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"content": "\u003cp>The Netflix documentary \u003cem>Stamped from the Beginning\u003c/em> kicks off with a provocative question from antiracism advocate, author and professor Ibram X. Kendi:\u003c/p>\n\u003cp>What is wrong with Black people?\u003c/p>\n\u003cp>[aside postid='arts_13934736']As a succession of Black academics express wonder and surprise at the question — rolling it over in their mouths while they think about it, like tasting a bitter pill — \u003cem>Stamped from the Beginning\u003c/em> launches into an incisive, expansive look at the origin of racist ideas about Black people, covering themes Kendi first explored in his 2016 award-winning book \u003cem>Stamped from the Beginning: The Definitive History of Racist Ideas in America\u003c/em>.\u003c/p>\n\u003cp>Chief among them: The idea that much of the systemic racism and prejudiced ideas aligned against Black people even now was deliberately created to justify their enslavement and exploitation.\u003c/p>\n\u003ch3>The emergence of strategic racism\u003c/h3>\n\u003cp>In other words, Europeans didn’t necessarily enslave Africans because they saw them as lesser beings. They spread stories about them being lesser beings to explain why it was acceptable to enslave them — purposefully utilizing prejudice to achieve material gain in a practice sometimes called strategic racism.\u003c/p>\n\u003cfigure id=\"attachment_13938249\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938249\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe\" alt=\"A medieval text shows two elaborately decorated pages and a portrait of a white man wearing a strange black hat and red smock. \" width=\"1280\" height=\"719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228.jpe 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-800x449.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-1020x573.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/stamped-1-prince-henry_custom-e29a0e8e6104558d4739042123eb1e4a44418228-768x431.jpe 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">The film depicts Gomes Zurara’s book featuring Prince Henry of Portugal. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Early in the film, Kendi speaks about Prince Henry of Portugal — a leader from the 15th century also known as \u003ca href=\"https://www.britannica.com/biography/Henry-the-Navigator\">Prince Henry the Navigator\u003c/a> — who he says turned to enslaving Africans over slavic people from Eastern Europe because it was harder for Black people to blend in and flee once they’d left Africa.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Prince Henry didn’t want to admit that he was violently and brutally enslaving African people to make money,” Kendi says in the film. “So he dispatched a royal chronicler by the name of Gomes Zurara to write his story. Gomes Zurara justified his slave trading by stating that Prince Henry was doing it to save souls. And that these people in Africa were inferior, were beastlike.”\u003c/p>\n\u003cp>As a film, \u003cem>Stamped from the Beginning, \u003c/em>directed and produced by Oscar-winner Roger Ross Williams, is a primer packed with compelling visuals, including animation that weaves into images of historical photos. Several renowned Black female academics weigh in, including legendary activist and scholar Angela Davis; Kendi is an executive producer along with longtime TV producer Mara Brock Akil, creator of \u003cem>Girlfriends\u003c/em>, \u003cem>The Game\u003c/em> and \u003cem>Being Mary Jane\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HMYLFQbyIu4\u003c/p>\n\u003ch3>Making history feel immediate for modern audiences\u003c/h3>\n\u003cp>The result is a chronicle covering hundreds of years of history, which feels as contemporary as an Instagram post. Kendi and his fellow academics dig into subjects such as: the invention of Blackness (lumping together Black people from different areas in Africa as one race inferior to lighter skinned people; elevating working class white people to stifle any solidarity with Black people); the myth of assimilation (giving Black people the false idea that, if they just comport themselves in ways which make white people comfortable, they can achieve equality); and the myth of Black hypersexuality (justifying the rape of Black women and the lynching of Black men).\u003c/p>\n\u003cp>[aside postid='arts_13931196']The roots of these damaging prejudices and myths, as discussed by the film, connect to other ideas Kendi has presented in his blockbuster 2019 book \u003ca href=\"https://www.npr.org/2019/08/15/751070344/theres-no-such-thing-as-not-racist-in-ibram-x-kendis-how-to-be-an-anitracist\">\u003cem>How to Be an Antiracist\u003c/em>,\u003c/a> which encourages seeing racism as a behavior, not necessarily a state of being. In Kendi’s view, every person can make choices every day which affirm systemic racism and prejudice, or they can act to dismantle them through antiracism.\u003c/p>\n\u003cp>Kendi has joined the narrow ranks of nationally-known Black academics whose thoughts and theories about race in America have reached outside academia to touch general audiences — especially white people. His profile grew during the international reckoning over systemic racism kicked off in 2020 by the murder of George Floyd, leading to other spinoff products like a children’s book called \u003cem>Antiracism Baby\u003c/em> and a docuseries about racism in sports on ESPN+ called \u003ca href=\"https://www.youtube.com/watch?v=rcuNcovO-Ic\">\u003cem>Skin in the Game\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>He’s also garnered some criticism, particularly after deciding earlier this year to \u003ca href=\"https://www.insidehighered.com/news/quick-takes/2023/09/25/ibram-x-kendi-defends-antiracism-center-after-layoffs\">lay off about half the staff \u003c/a>at Boston University’s Center for Antiracist Research, where he serves as founding director. But a recent audit released by the school declared \u003ca href=\"https://www.bu.edu/articles/2023/audit-finds-no-issues-at-center-for-antiracist-research/\">there were no issues \u003c/a>with how the center’s finances were handled — news which pushes back a bit against efforts to tag Kendi as some sort of racial justice profiteer.\u003c/p>\n\u003cp>In the end, Netflix’s \u003cem>Stamped from the Beginning\u003c/em> offers a well-paced and affecting look at the roots of Black-focused racism that won’t necessarily surprise those who already know this history, but may still be tough to watch for those sensitive to stories about the exploitation of marginalized people.\u003c/p>\n\u003cp>[aside postid='arts_13935208']Eventually, at the end of the film, Kendi provides his own answer to the question which started the movie’s journey:\u003c/p>\n\u003cp>“The only thing wrong with Black people,” he says, “is that we think something is wrong with Black people.”\u003c/p>\n\u003cp>\u003cem>The audio and digital stories were edited by Jennifer Vanasco.\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=%27Stamped+From+the+Beginning%27+is+a+sharp+look+at+the+history+of+anti-Black+racism&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>‘Stamped from the Beginning’ begins streaming on Netflix on Nov. 20, 2023.\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Prince Henry didn’t want to admit that he was violently and brutally enslaving African people to make money,” Kendi says in the film. “So he dispatched a royal chronicler by the name of Gomes Zurara to write his story. Gomes Zurara justified his slave trading by stating that Prince Henry was doing it to save souls. And that these people in Africa were inferior, were beastlike.”\u003c/p>\n\u003cp>As a film, \u003cem>Stamped from the Beginning, \u003c/em>directed and produced by Oscar-winner Roger Ross Williams, is a primer packed with compelling visuals, including animation that weaves into images of historical photos. Several renowned Black female academics weigh in, including legendary activist and scholar Angela Davis; Kendi is an executive producer along with longtime TV producer Mara Brock Akil, creator of \u003cem>Girlfriends\u003c/em>, \u003cem>The Game\u003c/em> and \u003cem>Being Mary Jane\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HMYLFQbyIu4'\n title='//www.youtube.com/embed/HMYLFQbyIu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Making history feel immediate for modern audiences\u003c/h3>\n\u003cp>The result is a chronicle covering hundreds of years of history, which feels as contemporary as an Instagram post. Kendi and his fellow academics dig into subjects such as: the invention of Blackness (lumping together Black people from different areas in Africa as one race inferior to lighter skinned people; elevating working class white people to stifle any solidarity with Black people); the myth of assimilation (giving Black people the false idea that, if they just comport themselves in ways which make white people comfortable, they can achieve equality); and the myth of Black hypersexuality (justifying the rape of Black women and the lynching of Black men).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The roots of these damaging prejudices and myths, as discussed by the film, connect to other ideas Kendi has presented in his blockbuster 2019 book \u003ca href=\"https://www.npr.org/2019/08/15/751070344/theres-no-such-thing-as-not-racist-in-ibram-x-kendis-how-to-be-an-anitracist\">\u003cem>How to Be an Antiracist\u003c/em>,\u003c/a> which encourages seeing racism as a behavior, not necessarily a state of being. In Kendi’s view, every person can make choices every day which affirm systemic racism and prejudice, or they can act to dismantle them through antiracism.