem>Thriller\u003c/em>-era Michael Jackson\u003c/a>, Michael J. Fox, Wham!, \u003ca href=\"https://www.kqed.org/arts/13924520/pamela-anderson-captivatingly-tells-her-own-story-in-new-netflix-documentary\">Pamela Anderson\u003c/a>, Anna Nicole Smith, the Gladiators, Robbie Williams, David Beckham and, yes, even Apple TV+’s far too rose-tinted profile of \u003cem>The Super Models\u003c/em> was like seeing my first 20 years of life flash before my eyes. My middle-aged ass is clearly being pandered to — and I absolutely love it.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Movies! Pants! Barbie! The Internet! Whatever everyone thinks is happening to San Francisco! The KQED Arts & Culture team weighs in on the year. ",
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"title": "The Bay Area's Hottest, Weirdest, Worst and Funniest Trends of 2023 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to our list of Bay Area arts and culture trends in 2023. Notably, it was a year that few are describing as “the worst year ever,” as many year-end listmakers were understandably wont to do for a while. We also suppose this list could have included things like AI, driverless cars, robot deliveries and the metaverse. It was just Tom Waits’ birthday; \u003ca href=\"https://www.goodreads.com/quotes/195963-we-are-buried-beneath-the-weight-of-information-which-is\">let’s let him weigh in\u003c/a>. \u003c/p>\n\u003cp>Here’s to you all, individually and collectively, \u003ca href=\"https://www.youtube.com/watch?v=q8AMZmWqgRM\">love and happiness\u003c/a> in 2024. \u003c/p>\n\u003cfigure id=\"attachment_13937426\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-scaled.jpg\" alt=\"A blonde woman with a microphone is on stage performing.\" width=\"2560\" height=\"1815\" class=\"size-full wp-image-13937426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-2048x1452.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1579018397-1920x1361.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs onstage during The Eras Tour at Levi’s Stadium on July 28, 2023 in Santa Clara. \u003ccite>(Jeff Kravitz/TAS23/Getty Images for TAS Rights Management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Return of the Monoculture\u003c/h2>\n\u003cp>Twelve years after Touré’s defining treatise “\u003ca href=\"https://www.salon.com/2011/09/29/how_niches_killed_culture/\">Why I Miss the Monoculture\u003c/a>,” the monoculture is back, for better or for worse. Taylor Swift alone absolutely dominated the \u003ca href=\"https://www.billboard.com/music/chart-beat/taylor-swift-1989-taylors-version-top-album-sales-chart-1235464968/\">recording\u003c/a>, \u003ca href=\"https://www.normantranscript.com/community/taylor-swift-is-spotify-s-most-streamed-artist-of-2023-ending-bad-bunnys-3-year/article_daecf7f8-8fa4-11ee-8337-5f9be5f11a35.html\">streaming\u003c/a> and \u003ca href=\"https://www.billboard.com/pro/taylor-swift-eras-tour-top-grossing-global-tour/\">touring\u003c/a> industry, while captivating the \u003ca href=\"https://ew.com/movies/taylor-swift-eras-tour-concert-film-tops-box-office-breaks-global-record/\">box office\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/13937413/uc-berkeleys-taylor-swift-business-class-set-for-2024\">UC system\u003c/a>, \u003ca href=\"https://time.com/6342806/person-of-the-year-2023-taylor-swift/\">\u003cem>TIME\u003c/em> magazine\u003c/a>, and \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">our nation’s elected officials\u003c/a> — and Beyoncé was \u003ca href=\"https://variety.com/2023/music/news/beyonce-record-most-grammy-wins-all-time-1235513412/\">not far behind\u003c/a>. \u003cem>Barbie\u003c/em> and \u003cem>Oppenheimer\u003c/em> took the nation’s multiplexes \u003ca href=\"https://variety.com/2023/film/box-office/summer-box-office-hits-4-billion-barbie-oppenheimer-1235712314/\">by storm\u003c/a>, and superhero franchises like \u003cem>Guardians of the Galaxy\u003c/em>, \u003cem>Spider-Man\u003c/em> and \u003cem>Ant-Man\u003c/em> filled out the \u003ca href=\"https://www.boxofficemojo.com/year/2023/\">Top 10 box office list\u003c/a>. In other words, if you needed common ground to talk about with coworkers, you had plenty to pick from this year.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13894605\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13894605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/vangogh-5690_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Immersive van Gogh at SVN West, San Francisco. \u003ccite>(Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The End of Immersive ‘Art Experiences’\u003c/h2>\n\u003cp>Let me tell you one thing I didn’t miss this year: being immersed in a so-called art experience. 