\u003c/p>\n\u003cp>Kendi has joined the narrow ranks of nationally-known Black academics whose thoughts and theories about race in America have reached outside academia to touch general audiences — especially white people. His profile grew during the international reckoning over systemic racism kicked off in 2020 by the murder of George Floyd, leading to other spinoff products like a children’s book called \u003cem>Antiracism Baby\u003c/em> and a docuseries about racism in sports on ESPN+ called \u003ca href=\"https://www.youtube.com/watch?v=rcuNcovO-Ic\">\u003cem>Skin in the Game\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>He’s also garnered some criticism, particularly after deciding earlier this year to \u003ca href=\"https://www.insidehighered.com/news/quick-takes/2023/09/25/ibram-x-kendi-defends-antiracism-center-after-layoffs\">lay off about half the staff \u003c/a>at Boston University’s Center for Antiracist Research, where he serves as founding director. But a recent audit released by the school declared \u003ca href=\"https://www.bu.edu/articles/2023/audit-finds-no-issues-at-center-for-antiracist-research/\">there were no issues \u003c/a>with how the center’s finances were handled — news which pushes back a bit against efforts to tag Kendi as some sort of racial justice profiteer.\u003c/p>\n\u003cp>In the end, Netflix’s \u003cem>Stamped from the Beginning\u003c/em> offers a well-paced and affecting look at the roots of Black-focused racism that won’t necessarily surprise those who already know this history, but may still be tough to watch for those sensitive to stories about the exploitation of marginalized people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Eventually, at the end of the film, Kendi provides his own answer to the question which started the movie’s journey:\u003c/p>\n\u003cp>“The only thing wrong with Black people,” he says, “is that we think something is wrong with Black people.”\u003c/p>\n\u003cp>\u003cem>The audio and digital stories were edited by Jennifer Vanasco.\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=%27Stamped+From+the+Beginning%27+is+a+sharp+look+at+the+history+of+anti-Black+racism&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>‘Stamped from the Beginning’ begins streaming on Netflix on Nov. 20, 2023.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Crown’ Shines in Its Final Season — Just Remember It's Not the History Channel",
"headTitle": "‘The Crown’ Shines in Its Final Season — Just Remember It’s Not the History Channel | KQED",
"content": "\u003cp>\u003cem>(Be warned: this review discusses key details from the first four episodes of The Crown’s sixth and final season)\u003c/em>\u003c/p>\n\u003cp>From the opening scene in the first episode — with cars speeding down a Paris street moments before sounds of an off-screen crash — \u003cem>The Crown\u003c/em> makes plain that its sixth and final season will finally depict a seismic moment.\u003c/p>\n\u003cp>[aside postid='arts_13923613']Namely, the 1997 deaths of Diana, Princess of Wales, her companion Dodi Fayed, and their driver in a car accident while fleeing paparazzi.\u003c/p>\n\u003cp>Along the way, the season’s first four episodes deftly reflect the series’ ongoing examination of the tension between the royal family’s private lives and public duty.\u003c/p>\n\u003cp>Viewers see the struggle to manage shattering grief in a family dedicated to maintaining a stoic public presence, outlining how Diana’s demise pulled the British monarchy — especially Queen Elizabeth — into a more modern understanding of how they could connect with the people of England.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1weI6ICx-hg\u003c/p>\n\u003ch3>Documenting a historic relationship\u003c/h3>\n\u003cp>But before fully diving into the details of that fateful day, \u003cem>The Crown\u003c/em> flashes back to show her relationship evolve with Dodi Fayed, the son of billionaire Mohamed Al-Fayed. By the third episode, Diana — played with stunning allure and sensitivity by Elizabeth Debicki — admits a growing ambivalence about their romance, speaking by phone in a presumably private conversation with her therapist.\u003c/p>\n\u003cp>[aside postid='arts_13918461']The therapist, Susie Orbach, is shown suggesting that Diana might want to distance herself from Dodi, who the therapist says is caught in a difficult relationship with a domineering father.\u003c/p>\n\u003cp>“The risk is, one normalizes the abnormal and becomes accustomed to living in the madness,” Orbach says. “That’s when things really go wrong.”\u003c/p>\n\u003cp>Not too much foreshadowing there. But this is an example of a staple of \u003cem>The Crown\u003c/em>: Personal conversations shown in ways that may confuse viewers about how much of the moment they are watching has been invented or assumed.\u003c/p>\n\u003cfigure id=\"attachment_13938191\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938191\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361.jpe\" alt=\"An older white woman's face close-up and in profile. Next to her is a younger white woman with blonde, cropped hair, looking pensive.\" width=\"1920\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-800x400.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-1020x510.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-160x80.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-768x384.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-1536x768.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Imelda Staunton as Queen Elizabeth and Elizabeth Debicki as Diana in Season 6 of ‘The Crown.’. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Depicting a key moment from their last day\u003c/h3>\n\u003cp>That issue surfaces again in another key moment from the third episode (yet another spoiler alert that I’m about to mention an important detail).\u003c/p>\n\u003cp>The scene in question centers on whether Dodi proposed marriage to Diana on the day they died and how she reacts.\u003c/p>\n\u003cp>It’s a fascinating, well-told moment, buoyed by fantastic performances from Debicki and Khalid Abdalla, who plays Dodi. Abdalla renders Dodi as a sensitive man pressured by his father to marry Diana to elevate their family — nevertheless, close enough to her to speak frankly when she asks him what’s wrong with her life.\u003c/p>\n\u003cp>[aside postid='arts_13916622']“Look what you’ve managed to achieve, in the year since you’ve been divorced,” Dodi tells Diana. “A global anti-land mine campaign … raising millions for charity … and yet you’re still not satisfied. Stop being in such a mad hurry to find whatever it is you’ve been looking for.”\u003c/p>\n\u003cp>A representative for Mohamed Al-Fayed, who died in August at age 94,\u003ca href=\"http://news.bbc.co.uk/2/hi/uk_news/7182228.stm\"> has said publicly \u003c/a>in the past the two were engaged. More recently, \u003ca href=\"https://deadline.com/2023/11/the-crown-princess-diana-mohamed-dodi-fayed-relationship-netflix-1235612740/\">the representative denied \u003c/a>Al-Fayed pushed the couple together. But I asked longtime royal filmmaker Nick Bullen of True Royalty TV — a platform with loads of documentaries on the British monarchy — for his perspective. He told me that Diana had been hinting to friends that she was reconsidering their relationship.\u003c/p>\n\u003cp>“I think [the proposal] is probably artistic license,” Bullen said. “She definitely wasn’t in a place where she wanted to get married.”\u003c/p>\n\u003cp>Then I talked with Emily Burack, a news writer at \u003cem>Town & Country\u003c/em> who has extensively covered the royal family and \u003cem>The Crown\u003c/em>. She said that the show does flesh out Dodi’s story in a way that depicts him as more than just a wealthy playboy who died in a car next to Diana.\u003c/p>\n\u003cp>“It gives you a fuller portrait of Dodi as a person,” Burack said. “People only think of Dodi in his death. They never think about this fun summer he had with Diana or the person he was.”\u003c/p>\n\u003cp>Drawing distinctions between fact and fiction here may sound nitpicky. But their story could be important to people who anticipated a possibly historic union between an Egyptian man and the mother of a future King of England.\u003c/p>\n\u003cfigure id=\"attachment_13938189\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938189\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569.jpe\" alt=\"A man of Arabic descent in his thirties walks side by side with a tall, slender white woman with short blonde hair. They are smiling at each other.\" width=\"1920\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-800x400.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-1020x510.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-160x80.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-768x384.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-1536x768.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Khalid Abdalla as Dodi Fayed and Elizabeth Debicki as Diana in Season 6 of ‘The Crown.’. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Showing conflict over Diana’s funeral\u003c/h3>\n\u003cp>Both Bullen and Burack also said that another private moment shown in \u003cem>The Crown\u003c/em> likely did happen in some way: when then-Prince Charles, played by Dominic West, pushes a reluctant Queen Elizabeth to show grief over Diana’s death publicly and give her a public funeral.\u003c/p>\n\u003cp>“It’s always been hard for us to understand the connection that Diana has with people,” Charles tells his mother in an emotional scene. “But the fact that it’s inexplicable, shouldn’t lead us to deny it … I’ve seen it for myself. People taking to the streets. Not just here, all over the world … And they will expect us to show grief and compassion and for you to be mother to the nation.”\u003c/p>\n\u003cp>[aside postid='arts_13866072']There has already \u003ca href=\"https://www.radiotimes.com/tv/drama/the-crown-diana-ghost-scenes-newsupdate/\">been some criticism \u003c/a>of scenes which depict Diana appearing to both Charles and Queen Elizabeth to have conversations with them after her death. While it may seem as if her ghost were visiting them — Dodi is also shown having a post-death conversation with his father — for me, the scenes played as if these people were working through their feelings by imagining conversations with Diana and Dodi that they were no longer able to have.