2022 was full of \u003ca href=\"https://www.kqed.org/arts/13894558/immersive-van-gogh-review-san-francisco\">Immersive van Gogh\u003c/a> spawn (a frankly offensive Frida Kahlo, a fine-by-comparison \u003ca href=\"https://www.kqed.org/arts/13909273/review-imagine-picasso-immersive-san-francisco\">Picasso thing\u003c/a> at the Armory). Those events, in turn, were the immaterial outcome of the \u003ca href=\"https://www.kqed.org/arts/13804930/no-filter-necessary-in-sfs-instagram-ready-color-factory\">Color Factory\u003c/a>, the Museum of Ice Cream and (my personal least favorite) the \u003ca href=\"https://www.kqed.org/arts/13861247/the-90s-experience-instagram\">90’s Experience\u003c/a>. Strangely, we’ve now come full circle: the immersive photo-op has phase-shifted back into physical artwork and taken up residence at our largest museum, courtesy of SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13935810/yayoi-kusama-sfmoma-infinite-love-review\">Yayoi Kusama exhibition\u003c/a>, which literally costs $10 a minute. If museums learned one thing from all the immersive offshoots over the years, it’s that people will pay top dollar for a limited amount of time in an audio-visual experience utterly stripped of context.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939100\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401.jpg\" alt=\"\" width=\"848\" height=\"566\" class=\"size-full wp-image-13939100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401.jpg 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1456657401-768x513.jpg 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">If San Francisco’s new marketing campaign slogan sounds familiar, well… (seen here: a sign in Las Vegas.) \u003ccite>(Darren Asay/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>San Francisco Spending Millions Trying to Rebrand Itself\u003c/h2>\n\u003cp>Imagine you live elsewhere, and your understanding of San Francisco is essentially Fox News footage of people pillaging Walgreens. But wait! You encounter a bus ad: “\u003ca href=\"https://www.nytimes.com/2023/10/19/us/san-francisco-ad-campaign.html\">It All Starts Here\u003c/a>.” Are you overcome with desire to travel to SF? How about “\u003ca href=\"https://www.youtube.com/watch?v=3RkuigBlSLg\">Always San Francisco\u003c/a>,” does that do anything for you? This is, as far as I can tell, the scenario on which city leaders and a handful of tech billionaires wagered a combined $10 million in 2023, attempting to reverse reputational damage caused by a dearth of affordable housing, an absurd cost of living and a devastating fentanyl crisis \u003cem>with marketing\u003c/em>. Does this feel a little like the captain of the Titanic launching a social media rebrand mid-collision? Sure! Do nuanced discussions of public health, inequality and long-term investments in the arts make for snappy copy in politicians’ campaign materials? Not really! But hey, maybe we just haven’t come up with the right slogan yet. In the meantime, we have this new “\u003ca href=\"https://sfstandard.com/2023/10/04/san-francisco-anthem-premiere-johns-grill/\">San Francisco theme song\u003c/a>,” about which I will say: \u003ca href=\"https://www.kqed.org/arts/13931922/tony-bennett-san-francisco-remembrance\">We miss you, Tony Bennett\u003c/a>.\u003cem>—Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13925324\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop.jpg\" alt=\"A hand reaches to pick up an icy pink beverage. There's also a iced chocolate drink and a plate of corn roti on the table.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13925324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_feature-crop-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dek Doi Cafe’s Thai-style “pink milk” and street food style sweet roti.\u003c/figcaption>\u003c/figure>\n\u003ch2>The Bay Area’s (Mom-and-Pop) Restaurant Scene Isn’t Dead Yet\u003c/h2>\n\u003cp>These days, keeping a restaurant afloat in the Bay Area seems like an impossible task — an unwinnable battle against \u003ca href=\"https://www.sfgate.com/food/article/oakland-restaurants-crime-closure-18373900.php\">thieves\u003c/a>, \u003ca href=\"https://www.instagram.com/p/Cz2mhcvLNwW/\">vandals\u003c/a> and an overall “\u003ca href=\"https://www.sfchronicle.com/bayarea/article/cafe-international-lower-haight-18339072.php\">sea of lawlessness\u003c/a>.” Or so goes the prevailing narrative, anyway. A few Oakland restaurateurs even declared a (\u003ca href=\"https://oaklandside.org/2023/09/27/strike-oakland-business-closure-protest/\">largely overblown, hour-long\u003c/a>) “strike” in protest. And it’s true that crime (and, nearly as bad, \u003ca href=\"https://www.kqed.org/arts/13933006/hina-yakitori-closing-grilled-chicken-omakase-san-francisco\">the \u003cem>perception\u003c/em> of crime\u003c/a>) is a real concern. This isn’t an economy that leaves much margin for error, and the sheer economics of the Bay have snuffed out a lot of \u003ca href=\"https://www.bonappetit.com/story/sf-bay-area-dining-problem-opinion\">innovation at the highest end\u003c/a>. Still, anyone lamenting the death of Bay Area food hasn’t been eating out at the same places we have — not when 2023 has gifted us with S-tier \u003ca href=\"https://www.kqed.org/arts/13936332/tchaka-haitian-restaurant-oakland\">Haitian comfort food\u003c/a>, idiosyncratic little Thai cafes serving dessert rotis and “\u003ca href=\"https://www.kqed.org/arts/13925310/dek-doi-cafe-pink-milk-thai-bl-oakland\">gay pink milk\u003c/a>,” and joyously off-kilter \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/egglicious-india-san-jose-18193681.php\">Indian egg restaurants\u003c/a>. Now as always, when it comes to niche, street-level mom-and-pops, the Bay remains undefeated.\u003cem>—Luke Tsai\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939096\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13939096\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/20230614-AS-REVERSE-BOYCOTT-04-AC-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fans of the Oakland A’s gather during a reverse boycott at the Oakland Coliseum to protest the ownership of the baseball team on June 13, 2023. \u003ccite>(Aryk Copley/ KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The A’s Resent You\u003c/h2>\n\u003cp>Well, the A’s \u003cem>owners\u003c/em> do, at least. That much was confirmed in 2023, during which, instead of my usual seven or eight games at \u003ca href=\"https://twitter.com/gmeline/status/1179463946631184384\">the greatest ballpark in America\u003c/a>, I could only bring myself to go to one. Finally, after years of neglect, the A’s owner — I’d say his name, but it’d have to be accompanied by the foulest string of obscenities imaginable — acquired approval from Major League Baseball to move the whole sad, desiccated team southward to sad, desiccated Las Vegas. Sure, there’s \u003ca href=\"https://www.kqed.org/news/11968536/new-oakland-ballers-baseball-team-aims-to-keep-the-sport-in-the-city\">another baseball team coming to town\u003c/a>. But 2023 was the year of the “SELL” T-shirt, and the broken hearts of longtime fans.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13937172\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-scaled.jpg\" alt=\"A person stands holding a sign with a building in the background.\" width=\"2560\" height=\"1707\" class=\"size-full wp-image-13937172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Image-5-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Soha Leach, 42, poses in front of a marching crowd at the ‘Stop the Genocide in Gaza’ rally at the Embarcadero in San Francisco on Saturday, Oct. 28. \u003ccite>(Olivia Cruz Mayeda/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Pro-Palestinian Uprising Larger Than Ever\u003c/h2>\n\u003cp>This year saw the largest, most cohesive wave of \u003ca href=\"https://www.kqed.org/arts/13937170/the-art-of-protest-in-san-francisco-5-messages-from-the-gaza-rally\">pro-Palestinian protests\u003c/a> ever. In the Bay Area, Richmond became the \u003ca href=\"https://www.kron4.com/news/bay-area/richmond-city-council-passes-resolution-showing-solidarity-with-gaza/\">first American city\u003c/a> to pass a ceasefire resolution, \u003ca href=\"https://www.kqed.org/news/11968400/oakland-city-council-set-to-vote-on-gaza-cease-fire-resolution\">followed by Oakland\u003c/a>. Bay Area artists, in particular, \u003ca href=\"https://www.kqed.org/arts/13938450/400-bay-area-artists-palestine-bds-pacbi-letter\">rallied in protest\u003c/a> of Israel’s most recent siege of Gaza, which has so far killed \u003ca href=\"https://www.middleeasteye.net/live-blog/live-blog-update/gaza-death-toll-passes-15000-palestinian-official-says?nid=322376&topic=Israel-Palestine%2520war&fid=491046\">more than 15,000\u003c/a> Palestinians. Artists \u003ca href=\"https://www.kqed.org/arts/13937219/bay-area-artists-palestinian-childrens-relief-fund-continental-club\">raised upwards of $13,000\u003c/a> for Palestinian children at a November fundraiser in Oakland, matched in the restaurant scene with support for and by Palestinian \u003ca href=\"https://abc7news.com/israel-hamas-war-giving-back-to-gaza-fundraiser-san-jose-business-el-halal-amigos/13968097/\">businesses and eateries\u003c/a> here in the Bay Area. Even local surfers got involved, \u003ca href=\"https://www.kqed.org/arts/13937866/local-surfers-screening-gaza-surf-club\">screening\u003c/a> the documentary \u003cem>Gaza Surf Club\u003c/em> to call upon their community to advocate for a ceasefire. With their dollars, poetry, policy, \u003ca href=\"https://www.kqed.org/arts/13938619/porch-party-oakland-pop-up-art-activism-community\">food\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13938450/400-bay-area-artists-palestine-bds-pacbi-letter\">organized boycotts\u003c/a>, Bay Area folks are showing up for Palestinians now more than ever.