\u003c/p>\n\u003cp>These first four episodes of the season — the final six will drop next month, concluding the series — also provide another chance to re-evaluate Diana’s legacy, just as the world is re-considering how many famous women were treated in the 1990s, from Britney Spears to Tina Turner.\u003c/p>\n\u003cp>As a critic, I have always been uneasy with how \u003cem>The Crown\u003c/em> shifts seamlessly from highly accurate depictions to invented moments. And last season, which featured a detailed portrayal of how Diana and Charles’ marriage fell apart, \u003ca href=\"https://www.npr.org/2022/11/08/1135076997/netflixs-new-season-of-the-crown-debuts-at-a-controversial-moment\">was criticized by\u003c/a> actress Dame Judi Dench and former British Prime Minister John Major.\u003c/p>\n\u003cp>Still, there is no denying these episodes of \u003cem>The Crown\u003c/em> are incredibly well done, fleshing out an important moment for the family in a creative, telling way.\u003c/p>\n\u003cp>Just so long as viewers remember they’re watching a TV drama, not a program on the History channel.\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+shines+in+its+final+season+%E2%80%94+just+remember+it%27s+not+the+History+Channel+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>The first four episodes of the sixth season of ‘The Crown’ are streaming on Netflix now. The final six episodes of the series will arrive on the channel on Dec. 14, 2023.\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Namely, the 1997 deaths of Diana, Princess of Wales, her companion Dodi Fayed, and their driver in a car accident while fleeing paparazzi.\u003c/p>\n\u003cp>Along the way, the season’s first four episodes deftly reflect the series’ ongoing examination of the tension between the royal family’s private lives and public duty.\u003c/p>\n\u003cp>Viewers see the struggle to manage shattering grief in a family dedicated to maintaining a stoic public presence, outlining how Diana’s demise pulled the British monarchy — especially Queen Elizabeth — into a more modern understanding of how they could connect with the people of England.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1weI6ICx-hg'\n title='//www.youtube.com/embed/1weI6ICx-hg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Documenting a historic relationship\u003c/h3>\n\u003cp>But before fully diving into the details of that fateful day, \u003cem>The Crown\u003c/em> flashes back to show her relationship evolve with Dodi Fayed, the son of billionaire Mohamed Al-Fayed. By the third episode, Diana — played with stunning allure and sensitivity by Elizabeth Debicki — admits a growing ambivalence about their romance, speaking by phone in a presumably private conversation with her therapist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The therapist, Susie Orbach, is shown suggesting that Diana might want to distance herself from Dodi, who the therapist says is caught in a difficult relationship with a domineering father.\u003c/p>\n\u003cp>“The risk is, one normalizes the abnormal and becomes accustomed to living in the madness,” Orbach says. “That’s when things really go wrong.”\u003c/p>\n\u003cp>Not too much foreshadowing there. But this is an example of a staple of \u003cem>The Crown\u003c/em>: Personal conversations shown in ways that may confuse viewers about how much of the moment they are watching has been invented or assumed.\u003c/p>\n\u003cfigure id=\"attachment_13938191\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938191\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361.jpe\" alt=\"An older white woman's face close-up and in profile. Next to her is a younger white woman with blonde, cropped hair, looking pensive.\" width=\"1920\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-800x400.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-1020x510.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-160x80.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-768x384.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-the-queen_custom-dd872adae47ad0bd13f0249b3d848e50eb79f5f5-scaled-e1700254877361-1536x768.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Imelda Staunton as Queen Elizabeth and Elizabeth Debicki as Diana in Season 6 of ‘The Crown.’. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Depicting a key moment from their last day\u003c/h3>\n\u003cp>That issue surfaces again in another key moment from the third episode (yet another spoiler alert that I’m about to mention an important detail).\u003c/p>\n\u003cp>The scene in question centers on whether Dodi proposed marriage to Diana on the day they died and how she reacts.\u003c/p>\n\u003cp>It’s a fascinating, well-told moment, buoyed by fantastic performances from Debicki and Khalid Abdalla, who plays Dodi. Abdalla renders Dodi as a sensitive man pressured by his father to marry Diana to elevate their family — nevertheless, close enough to her to speak frankly when she asks him what’s wrong with her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Look what you’ve managed to achieve, in the year since you’ve been divorced,” Dodi tells Diana. “A global anti-land mine campaign … raising millions for charity … and yet you’re still not satisfied. Stop being in such a mad hurry to find whatever it is you’ve been looking for.”\u003c/p>\n\u003cp>A representative for Mohamed Al-Fayed, who died in August at age 94,\u003ca href=\"http://news.bbc.co.uk/2/hi/uk_news/7182228.stm\"> has said publicly \u003c/a>in the past the two were engaged. More recently, \u003ca href=\"https://deadline.com/2023/11/the-crown-princess-diana-mohamed-dodi-fayed-relationship-netflix-1235612740/\">the representative denied \u003c/a>Al-Fayed pushed the couple together. But I asked longtime royal filmmaker Nick Bullen of True Royalty TV — a platform with loads of documentaries on the British monarchy — for his perspective. He told me that Diana had been hinting to friends that she was reconsidering their relationship.\u003c/p>\n\u003cp>“I think [the proposal] is probably artistic license,” Bullen said. “She definitely wasn’t in a place where she wanted to get married.”\u003c/p>\n\u003cp>Then I talked with Emily Burack, a news writer at \u003cem>Town & Country\u003c/em> who has extensively covered the royal family and \u003cem>The Crown\u003c/em>. She said that the show does flesh out Dodi’s story in a way that depicts him as more than just a wealthy playboy who died in a car next to Diana.\u003c/p>\n\u003cp>“It gives you a fuller portrait of Dodi as a person,” Burack said. “People only think of Dodi in his death. They never think about this fun summer he had with Diana or the person he was.”\u003c/p>\n\u003cp>Drawing distinctions between fact and fiction here may sound nitpicky. But their story could be important to people who anticipated a possibly historic union between an Egyptian man and the mother of a future King of England.\u003c/p>\n\u003cfigure id=\"attachment_13938189\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938189\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569.jpe\" alt=\"A man of Arabic descent in his thirties walks side by side with a tall, slender white woman with short blonde hair. They are smiling at each other.\" width=\"1920\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-800x400.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-1020x510.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-160x80.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-768x384.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/the-crown-di-and-dodi-1_custom-7e3d9b81031542e61d0eae544f3abcb4425c059c-scaled-e1700255095569-1536x768.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Khalid Abdalla as Dodi Fayed and Elizabeth Debicki as Diana in Season 6 of ‘The Crown.’. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Showing conflict over Diana’s funeral\u003c/h3>\n\u003cp>Both Bullen and Burack also said that another private moment shown in \u003cem>The Crown\u003c/em> likely did happen in some way: when then-Prince Charles, played by Dominic West, pushes a reluctant Queen Elizabeth to show grief over Diana’s death publicly and give her a public funeral.\u003c/p>\n\u003cp>“It’s always been hard for us to understand the connection that Diana has with people,” Charles tells his mother in an emotional scene. “But the fact that it’s inexplicable, shouldn’t lead us to deny it … I’ve seen it for myself. People taking to the streets. Not just here, all over the world … And they will expect us to show grief and compassion and for you to be mother to the nation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There has already \u003ca href=\"https://www.radiotimes.com/tv/drama/the-crown-diana-ghost-scenes-newsupdate/\">been some criticism \u003c/a>of scenes which depict Diana appearing to both Charles and Queen Elizabeth to have conversations with them after her death. While it may seem as if her ghost were visiting them — Dodi is also shown having a post-death conversation with his father — for me, the scenes played as if these people were working through their feelings by imagining conversations with Diana and Dodi that they were no longer able to have.\u003c/p>\n\u003cp>These first four episodes of the season — the final six will drop next month, concluding the series — also provide another chance to re-evaluate Diana’s legacy, just as the world is re-considering how many famous women were treated in the 1990s, from Britney Spears to Tina Turner.\u003c/p>\n\u003cp>As a critic, I have always been uneasy with how \u003cem>The Crown\u003c/em> shifts seamlessly from highly accurate depictions to invented moments. And last season, which featured a detailed portrayal of how Diana and Charles’ marriage fell apart, \u003ca href=\"https://www.npr.org/2022/11/08/1135076997/netflixs-new-season-of-the-crown-debuts-at-a-controversial-moment\">was criticized by\u003c/a> actress Dame Judi Dench and former British Prime Minister John Major.\u003c/p>\n\u003cp>Still, there is no denying these episodes of \u003cem>The Crown\u003c/em> are incredibly well done, fleshing out an important moment for the family in a creative, telling way.\u003c/p>\n\u003cp>Just so long as viewers remember they’re watching a TV drama, not a program on the History channel.\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+shines+in+its+final+season+%E2%80%94+just+remember+it%27s+not+the+History+Channel+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>The first four episodes of the sixth season of ‘The Crown’ are streaming on Netflix now. The final six episodes of the series will arrive on the channel on Dec. 14, 2023.\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "E-40 Discusses New Album, His Cookbook With Snoop, and Being Underrated",