\u003cem>—Olivia Mayeda\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13848951\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg\" alt=\"Signage at Bandcamp's new Oakland offices goes up on Jan. 17, 2019.\" width=\"1100\" height=\"751\" class=\"size-full wp-image-13848951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-1020x696.jpg 1020w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Signage at Bandcamp’s Oakland offices goes up on Jan. 17, 2019. The downtown Oakland performance space and record showroom closed in 2023 shortly after Bandcamp’s sale to Songtradr. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Music Industry Making it Harder to Be an Artist — and Fan\u003c/h2>\n\u003cp>In 2023, we convinced ourselves that paying Ticketmaster hundreds of dollars in fees would be a fair exchange for experiencing a once-in-a-lifetime \u003ca href=\"https://www.kqed.org/arts/13934154/beyonce-review-levis-stadium-2023-renaissance-world-tour\">Beyoncé tour\u003c/a>. But throughout the year, the ubiquitous ticketing company drove up prices for large and small concerts alike with those exorbitant add-on fees, all while its parent company, Live Nation, pocketed record profits. Meanwhile, \u003ca href=\"https://www.kqed.org/arts/13935406/fillmore-live-nation-on-road-again-touring-artists\">independent touring musicians\u003c/a> continued to lose money amidst post-pandemic gas prices and inflation. Songtradr bought Bandcamp and \u003ca href=\"https://www.kqed.org/arts/13936509/idiotic-and-cruel-musicians-slam-layoffs-at-bandcamp\">laid off staff\u003c/a> including the entire union bargaining committee, prompting a labor complaint, and Spotify announced that it will stop paying royalties on songs with under 1,000 streams. The music industry is \u003ca href=\"https://www.kqed.org/forum/2010101893314/how-musicians-are-navigating-streaming-algorithms-ai-and-automation\">increasingly stacked against up-and-coming musicians\u003c/a>, which is why it’s all the more important to be intentional about supporting our local artists.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938220\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut.jpg\" alt=\"Rubber gloved hand sprinkles chopped cilantro onto an oversized pupusa topped the meat.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13938220\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/20230927-Biggest-Pupusa-020-JY-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Irma Morales sprinkles cilantro on a Birria Pupusa Pizza in the kitchen at Pupuseria Las Cabańas in Hayward, Calif. on Wednesday, Sept. 27, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Watch Me Eat This Pupusa The Size of Your Head and sMasH tHaT LiKe bUtToN!!\u003c/h2>\n\u003cp>Anyone chronically on TikTok and Instagram has probably already noticed this year’s biggest food trend: the proliferation of local, raucous, personality-driven food influencers. From the humorous caricatures of \u003ca href=\"https://www.instagram.com/thesnacksensei/?hl=en\">The Snack Sensei\u003c/a> and \u003ca href=\"https://www.instagram.com/bayareafoodz/\">BayAreaFoodz\u003c/a> to the health-focused feed of \u003ca href=\"https://www.kqed.org/arts/13915889/berkeley-vegan-food-festival-bizerkeley-vegan\">Bizerkeley Vegan\u003c/a> and lavish outings of \u003ca href=\"https://www.instagram.com/allie.eats/?hl=en\">Allie Eats\u003c/a> (nearly half a million followers combined between the four accounts), there’s more bombastic food-related content than ever from the Bay Area. Viral videos of an oversized pupusa or a pan dulce big enough to use as a literal pillow has fueled a \u003ca href=\"https://www.kqed.org/arts/13936325/social-media-biggest-pupusas-burritos-instagram-tiktok-latinextravagant-bay-area\">new wave of extravagant restaurateurs\u003c/a> catering to the frenzy by super-sizing, quadruple-dipping and gold-flaking everything under the sun — often collabing with foodie accounts to build hype. And all of our internet-marinated brains seem to be eating it up.\u003cem>—Alan Chazaro\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13931700\" class=\"wp-caption aligncenter\" style=\"max-width: 1630px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM.png\" alt='A blue sky background with a large Barbie logo in the center and a United airplane. Text around it reads: \"This Barbie is a dream. Now flying.\"' width=\"1630\" height=\"1196\" class=\"size-full wp-image-13931700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM.png 1630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-800x587.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-1020x748.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-160x117.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-768x564.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Screen-Shot-2023-07-17-at-8.54.28-AM-1536x1127.png 1536w\" sizes=\"(max-width: 1630px) 100vw, 1630px\">\u003cfigcaption class=\"wp-caption-text\">This Barbie isn’t a Barbie. Now, knock it off, United. \u003ccite>(Instagram/ @united)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Barbie Burnout\u003c/h2>\n\u003cp>At first it was like, yay, \u003ca href=\"https://www.kqed.org/arts/13933011/its-billiongirlsummer-taylor-beyonce-and-barbie-made-for-one-epic-trifecta\">girly pop culture moment\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13931981/greta-gerwig-box-office-record-female-directors\">female director from Sacramento making hella bank\u003c/a>, but then it was like, why is every commercial this very specific shade of pink and why are all the makeup stores pink, and the clothing stores, and the shoe stores, and why is that Burger King burger pink, and why is my Google search pink, and is it okay that everyone’s making \u003ca href=\"https://www.kqed.org/arts/13931677/barbenheimer-barbie-oppenheimer-box-office-greta-gerwig-christopher-nolan\">memes that combine Barbie and the actual atomic bomb\u003c/a>, and what the hell is an Ice Spice Munchkin, and isn’t it a bit weird that \u003ca href=\"https://www.kqed.org/arts/13931533/taylor-swift-irs-fbi-woke-gen-z-how-do-you-do-fellow-kidshttps://www.kqed.org/arts/13931533/taylor-swift-irs-fbi-woke-gen-z-how-do-you-do-fellow-kids\">the TSA used Barbie in a knives warning\u003c/a>, and isn’t the end of the movie where Barbie goes to the gynecologist actually lazy and reductive, and wouldn’t it have been better if she was in the Mattel CEO chair instead because women aren’t allowed that very often, and actually, just forget it, because even though \u003ca href=\"https://www.kqed.org/arts/13931753/allan-doll-michael-cera-greta-gerwig-barbie-movie-review\">Allan is the literal greatest\u003c/a>, I want nothing to do with any of this now.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939095\" class=\"wp-caption aligncenter\" style=\"max-width: 928px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM.png\" alt=\"\" width=\"928\" height=\"274\" class=\"size-full wp-image-13939095\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM.png 928w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-800x236.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-160x47.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screenshot-2023-12-08-at-1.43.29-AM-768x227.png 768w\" sizes=\"(max-width: 928px) 100vw, 928px\">\u003cfigcaption class=\"wp-caption-text\">Thanks, Elon. \u003ccite>(X)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Billionaires Ruining the Internet’s Usefulness\u003c/h2>\n\u003cp>While TikTok continues to drive culture and dominate discourse among young people, adults like Elon Musk (“adults,” ha) couldn’t figure out what to do with their social media platforms if it walked up and hit them with a Cybertruck. Meta did what it always does and \u003ca href=\"https://www.kqed.org/arts/13931259/threads-meta-thanks-i-hate-it\">copied an existing platform\u003c/a> with Threads. BlueSky didn’t fully catch on, Mastodon is a distant memory, and BeReal kinda withered and died. And, in the midst of it all, Google Search became \u003ca href=\"https://www.reddit.com/r/SEO/comments/16yxzg0/google_is_no_longer_a_search_engine/\">more useless than ever\u003c/a>, prompting users seeking information to be fed pages of ads, or worse, \u003ca href=\"https://twitter.com/jakezward/status/1728032639402037610\">AI-generated garbage\u003c/a>. (This is where I repeat my catchphrase: \u003ca href=\"https://twitter.com/search?q=subscribe%20to%20a%20newspaper%20from%3Agmeline&src=typed_query&f=top\">subscribe to a newspaper\u003c/a>.)