"headTitle": "E-40 Discusses New Album, His Cookbook With Snoop, and Being Underrated | KQED",
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13936776/e-40-gets-the-key-to-the-city-of-vallejo-and-a-street-named-in-his-honor\">E-40\u003c/a> built a three decade-plus career on the foundations of an unorthodox rap flow, schooling listeners with life lessons through his streetwise perspective.\u003c/p>\n\u003cp>With a heavy dose of Bay Area slang, E-40 created a lane for his unique hip-hop vernacular that has made him one of the genre’s most revered artists. As a savvy businessman, he’s leveraged his connections in the rap world to the wine, ice cream and food brand industries, including a Filipino food business inside Oracle Park in San Francisco.\u003c/p>\n\u003cp>[aside postid='arts_13927874']Now at 56, there’s no slowing down for E-40, who released his 27th studio album \u003cem>Rule of Thumb: Rule 1\u003c/em> on Friday. His new project comes more than 30 years after his debut, \u003cem>Federal\u003c/em>.\u003c/p>\n\u003cp>The new album — which features NBA YoungBoy, Too Short, Larry June, Gucci Mane, B.G. and E-40’s son Droop-E — is the first installment of the \u003cem>Rule of Thumb\u003c/em> album series. He plans to release the sequel album early next year.\u003c/p>\n\u003cp>In a recent interview, E-40 spoke with The Associated Press about being an underrated legend, his unorthodox rap style and the new cookbook called \u003cem>Snoop Dogg Presents: Goon With the Spoon\u003c/em>, which released earlier this week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Answers have been edited for brevity and clarity.\u003c/p>\n\u003cp>\u003cstrong>Jonathan Landrum, Jr:\u003c/strong> \u003cstrong>What’s the meaning behind your album title?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>E-40:\u003c/strong> I feel like \u003cem>Rule of Thumb\u003c/em> is just common sense. It’s certain rules and regulations that you must just know off top. It doesn’t take a rocket scientist. You don’t have to have a quarter of a brain to comprehend that. I’m teaching life lessons. Giving it to them straight, not fake and not fabricating things. It’s a lot of lightweight storytelling and a lot of life lessons, consequences and repercussions. I mix it up like a gumbo pot. I’m multi-dimensional. I don’t do just one style of rap. My beats aren’t always the same. I’m everywhere like air.\u003c/p>\n\u003cfigure id=\"attachment_13938195\" class=\"wp-caption aligncenter\" style=\"max-width: 1050px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938195\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/rule-of-thumb.jpg\" alt=\"An album cover depicting rapper E-40 in miniature. He is sitting on a scroll next to handcuffs, a key and a quill. A courthouse and scales are visible behind him.\" width=\"1050\" height=\"1050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb.jpg 1050w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-768x768.jpg 768w\" sizes=\"(max-width: 1050px) 100vw, 1050px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Rule of Thumb: Rule 1.’ \u003ccite>(Heavy on the Grind)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Where does your unorthodox rap style and wisdom come from?\u003c/strong>\u003c/p>\n\u003cp>Being chipped from a different cliff, being carved from a different clay, and made from a different fabric. I’m wired different than most. I’m from an era of morals and respect, and we follow guidelines. That’s always been me… I always told stories. I talked about the repercussions and the consequences. If you go do this, you do know that little 30-second decision that you made could cost you 30 years in prison or you might be buried 6 feet deep. I always talked about the consequences if you go do something. I speak the real.\u003c/p>\n\u003cp>\u003cstrong>You’re highly respected within hip-hop, but how does the feeling of being underrated bother you?\u003c/strong>\u003c/p>\n\u003cp>My life is beautiful. I’m very successful. I’m financially set. I’m financially good. I’m still accumulating bread. I’m still breaking boundaries. But anything that’s different is always going to be questionable. There will never be a rapper like E-40, whether you like me or not. You just got to give it to me. I got my own thing. I’ve been successful for 36 years with music since 1988. Let that soak in. I’ve got to be doing something right. Can’t just be no damn luck. I come from the ground up. All your favorite independent CEOs, they respect me because I was first. I laid the foundation for independent music.\u003c/p>\n\u003cp>Do I still feel underrated? Yes, I do. But I know what comes with the package. They like people that’s in the pocket and never go outside the box. That’s not me.\u003c/p>\n\u003cp>\u003cstrong>You have a new cookbook. When did your passion for cooking start?\u003c/strong>\u003c/p>\n\u003cp>I’m the oldest of four. Moms would work two or three jobs. My mom and dad divorced when I was 8 years old. I had a lot of responsibilities being the oldest, so I cooked. We all knew how to cook. We taught ourselves how to cook. I worked at a restaurant when I was a teenager. There was a Caucasian man that I love dearly to this day. His name is Lewis. He taught me how to cook escargot, orange roughy with almonds with lemon butter sauce with white wine. He taught me how to do London Broil and chicken cordon bleu.\u003c/p>\n\u003cfigure id=\"attachment_13938194\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_.jpg\" alt=\"A book cover featuring two Black men. One is wearing an apron and chef's hat and holding up a large meat sandwich. The other is wearing a bucket hat, Death Row Records shirt and white spectacles.\" width=\"1294\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-800x927.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-1020x1182.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-768x890.jpg 768w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">‘Snoop Dogg Presents: Goon With the Spoon’ by Snoop Dogg and Earl ‘E-40’ Stevens. \u003ccite>(Chronicle Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you and Snoop connect on this cookbook?\u003c/strong>\u003c/p>\n\u003cp>Snoop, that’s my guy. He cooks as well. He was like, “Earl, my book was very successful. I sold over a million copies. It’s a bestseller. Let me present it.”\u003c/p>\n\u003cp>I was like “Snoop, I rock with you. You’re legendary. You’re a good friend of mine. I’ve been knowing you for over 30-plus years. We’re family. Thank you. Let’s do it.”\u003c/p>\n\u003cp>When you put your pride to the side, bigger things happen. He’s got some recipes in there. I got some recipes in there. He’s got adult beverages. I have adult beverages. It only makes sense. We both co-pack. We do the whole thing. Teamwork makes the dream work. It’s enough money out there for all of us.\u003c/p>\n\u003cp>\u003cstrong>You’ve met with Vice President Kamala Harris at the White House, received an honorary doctorate from Grambling State University and had a street named after you in your hometown of Vallejo, California. How has hip-hop impacted your life?\u003c/strong>\u003c/p>\n\u003cp>Shout out to DJ Kool Herc, Grandmaster Flash and the Furious Five, Run-DMC. Those dudes really paved the way for people like myself to diversify our portfolios and find other ways to make financial gain on a legitimate note. This beats the streets. You can make more money here than you could ever in the streets.\u003c/p>\n\u003cp>\u003cstrong>Will you ever release a book with your slang terms?\u003c/strong>\u003c/p>\n\u003cp>If I do the book of slang, it’s going to hurt people’s feelings. Because they think that their favorite rapper made the words up, and it came from me. Or if it didn’t come from me, I got it from the soil — the trenches where most rappers that are from the urban community get their (expletive) from.\u003c/p>\n\u003cp>I’ve been around for more than a half a century. I know all this. I’ve got receipts to back it up. One day, I want to sit down and go word-for-word of all the words I’ve coined. I want to go to the year, the song, everything. I want to ask “Who said it before me?” If they try to lie about it, I’ve got receipts. I was the first rapper screaming “Tycoon.” That’s one of many. “Slappin.” “Choppers.” I’ve got so many of them. Just for that, I’m going to do a book of slang. The real way in 2024 style.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Rule of Thumb: Rule 1’ is out on Nov. 17, 2023. ‘Snoop Dogg Presents: Goon With the Spoon’ by Snoop Dogg and Earl ‘E-40’ Stevens (with Photos by Antonis Achilleos) is out now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13936776/e-40-gets-the-key-to-the-city-of-vallejo-and-a-street-named-in-his-honor\">E-40\u003c/a> built a three decade-plus career on the foundations of an unorthodox rap flow, schooling listeners with life lessons through his streetwise perspective.\u003c/p>\n\u003cp>With a heavy dose of Bay Area slang, E-40 created a lane for his unique hip-hop vernacular that has made him one of the genre’s most revered artists. As a savvy businessman, he’s leveraged his connections in the rap world to the wine, ice cream and food brand industries, including a Filipino food business inside Oracle Park in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now at 56, there’s no slowing down for E-40, who released his 27th studio album \u003cem>Rule of Thumb: Rule 1\u003c/em> on Friday. His new project comes more than 30 years after his debut, \u003cem>Federal\u003c/em>.\u003c/p>\n\u003cp>The new album — which features NBA YoungBoy, Too Short, Larry June, Gucci Mane, B.G. and E-40’s son Droop-E — is the first installment of the \u003cem>Rule of Thumb\u003c/em> album series. He plans to release the sequel album early next year.\u003c/p>\n\u003cp>In a recent interview, E-40 spoke with The Associated Press about being an underrated legend, his unorthodox rap style and the new cookbook called \u003cem>Snoop Dogg Presents: Goon With the Spoon\u003c/em>, which released earlier this week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Answers have been edited for brevity and clarity.\u003c/p>\n\u003cp>\u003cstrong>Jonathan Landrum, Jr:\u003c/strong> \u003cstrong>What’s the meaning behind your album title?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>E-40:\u003c/strong> I feel like \u003cem>Rule of Thumb\u003c/em> is just common sense. It’s certain rules and regulations that you must just know off top. It doesn’t take a rocket scientist. You don’t have to have a quarter of a brain to comprehend that. I’m teaching life lessons. Giving it to them straight, not fake and not fabricating things. It’s a lot of lightweight storytelling and a lot of life lessons, consequences and repercussions. I mix it up like a gumbo pot. I’m multi-dimensional. I don’t do just one style of rap. My beats aren’t always the same. I’m everywhere like air.\u003c/p>\n\u003cfigure id=\"attachment_13938195\" class=\"wp-caption aligncenter\" style=\"max-width: 1050px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938195\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/rule-of-thumb.jpg\" alt=\"An album cover depicting rapper E-40 in miniature. He is sitting on a scroll next to handcuffs, a key and a quill. A courthouse and scales are visible behind him.\" width=\"1050\" height=\"1050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb.jpg 1050w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-768x768.jpg 768w\" sizes=\"(max-width: 1050px) 100vw, 1050px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Rule of Thumb: Rule 1.’ \u003ccite>(Heavy on the Grind)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Where does your unorthodox rap style and wisdom come from?\u003c/strong>\u003c/p>\n\u003cp>Being chipped from a different cliff, being carved from a different clay, and made from a different fabric. I’m wired different than most. I’m from an era of morals and respect, and we follow guidelines. That’s always been me… I always told stories. I talked about the repercussions and the consequences. If you go do this, you do know that little 30-second decision that you made could cost you 30 years in prison or you might be buried 6 feet deep. I always talked about the consequences if you go do something. I speak the real.\u003c/p>\n\u003cp>\u003cstrong>You’re highly respected within hip-hop, but how does the feeling of being underrated bother you?\u003c/strong>\u003c/p>\n\u003cp>My life is beautiful. I’m very successful. I’m financially set. I’m financially good. I’m still accumulating bread. I’m still breaking boundaries. But anything that’s different is always going to be questionable. There will never be a rapper like E-40, whether you like me or not. You just got to give it to me. I got my own thing. I’ve been successful for 36 years with music since 1988. Let that soak in. I’ve got to be doing something right. Can’t just be no damn luck. I come from the ground up. All your favorite independent CEOs, they respect me because I was first. I laid the foundation for independent music.\u003c/p>\n\u003cp>Do I still feel underrated? Yes, I do. But I know what comes with the package. They like people that’s in the pocket and never go outside the box. That’s not me.\u003c/p>\n\u003cp>\u003cstrong>You have a new cookbook. When did your passion for cooking start?\u003c/strong>\u003c/p>\n\u003cp>I’m the oldest of four. Moms would work two or three jobs. My mom and dad divorced when I was 8 years old. I had a lot of responsibilities being the oldest, so I cooked. We all knew how to cook. We taught ourselves how to cook. I worked at a restaurant when I was a teenager. There was a Caucasian man that I love dearly to this day. His name is Lewis. He taught me how to cook escargot, orange roughy with almonds with lemon butter sauce with white wine. He taught me how to do London Broil and chicken cordon bleu.\u003c/p>\n\u003cfigure id=\"attachment_13938194\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_.jpg\" alt=\"A book cover featuring two Black men. One is wearing an apron and chef's hat and holding up a large meat sandwich. The other is wearing a bucket hat, Death Row Records shirt and white spectacles.\" width=\"1294\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-800x927.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-1020x1182.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-768x890.jpg 768w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">‘Snoop Dogg Presents: Goon With the Spoon’ by Snoop Dogg and Earl ‘E-40’ Stevens. \u003ccite>(Chronicle Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you and Snoop connect on this cookbook?\u003c/strong>\u003c/p>\n\u003cp>Snoop, that’s my guy. He cooks as well. He was like, “Earl, my book was very successful. I sold over a million copies. It’s a bestseller. Let me present it.”\u003c/p>\n\u003cp>I was like “Snoop, I rock with you. You’re legendary. You’re a good friend of mine. I’ve been knowing you for over 30-plus years. We’re family. Thank you. Let’s do it.”\u003c/p>\n\u003cp>When you put your pride to the side, bigger things happen. He’s got some recipes in there. I got some recipes in there. He’s got adult beverages. I have adult beverages. It only makes sense. We both co-pack. We do the whole thing. Teamwork makes the dream work. It’s enough money out there for all of us.\u003c/p>\n\u003cp>\u003cstrong>You’ve met with Vice President Kamala Harris at the White House, received an honorary doctorate from Grambling State University and had a street named after you in your hometown of Vallejo, California. How has hip-hop impacted your life?\u003c/strong>\u003c/p>\n\u003cp>Shout out to DJ Kool Herc, Grandmaster Flash and the Furious Five, Run-DMC. Those dudes really paved the way for people like myself to diversify our portfolios and find other ways to make financial gain on a legitimate note. This beats the streets. You can make more money here than you could ever in the streets.\u003c/p>\n\u003cp>\u003cstrong>Will you ever release a book with your slang terms?\u003c/strong>\u003c/p>\n\u003cp>If I do the book of slang, it’s going to hurt people’s feelings. Because they think that their favorite rapper made the words up, and it came from me. Or if it didn’t come from me, I got it from the soil — the trenches where most rappers that are from the urban community get their (expletive) from.\u003c/p>\n\u003cp>I’ve been around for more than a half a century. I know all this. I’ve got receipts to back it up. One day, I want to sit down and go word-for-word of all the words I’ve coined. I want to go to the year, the song, everything. I want to ask “Who said it before me?” If they try to lie about it, I’ve got receipts. I was the first rapper screaming “Tycoon.” That’s one of many. “Slappin.” “Choppers.” I’ve got so many of them. Just for that, I’m going to do a book of slang. The real way in 2024 style.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rule of Thumb: Rule 1’ is out on Nov. 17, 2023. ‘Snoop Dogg Presents: Goon With the Spoon’ by Snoop Dogg and Earl ‘E-40’ Stevens (with Photos by Antonis Achilleos) is out now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In Ridley Scott’s ‘Napoleon,’ the Emperor Has No Clothes But Plenty of Ego",
"headTitle": "In Ridley Scott’s ‘Napoleon,’ the Emperor Has No Clothes But Plenty of Ego | KQED",
"content": "\u003cp>For such a famed historical figure, Napoleon has made only fleeting appearances in movies since Abel Gance’s 1927 silent film.\u003c/p>\n\u003cp>Stanley Kubrick had grand designs for a Napoleon epic that went unmade. (Steven Spielberg is attempting to revive those plans as a series ). Napoleon and his bicorne hat — more icon of history than a real character — mostly only pops up in time-traveling odysseys like \u003cem>Time Bandits\u003c/em> or \u003ca href=\"https://video.kqed.org/video/bill-and-teds-excellent-adventure-web-extra-zii6ya/\">\u003cem>Bill and Ted’s Excellent Adventure\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The party, though, is finally on in Ridley Scott’s \u003cem>Napoleon\u003c/em>, starring Joaquin Phoenix. Scott doesn’t do anything small, not even famously diminutive French emperors. And his two-hour-38-minute big-screen biopic serves up a heaping historical spectacle complete with bloody European battles and massive military maneuvers.\u003c/p>\n\u003cp>[aside postid='arts_13937499']But don’t mistake Napoleon for your average historical epic. Our first sense that this may not be a grand glorification of a Great Man of history comes early in the film, when a 24-year-old Bonaparte leads the siege on the British troops controlling the port city of Toulon. When Napoleon, then a major, charges forward in the fight, he’s visibly terrified, even panting. He looks more like Phoenix’s anxious protagonist in \u003cem>Beau Is Afraid\u003c/em> than the man who would become France’s Caesar. Napoleon doesn’t storm the gates so much as lurch desperately at them.\u003c/p>\n\u003cp>And for the rest of Scott’s film and Phoenix’s riveting performance, Napoleon’s actions are never much more complicated than that. He assumes power cavalierly. His coup d’état against the French Directory in 1799 is a ramshackle farce. He flings his armies around the continent without the slightest concern. He’s prone to petulant rages, screaming at the British: “You think you’re so great because you have boats!