\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13923614\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/GettyImages-1455560954-scaled-e1673477731985.jpg\" alt=\"A stack of books featuring Prince Harry's face in close up, sit in a neat pile.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13923614\">\u003cfigcaption class=\"wp-caption-text\">Prince Harry’s memoir ‘Spare’ is offered for sale at a Barnes & Noble store on Jan. 10, 2023. \u003ccite>(Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Flood of Celebrity Memoirs\u003c/h2>\n\u003cp>The secret to publishing a NYT-bestselling blockbuster this year seemed to lie in aristocracy. Celebrity memoirs have never gone out of style, but the monumental success of Prince Harry’s \u003ca href=\"https://www.kqed.org/arts/13923613/dish-from-prince-harry-one-of-their-own-could-fuel-royal-change\">\u003cem>Spare\u003c/em>\u003c/a> and pop music royalty Britney Spears’ \u003ca href=\"https://www.kqed.org/arts/13936729/britney-spears-book-autobiography-the-woman-in-me-gallery-books\">\u003cem>The Woman in Me\u003c/em>\u003c/a>, which sold over 1.6 million and 1.1 million copies in the U.S. alone in their first weeks, shifted the spotlight back on the genre in 2023. For those of us seeking even more juicy, reflective stories from our aspirational tax bracket, memoirs from \u003ca href=\"https://www.kqed.org/arts/13937730/barbra-streisands-memoir-review-my-name-is-barbra\">Barbra Streisand\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13936614/dolly-parton-book-review-behind-the-seams-my-life-in-rhinestones\">Dolly Parton\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13930083/elliot-page-shares-struggles-and-former-selves-in-engaging-new-memoir\">Elliot Page\u003c/a>, \u003ca href=\"https://www.npr.org/2023/01/26/1151356491/pamela-anderson-book-memoir\">Pamela Anderson\u003c/a> and \u003ca href=\"https://www.npr.org/2023/10/17/1206140650/jada-pinkett-will-smith-tupac-worthy\">Jada Pinkett Smith\u003c/a> did not disappoint. Pro tip: These memoirs make great stocking stuffers for the pop culture fanatics in your life.\u003cem>—Ugur Dursun\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939097\" class=\"wp-caption aligncenter\" style=\"max-width: 848px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968.jpg\" alt=\"\" width=\"848\" height=\"566\" class=\"size-full wp-image-13939097\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968.jpg 848w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/GettyImages-1042695968-768x513.jpg 768w\" sizes=\"(max-width: 848px) 100vw, 848px\">\u003cfigcaption class=\"wp-caption-text\">Pants! \u003ccite>(Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Great Pants Awakening\u003c/h2>\n\u003cp>I went to high school in the late aughts, when we all traded low-rise flares for skinny jeans, so I’ve been studying the latest Great Pants Awakening like an anthropologist, gathering data on BART and TikTok, and surveying friends and family members of all ages. Some millennials dared to break up with our beloved tapered legs and waist-cinching highrise trousers, while others clung on to their favorite cuts for dear life. Meanwhile, new pants styles challenged all generations to reconsider their notions of beauty, gender and even propriety. Unisex cargo pants paired with a baggy hoodie to hide the body; thong-revealing ultra-low-rise with nipple-baring mesh on top. It’s all fair game, and both looks can be seen on the same person in a given week. 2023 was all about poly-pantism: the way of the future.\u003cem>—Nastia Voynovskaya\u003c/em> \u003c/p>\n\u003cfigure id=\"attachment_13939094\" class=\"wp-caption aligncenter\" style=\"max-width: 1852px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin.jpg\" alt=\"\" width=\"1852\" height=\"1384\" class=\"size-full wp-image-13939094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin.jpg 1852w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-800x598.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-1020x762.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-768x574.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/AlbanyTwin-1536x1148.jpg 1536w\" sizes=\"(max-width: 1852px) 100vw, 1852px\">\u003cfigcaption class=\"wp-caption-text\">The Albany Twin theater pictured on June 16, 2023, the day after its final movie screening. The theater had served Albany’s moviegoing public for 88 years. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Too Many Movie Theaters Biting the Dust\u003c/h2>\n\u003cp>Despite some hopeful reopenings such as San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13924146/4-star-theater-talk-movies-richmond-history-woody-labounty\">4-Star Theater\u003c/a>, the Bay Area’s movie theaters continue to roll credits and close down for good. The Albany Twin, the Century Theater in San Francisco’s Westfield Mall, the CGV (formerly the AMC) on Van Ness, the Rohnert Park Reading cinema and others all shuttered. “But we can watch movies at home now,” you might say! Joke’s on you, bub: fees for streaming subscriptions \u003ca href=\"https://variety.com/2023/digital/news/streaming-service-price-increase-1235784311/\">got significantly more expensive\u003c/a>. After three years of other \u003ca href=\"https://www.kqed.org/arts/13892596/historic-west-portal-theater-closes-permanently-due-to-pandemic\">tough-to-swallow theater closures\u003c/a>, and tumult for fans of \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">movies at the Castro\u003c/a>, we’re happy for even the \u003ca href=\"https://www.sfchronicle.com/realestate/article/s-f-real-estate-office-movie-theater-18431003.php\">smallest bit of good news\u003c/a> for local theaters.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13939098\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"size-full wp-image-13939098\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/LaurenDamato-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The studio of San Francisco sign painter and pinstriper Lauren D’Amato at Headlands Center for the Arts, Oct. 22, 2023. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Lots of Love for Sign Painting (and Signs in General) \u003c/h2>\n\u003cp>With a healthy local sign painting scene, it’s no surprise we saw a lot of this work in gallery spaces this year — and a greater appreciation for the artistry of signs, period. Lauren D’Amato’s \u003ca href=\"https://houseofseiko.info/complete_machine\">solo at House of Seiko\u003c/a> borrowed from real-life Bayview signs, and she later received the Headlands’ Tournesol Award for an emerging Bay Area painter. The \u003ca href=\"https://web-production-7d4c4.up.railway.app/pieces/pieces/pieces/shows/2/\">inaugural show at Berkeley’s 127010\u003c/a>, curated by Oliver Hawk Holden, focused on artists merging commercial craft and fine art (a gold leaf and enamel piece by sign painter Michelle “Meng” Nguyen was a standout). And Pacific Saw Works, a new artist-run space in Oakland, christened their walls with a show of sign painters called, simply, \u003ca href=\"https://www.pacificsawworks.com/exhibitions\">\u003ci>Signs\u003c/i>\u003c/a>. I also need to mention the \u003ca href=\"https://www.sfexaminer.com/news/tenderloin-neon-sign-district-wins-approval/article_cf388ae8-3939-11ed-94c7-3376ecdea09c.html\">legislation\u003c/a> that passed late last year to make it easier to repair old neon signs (which often include painted elements) and install new ones in the Tenderloin. This year, we saw \u003ca href=\"https://www.instagram.com/p/Cz7G72syuX0/?img_index=1\">the electric results\u003c/a>.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13938611\" class=\"wp-caption aligncenter\" style=\"max-width: 1017px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg\" alt=\"\" width=\"1017\" height=\"652\" class=\"size-full wp-image-13938611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1.jpg 1017w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847-1-768x492.jpg 768w\" sizes=\"(max-width: 1017px) 100vw, 1017px\">\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>TV Going Peak ’80s and ’90s\u003c/h2>\n\u003cp>My childhood was \u003ca href=\"https://www.kqed.org/pop/97337/the-other-f-word-how-homophobic-language-has-ruined-80s-teen-movies\">the 1980s\u003c/a>, my teen years coincided with \u003ca href=\"https://www.kqed.org/arts/13915084/chloe-sherman-renegade-san-francisco-1990s-schlomer-haus\">the ’90s\u003c/a>, and goddamnit, the streaming platforms \u003cem>really\u003c/em> played into my rapidly aging hands this year. In 2023, I finally got to rewatch \u003ca href=\"https://www.kqed.org/arts/13936463/moonlighting-hulu-cybill-shepherd-bruce-willis-1980s-comedy\">\u003cem>Moonlighting\u003c/em>\u003c/a> (the endearingly preposterous detective show that launched Bruce Willis’ career) and unabashedly immerse myself in \u003cem>L.A. Law\u003c/em> at an age where I could actually understand it. But nowhere has ’80s and \u003ca href=\"https://www.kqed.org/pop/14084/90s-nostalgia-a-look-at-how-our-lives-do-and-dont-matter\">’90s nostalgia\u003c/a> shown up harder than in celebrity documentaries. Watching retrospectives about \u003ca href=\"https://www.kqed.org/arts/13938155\">\u003cem>Thriller\u003c/em>-era Michael Jackson\u003c/a>, Michael J. Fox, Wham!, \u003ca href=\"https://www.kqed.org/arts/13924520/pamela-anderson-captivatingly-tells-her-own-story-in-new-netflix-documentary\">Pamela Anderson\u003c/a>, Anna Nicole Smith, the Gladiators, Robbie Williams, David Beckham and, yes, even Apple TV+’s far too rose-tinted profile of \u003cem>The Super Models\u003c/em> was like seeing my first 20 years of life flash before my eyes. My middle-aged ass is clearly being pandered to — and I absolutely love it.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A New Documentary Examines the ‘Star Wars Holiday Special’ and Asks: Why?",