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Napoleon\u003c/em> subscribes more to the Not-So-Great Man theory of history. This Napoleon isn’t extraordinary nor is he much of a man. He’s a boyishly impulsive, thin-skinned brute, careening his way through Europe and leaving battlefields of dead soldiers in his wake. When he, while on a campaign in Egypt, is informed over lunch that his wife Joséphine (Vanessa Kirby) is having an affair back in Paris, he responds curtly to the messenger: “No dessert for you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LIsfMO5Jd_w\u003c/p>\n\u003cp>For more than 200 years, characterizations of Napoleon have ranged from genius reformer born out of the French Revolution to marauding tyrant whose wars left three million dead. Napoleon, himself, helped shape his legacy while exiled on St. Helena with a self-serving memoir. Some of the titans of 19th century literature reckoned with him. Victor Hugo wrote Napoleon lost at Waterloo because he had grown “troublesome to God.” Tolstoy, in \u003cem>War and Peace\u003c/em>, was less impressed, calling him, “that most insignificant instrument of history.”\u003c/p>\n\u003cp>[aside postid='arts_13938143']In \u003cem>Napoleon\u003c/em>, which begins with Marie Antoinette at the guillotine and ends with Napoleon on St. Helena where he died at age 51 in 1821, it’s startling how much disregard the movie has for its protagonist. Hollywood historical epics have traditionally leaned toward aggrandizement, not the undressing of fragile, deluded male egos who exclaim over dinner: “Destiny has brought me here! Destiny has brought me this lamb chop!”\u003c/p>\n\u003cp>Here is a sweeping historical tapestry — no one does it better today than Scott — with a damning, almost satirical portrait at its center. That mix — Scott’s spectacle and Phoenix’s the-emperor-has-no-clothes performance — makes \u003cem>Napoleon\u003c/em> a rivetingly off-kilter experience.\u003c/p>\n\u003cp>It’s not always a smooth mix. Phoenix’s characterization may at times have more in common with some of his past depictions of melancholy loners (\u003cem>The Master\u003c/em>, \u003cem>The Joker\u003c/em>) than any factual record of Napoleon. A quality like ambition, you’d think, would be prominent in depicting Napoleon. He was a notorious workaholic, meticulously organized and an energetic intellectual — little of which is present here, making Napoleon’s rise to power sometimes hard to fathom.\u003c/p>\n\u003cp>But that’s also part of the point of \u003cem>Napoleon\u003c/em>, which surely has some contemporary echoes. There are plenty of enablers along the way (a highlight of the supporting cast is Paul Rhys as the scheming diplomat Talleyrand) as the film marches through major events like the fall of Robespierre, the 1799 coup, Napoleon making himself Emperor in 1804 and the triumphant Battle of Austerlitz. The last is Scott’s finest set piece in the film, ending in a rout of the Russian forces as they flee over a frozen pond while the bombardment of cannons plunges them into an icy grave.\u003c/p>\n\u003cp>But in David Scarpa’s screenplay, the real through line in \u003cem>Napoleon\u003c/em> isn’t the string of battles leading up to the downfall we all know is coming at Waterloo. (There, Rupert Everett’s sneering Duke of Wellington enlivens the military tactics.) It’s Napoleon’s relationship with Joséphine that makes the main thread.\u003c/p>\n\u003cp>When he first sees her across a crowded party, he stands transfixed. Anyone would be. The slinky Kirby, sporting a pixie cut, rivals Phoenix for most potent presence in \u003cem>Napoleon\u003c/em>. She has a complete hold on Napoleon, who turns out to be no more suave in the bedroom than he is among society. When he returns from Egypt furious from the well-publicized rumors of her infidelity, they have a prolonged fight that ends with her turning the tables. “You are nothing without me,” she tells him, as he cowers, happily. “Say it.”\u003c/p>\n\u003cp>[aside postid='arts_13937870']There’s a version of the film that could be wholly focused on their dynamic. Joséphine is omnipresent for a long stretch — he writes her constantly from the battlefront in letters narrated to us — but \u003cem>Napoleon\u003c/em> never quite finds its balance in cutting between their life together and the military exploits. Scott is expected to release a four-hour director’s cut on Apple TV+ after the film’s theatrical run, which may offer a more calibrated version.\u003c/p>\n\u003cp>But the 85-year-old Scott — himself a symbol of ceaseless ambition — has made a film that, like his previous \u003cem>The Last Duel\u003c/em>, is a provocative takedown of male power. Scott has made plenty of brawny, swaggering epics in his time — including \u003cem>Gladiator\u003c/em>, with an Oscar-nominated Phoenix as the Roman emperor Commodus. But even though not everything in \u003cem>Napoleon\u003c/em> coheres, it’s appealingly destabilizing. In one of the film’s final images, Napoleon and his hat are in silhouette as he slumps to his death like a keeling ship, going down.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Napoleon’ hits theaters nationwide on Nov. 22, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For such a famed historical figure, Napoleon has made only fleeting appearances in movies since Abel Gance’s 1927 silent film.\u003c/p>\n\u003cp>Stanley Kubrick had grand designs for a Napoleon epic that went unmade. (Steven Spielberg is attempting to revive those plans as a series ). Napoleon and his bicorne hat — more icon of history than a real character — mostly only pops up in time-traveling odysseys like \u003cem>Time Bandits\u003c/em> or \u003ca href=\"https://video.kqed.org/video/bill-and-teds-excellent-adventure-web-extra-zii6ya/\">\u003cem>Bill and Ted’s Excellent Adventure\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The party, though, is finally on in Ridley Scott’s \u003cem>Napoleon\u003c/em>, starring Joaquin Phoenix. Scott doesn’t do anything small, not even famously diminutive French emperors. And his two-hour-38-minute big-screen biopic serves up a heaping historical spectacle complete with bloody European battles and massive military maneuvers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But don’t mistake Napoleon for your average historical epic. Our first sense that this may not be a grand glorification of a Great Man of history comes early in the film, when a 24-year-old Bonaparte leads the siege on the British troops controlling the port city of Toulon. When Napoleon, then a major, charges forward in the fight, he’s visibly terrified, even panting. He looks more like Phoenix’s anxious protagonist in \u003cem>Beau Is Afraid\u003c/em> than the man who would become France’s Caesar. Napoleon doesn’t storm the gates so much as lurch desperately at them.\u003c/p>\n\u003cp>And for the rest of Scott’s film and Phoenix’s riveting performance, Napoleon’s actions are never much more complicated than that. He assumes power cavalierly. His coup d’état against the French Directory in 1799 is a ramshackle farce. He flings his armies around the continent without the slightest concern. He’s prone to petulant rages, screaming at the British: “You think you’re so great because you have boats!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Napoleon\u003c/em> subscribes more to the Not-So-Great Man theory of history. This Napoleon isn’t extraordinary nor is he much of a man. He’s a boyishly impulsive, thin-skinned brute, careening his way through Europe and leaving battlefields of dead soldiers in his wake. When he, while on a campaign in Egypt, is informed over lunch that his wife Joséphine (Vanessa Kirby) is having an affair back in Paris, he responds curtly to the messenger: “No dessert for you.”\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/LIsfMO5Jd_w'\n title='//www.youtube.com/embed/LIsfMO5Jd_w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For more than 200 years, characterizations of Napoleon have ranged from genius reformer born out of the French Revolution to marauding tyrant whose wars left three million dead. Napoleon, himself, helped shape his legacy while exiled on St. Helena with a self-serving memoir. Some of the titans of 19th century literature reckoned with him. Victor Hugo wrote Napoleon lost at Waterloo because he had grown “troublesome to God.” Tolstoy, in \u003cem>War and Peace\u003c/em>, was less impressed, calling him, “that most insignificant instrument of history.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>Napoleon\u003c/em>, which begins with Marie Antoinette at the guillotine and ends with Napoleon on St. Helena where he died at age 51 in 1821, it’s startling how much disregard the movie has for its protagonist. Hollywood historical epics have traditionally leaned toward aggrandizement, not the undressing of fragile, deluded male egos who exclaim over dinner: “Destiny has brought me here! Destiny has brought me this lamb chop!”\u003c/p>\n\u003cp>Here is a sweeping historical tapestry — no one does it better today than Scott — with a damning, almost satirical portrait at its center. That mix — Scott’s spectacle and Phoenix’s the-emperor-has-no-clothes performance — makes \u003cem>Napoleon\u003c/em> a rivetingly off-kilter experience.\u003c/p>\n\u003cp>It’s not always a smooth mix. Phoenix’s characterization may at times have more in common with some of his past depictions of melancholy loners (\u003cem>The Master\u003c/em>, \u003cem>The Joker\u003c/em>) than any factual record of Napoleon. A quality like ambition, you’d think, would be prominent in depicting Napoleon. He was a notorious workaholic, meticulously organized and an energetic intellectual — little of which is present here, making Napoleon’s rise to power sometimes hard to fathom.\u003c/p>\n\u003cp>But that’s also part of the point of \u003cem>Napoleon\u003c/em>, which surely has some contemporary echoes. There are plenty of enablers along the way (a highlight of the supporting cast is Paul Rhys as the scheming diplomat Talleyrand) as the film marches through major events like the fall of Robespierre, the 1799 coup, Napoleon making himself Emperor in 1804 and the triumphant Battle of Austerlitz. The last is Scott’s finest set piece in the film, ending in a rout of the Russian forces as they flee over a frozen pond while the bombardment of cannons plunges them into an icy grave.