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"content": "\u003cp>There might be even more lore about the \u003ca href=\"https://www.kqed.org/arts/13889379/a-tale-of-2-star-wars-holiday-specials-2020-lego-vs-1978-oh-no\">\u003cem>Star Wars Holiday Special\u003c/em>\u003c/a> than about the \u003ca href=\"https://www.kqed.org/arts/13921929/andor-soared-it-was-about-the-force-not-the-force-of-the-star-wars-universe\">\u003cem>Star Wars\u003c/em> universe\u003c/a> itself. Aired once in November 1978 on CBS and then locked away beyond the reach of legitimate viewing, it sends Chewbacca back to his home planet to visit his family: his wife, Malla; his father, Itchy; and his son, Lumpy. (Yes. Lumpy.)\u003c/p>\n\u003cp>The special had guest stars like Bea Arthur and Harvey Korman and original cast members from the movie, including Mark Hamill, Carrie Fisher and Harrison Ford. It was a true variety show, complete with singing and dancing. And skits!\u003c/p>\n\u003cp>[aside postid='arts_13889379']Because it’s never been officially released on home video or re-aired, the holiday special became a treasure to superfans, copied and shared on VHS tapes. A new documentary called \u003cem>A Disturbance in the Force\u003c/em> looks back on how the special happened, especially under the watchful eye of the notoriously particular George Lucas.\u003c/p>\n\u003cp>It finds one answer in a delightful examination of the ubiquitous ’70s variety show format. If you think the holiday special is bizarre, wait until you see the \u003cem>Star Wars \u003c/em>segment on \u003cem>Donny & Marie\u003c/em>. Or clips from Wayne Newton’s special at SeaWorld, with guest star Shamu.\u003c/p>\n\u003cp>But the closest thing to a reason for the special has to do with the period between \u003cem>Star Wars \u003c/em>and \u003cem>The Empire Strikes Back\u003c/em>. Lucas and his associates wanted to make sure the fans didn’t lose interest between movies, and a holiday special could get kids excited about \u003cem>Star Wars \u003c/em>toys for Christmas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lucas, who has made his contempt for the special clear, chose to go ahead with it and then tapped out of most of the process, according to some of the people who worked on it. And so, the special was … very, very strange. And yes, there are many clips.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BtkpVWeWN-Q\u003c/p>\n\u003cp>In the documentary, comedian Paul Scheer looks back in puzzlement on the moment Bea Arthur snuggled up to a giant rat. Writer Bruce Vilanch, who explains the rat by saying “we got a lot of remainder aliens,” also says that a cantina scene took forever to film with the cast in hot and unventilated costumes, “but that was only because the aliens kept fainting.”\u003c/p>\n\u003cp>[aside postid='arts_13920462']Members of the creative team remember the experience and wrestle with the punchline the special has become. Talking heads — “Weird Al” Yankovic, Gilbert Gottfried, Patton Oswalt, Kevin Smith, Seth Green, Taran Killam — try to explain its legend.\u003c/p>\n\u003cp>Admittedly, some of this is nerd content for nerds. But even if you just want to see a lot of clips of Harrison Ford looking like he wants to dissolve into goo and seep into the floor, never to be seen again, it’s well worth tracking the documentary down.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Disturbance In The Force’ is available to rent on the usual streaming services like Apple, Google Play, and YouTube.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 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=A+new+documentary+examines+the+%27Star+Wars+Holiday+Special%27+and+asks%3A+Why%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"order": 9
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"id": "fresh-air",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
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"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 11
},
"link": "/podcasts/onourwatch",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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