\u003c/p>\n\u003cp>But in David Scarpa’s screenplay, the real through line in \u003cem>Napoleon\u003c/em> isn’t the string of battles leading up to the downfall we all know is coming at Waterloo. (There, Rupert Everett’s sneering Duke of Wellington enlivens the military tactics.) It’s Napoleon’s relationship with Joséphine that makes the main thread.\u003c/p>\n\u003cp>When he first sees her across a crowded party, he stands transfixed. Anyone would be. The slinky Kirby, sporting a pixie cut, rivals Phoenix for most potent presence in \u003cem>Napoleon\u003c/em>. She has a complete hold on Napoleon, who turns out to be no more suave in the bedroom than he is among society. When he returns from Egypt furious from the well-publicized rumors of her infidelity, they have a prolonged fight that ends with her turning the tables. “You are nothing without me,” she tells him, as he cowers, happily. “Say it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s a version of the film that could be wholly focused on their dynamic. Joséphine is omnipresent for a long stretch — he writes her constantly from the battlefront in letters narrated to us — but \u003cem>Napoleon\u003c/em> never quite finds its balance in cutting between their life together and the military exploits. Scott is expected to release a four-hour director’s cut on Apple TV+ after the film’s theatrical run, which may offer a more calibrated version.\u003c/p>\n\u003cp>But the 85-year-old Scott — himself a symbol of ceaseless ambition — has made a film that, like his previous \u003cem>The Last Duel\u003c/em>, is a provocative takedown of male power. Scott has made plenty of brawny, swaggering epics in his time — including \u003cem>Gladiator\u003c/em>, with an Oscar-nominated Phoenix as the Roman emperor Commodus. But even though not everything in \u003cem>Napoleon\u003c/em> coheres, it’s appealingly destabilizing. In one of the film’s final images, Napoleon and his hat are in silhouette as he slumps to his death like a keeling ship, going down.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Napoleon’ hits theaters nationwide on Nov. 22, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Inspired by a 1990s Tabloid Story, ‘May December’ Fictionalizes a Real Tragedy",
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"content": "\u003cp>If you were in reach of a TV or a tabloid in the ’90s, you probably remember the case of Mary Kay Letourneau, the Washington state schoolteacher who was convicted of raping her sixth-grade student Vili Fualaau.\u003c/p>\n\u003cp>Fualaau was 12 when Letourneau, 34, first had sex with him. They had two children, one of whom was born while Letourneau was in prison. After her release in 2004, she and the now-adult Fualauu wed and were married for 14 years until their separation. Letourneau died of cancer in 2020.\u003c/p>\n\u003cp>[aside postid='arts_13937866']The dark and sometimes disturbingly funny new movie \u003cem>May December\u003c/em> was inspired by the Letourneau-Fualaau story, though it never mentions them by name. \u003ca href=\"https://www.npr.org/2013/05/23/182597401/julianne-moore-relishing-complicated-characters\">Julianne Moore\u003c/a> plays Gracie Atherton-Yoo, who’s in her late 50s, and Charles Melton plays her husband, Joe Yoo, who’s in his 30s. They have three college-age children and a beautiful home in Savannah, Ga., where their close-knit community has long accepted them despite the scandal that broke out when their relationship came to light two decades earlier.\u003c/p>\n\u003cp>The director \u003ca href=\"https://www.npr.org/2007/11/19/16419557/todd-haynes-exploring-six-degrees-of-dylan\">Todd Haynes\u003c/a>, working from a smart, layered script by Samy Burch, comes at this material from a fascinating angle. A famous TV actor named Elizabeth Berry, played by the famous movie actor \u003ca href=\"https://www.npr.org/2010/11/29/131667596/to-become-a-black-swan-portman-had-to-go-dark\">Natalie Portman\u003c/a>, is set to play Gracie in an independent film. Elizabeth has come to Savannah to do some research by spending time with the couple, who are hoping they’ll be depicted sympathetically. In one scene, Elizabeth attends a barbeque at Gracie and Joe’s house and strikes up a conversation about them with one of their friends, who says what she most loves about Gracie is that she’s an “unapologetic” woman who “always knows what she wants.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4VdAParM4h8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moore, who gave two of her greatest performances in Haynes’ earlier dramas \u003cem>Safe\u003c/em> and \u003cem>Far From Heaven\u003c/em>, plays Gracie with an edge of steel and a childlike lisp inspired by Letourneau herself. Although Gracie gives Elizabeth a friendly welcome, over the next few days she turns brittle and a little testy as the actor asks about her and Joe’s relationship. There’s an acid humor to Gracie’s defiance as she refuses to wring her hands over her past misdeeds. In her mind, she and Joe and their kids are a happy and pretty normal family.\u003c/p>\n\u003cp>[aside postid='arts_13937140']But Gracie is clearly deluding herself, and it doesn’t take long for Elizabeth’s presence to drive a wedge between the couple as old, unresolved issues rise to the surface. Melton, best known for the series \u003ca href=\"https://www.npr.org/2017/01/26/511672776/archie-got-hot-is-a-sentence-youll-hear-in-new-noir-riverdale\">\u003cem>Riverdale\u003c/em>\u003c/a>, is quietly revelatory as Joe, a man stuck in a kind of suspended adolescence. We can’t help but notice how closely Joe resembles his teenage kids, not just in appearance but in age. Or how Gracie seems to treat him the way a needy mother might treat her son.\u003c/p>\n\u003cp>But as messed up as Gracie and Joe are, \u003cem>May December\u003c/em> seems to respect them more than it does Elizabeth, who’s clearly working this situation from every possible angle. Portman, doing her best and subtlest work in some time, brilliantly reveals the calculation behind Elizabeth’s polite smiles and gently probing questions. Haynes clearly loves actors, but he isn’t afraid to show how callous and even monstrous some of them can be in pursuit of their art. He’s also critiquing the endless appetite for sensationalized, ripped-from-the-headlines stories and the industry’s willingness to feed it.\u003c/p>\n\u003cp>All this would be rich dramatic fodder even if it were played perfectly straight. But Haynes, one of the most inventive stylists working in American movies, is incapable of being completely straightforward, and here he walks a tricky tonal line between melodrama, realism and camp.\u003c/p>\n\u003cp>[aside postid='arts_13937499']At times he accents key moments with a deliberately overwrought burst of music, as if to give us a glimpse of the soap opera that Elizabeth’s indie film project might well become. Elsewhere his references skew higher-brow: When he positions Moore and Portman side-by-side in closeup, he evokes the dreamy surrealism of Ingmar Bergman’s \u003cem>Persona \u003c/em>and \u003ca href=\"https://www.npr.org/artists/1104241680/david-lynch\">David Lynch\u003c/a>‘s \u003cem>Mulholland Drive\u003c/em>, as if to suggest that Gracie’s and Elizabeth’s identities are blurring together.\u003c/p>\n\u003cp>In shifting among these different modes, Haynes reminds us that we’re watching a movie, and that most movies can only give us a partial understanding of the truth. Still, for all its surface artifice and self-aware humor, what’s striking about \u003cem>May December\u003c/em> is how piercingly sad it becomes as it invites us to feel the full weight of Gracie and Joe’s loneliness and desperation. These characters may be fictionalized constructs, but their tragedy is all too real.\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=Inspired+by+a+1990s+tabloid+story%2C+%27May+December%27+fictionalizes+a+real+tragedy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘May December’ is in theaters nationwide from Nov. 17 and begins streaming on Netflix on Dec. 1, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moore, who gave two of her greatest performances in Haynes’ earlier dramas \u003cem>Safe\u003c/em> and \u003cem>Far From Heaven\u003c/em>, plays Gracie with an edge of steel and a childlike lisp inspired by Letourneau herself. Although Gracie gives Elizabeth a friendly welcome, over the next few days she turns brittle and a little testy as the actor asks about her and Joe’s relationship. There’s an acid humor to Gracie’s defiance as she refuses to wring her hands over her past misdeeds. In her mind, she and Joe and their kids are a happy and pretty normal family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Gracie is clearly deluding herself, and it doesn’t take long for Elizabeth’s presence to drive a wedge between the couple as old, unresolved issues rise to the surface. Melton, best known for the series \u003ca href=\"https://www.npr.org/2017/01/26/511672776/archie-got-hot-is-a-sentence-youll-hear-in-new-noir-riverdale\">\u003cem>Riverdale\u003c/em>\u003c/a>, is quietly revelatory as Joe, a man stuck in a kind of suspended adolescence. We can’t help but notice how closely Joe resembles his teenage kids, not just in appearance but in age. Or how Gracie seems to treat him the way a needy mother might treat her son.\u003c/p>\n\u003cp>But as messed up as Gracie and Joe are, \u003cem>May December\u003c/em> seems to respect them more than it does Elizabeth, who’s clearly working this situation from every possible angle. Portman, doing her best and subtlest work in some time, brilliantly reveals the calculation behind Elizabeth’s polite smiles and gently probing questions. Haynes clearly loves actors, but he isn’t afraid to show how callous and even monstrous some of them can be in pursuit of their art. He’s also critiquing the endless appetite for sensationalized, ripped-from-the-headlines stories and the industry’s willingness to feed it.\u003c/p>\n\u003cp>All this would be rich dramatic fodder even if it were played perfectly straight. But Haynes, one of the most inventive stylists working in American movies, is incapable of being completely straightforward, and here he walks a tricky tonal line between melodrama, realism and camp.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At times he accents key moments with a deliberately overwrought burst of music, as if to give us a glimpse of the soap opera that Elizabeth’s indie film project might well become. Elsewhere his references skew higher-brow: When he positions Moore and Portman side-by-side in closeup, he evokes the dreamy surrealism of Ingmar Bergman’s \u003cem>Persona \u003c/em>and \u003ca href=\"https://www.npr.org/artists/1104241680/david-lynch\">David Lynch\u003c/a>‘s \u003cem>Mulholland Drive\u003c/em>, as if to suggest that Gracie’s and Elizabeth’s identities are blurring together.\u003c/p>\n\u003cp>In shifting among these different modes, Haynes reminds us that we’re watching a movie, and that most movies can only give us a partial understanding of the truth. Still, for all its surface artifice and self-aware humor, what’s striking about \u003cem>May December\u003c/em> is how piercingly sad it becomes as it invites us to feel the full weight of Gracie and Joe’s loneliness and desperation. These characters may be fictionalized constructs, but their tragedy is all too real.\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=Inspired+by+a+1990s+tabloid+story%2C+%27May+December%27+fictionalizes+a+real+tragedy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘May December’ is in theaters nationwide from Nov. 17 and begins streaming on Netflix on Dec. 1, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "With a Boost From John Oliver, Pūteketeke Soars to First in New Zealand Bird Contest",
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"content": "\u003cp>A threatened bird called the pūteketeke landed the top spot in a New Zealand bird contest after comedian and talk show host \u003ca href=\"https://www.kqed.org/arts/tag/john-oliver\">John Oliver\u003c/a> unleashed a zany, worldwide campaign on its behalf.\u003c/p>\n\u003cp>[aside postid='arts_13927659']The New Zealand conservation organization Forest & Bird held the contest for \u003ca href=\"https://www.birdoftheyear.org.nz/\">Bird of the Century\u003c/a>, asking people in the country and abroad to vote for their favorite threatened species among dozens of contestants.\u003c/p>\n\u003cp>The \u003cem>Last Week Tonight\u003c/em> host said his staff asked Forest & Bird if they could campaign for the pūteketeke, a native water bird with a distinctive black-brown frill around its neck, and the group agreed.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6GF6Gd7wrlk\u003c/p>\n\u003cp>“I don’t think they understood quite what they were unleashing when they said, ‘Go for it,’ ” said Oliver, dressed as a pūteketeke, \u003ca href=\"https://www.youtube.com/watch?v=uVE1hBzHn3s\">during an appearance\u003c/a> on \u003cem>The Tonight Show\u003c/em> with Jimmy Fallon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To boost support for the species, which he called “magnificent” and “charming,” Oliver did a \u003cem>Last Week Tonight\u003c/em> \u003ca href=\"https://www.youtube.com/watch?v=6GF6Gd7wrlk\">segment\u003c/a> hyping the pūteketeke and took out billboard ads for the bird in New Zealand, the U.S., India, Japan and elsewhere.\u003c/p>\n\u003cp>“This is what democracy is all about: America interfering in foreign elections,” he joked on his show.\u003c/p>\n\u003cp>The meddling paid off.\u003c/p>\n\u003cp>[aside postid='arts_13911108']Forest & Bird \u003ca href=\"https://www.forestandbird.org.nz/resources/bird-century-winner-announced-puteketeke-pandemonium-prevails\">announced\u003c/a> Wednesday that the pūteketeke won the contest with a whopping 290,374 votes.\u003c/p>\n\u003cp>By comparison, the North Island brown kiwi secured second place with only 12,904 votes.\u003c/p>\n\u003cp>“We promised controversy but didn’t quite expect this!” Forest & Bird Chief Executive Nicola Toki said in a statement. “We’re stoked to see the outpouring of passion, creativity and debate that this campaign has ignited.”\u003c/p>\n\u003cp>Even New Zealand’s incoming Prime Minister Christopher Luxon applauded the talk show host for vaulting the pūteketeke to victory.\u003c/p>\n\u003cp>“Congratulations to campaign manager @iamjohnoliver and all those who gave their support to the Pūteketeke,” Luxon said \u003ca href=\"https://twitter.com/chrisluxonmp/status/1724509183704494367\">in a tweet\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13938125\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938125\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM.png\" alt='A couple walks past a bus billboard depicting a parody of Lord of the Rings featuring unusual birds. \"Lord of the wings,\" it reads. \"One bird to rule them all.\"' width=\"1296\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-768x507.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">A billboard at a bus stop promotes comedian John Oliver’s campaign for the pūteketeke to be named New Zealand’s Bird of the Century on Saturday in Wellington. \u003ccite>(Nick Perry/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also known as the Australasian crested grebe, the pūteketeke has a pointy black beak and a long white neck and is known for its strange behaviors.\u003c/p>\n\u003cp>The species boasts a bizarre \u003ca href=\"https://www.youtube.com/watch?v=98ceB5SPRXI\">mating ritual\u003c/a>, \u003ca href=\"https://nzbirdsonline.org.nz/species/australasian-crested-grebe\">carries around its young\u003c/a> on its back in the water and has been known to \u003ca href=\"https://apnews.com/article/new-zealand-bird-contest-john-oliver-211ed05e6101f58e5e61a282f1e9b9cc\">eat its own feathers\u003c/a> before vomiting them back up.\u003c/p>\n\u003cp>[aside postid='arts_13912438']“Pūteketeke began as an outside contender for Bird of the Century but was catapulted to the top spot thanks to its unique looks, adorable parenting style, and propensity for puking,” Toki said.\u003c/p>\n\u003cp>According to Forest & Bird, there are fewer than 3,000 of the birds across New Zealand and Australia, but that number was even lower a few decades ago and has been steadily increasing thanks in part to conservation efforts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The group noted that more than 80% of the native birds in New Zealand are on the threatened species list.\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=With+a+boost+from+John+Oliver%2C+p%C5%ABteketeke+soars+to+first+in+New+Zealand+bird+contest&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The New Zealand conservation organization Forest & Bird held the contest for \u003ca href=\"https://www.birdoftheyear.org.nz/\">Bird of the Century\u003c/a>, asking people in the country and abroad to vote for their favorite threatened species among dozens of contestants.\u003c/p>\n\u003cp>The \u003cem>Last Week Tonight\u003c/em> host said his staff asked Forest & Bird if they could campaign for the pūteketeke, a native water bird with a distinctive black-brown frill around its neck, and the group agreed.\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/6GF6Gd7wrlk'\n title='//www.youtube.com/embed/6GF6Gd7wrlk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I don’t think they understood quite what they were unleashing when they said, ‘Go for it,’ ” said Oliver, dressed as a pūteketeke, \u003ca href=\"https://www.youtube.com/watch?v=uVE1hBzHn3s\">during an appearance\u003c/a> on \u003cem>The Tonight Show\u003c/em> with Jimmy Fallon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Forest & Bird \u003ca href=\"https://www.forestandbird.org.nz/resources/bird-century-winner-announced-puteketeke-pandemonium-prevails\">announced\u003c/a> Wednesday that the pūteketeke won the contest with a whopping 290,374 votes.\u003c/p>\n\u003cp>By comparison, the North Island brown kiwi secured second place with only 12,904 votes.\u003c/p>\n\u003cp>“We promised controversy but didn’t quite expect this!” Forest & Bird Chief Executive Nicola Toki said in a statement. “We’re stoked to see the outpouring of passion, creativity and debate that this campaign has ignited.”\u003c/p>\n\u003cp>Even New Zealand’s incoming Prime Minister Christopher Luxon applauded the talk show host for vaulting the pūteketeke to victory.\u003c/p>\n\u003cp>“Congratulations to campaign manager @iamjohnoliver and all those who gave their support to the Pūteketeke,” Luxon said \u003ca href=\"https://twitter.com/chrisluxonmp/status/1724509183704494367\">in a tweet\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13938125\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938125\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM.png\" alt='A couple walks past a bus billboard depicting a parody of Lord of the Rings featuring unusual birds. \"Lord of the wings,\" it reads. \"One bird to rule them all.\"' width=\"1296\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-768x507.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">A billboard at a bus stop promotes comedian John Oliver’s campaign for the pūteketeke to be named New Zealand’s Bird of the Century on Saturday in Wellington. \u003ccite>(Nick Perry/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also known as the Australasian crested grebe, the pūteketeke has a pointy black beak and a long white neck and is known for its strange behaviors.\u003c/p>\n\u003cp>The species boasts a bizarre \u003ca href=\"https://www.youtube.com/watch?v=98ceB5SPRXI\">mating ritual\u003c/a>, \u003ca href=\"https://nzbirdsonline.org.nz/species/australasian-crested-grebe\">carries around its young\u003c/a> on its back in the water and has been known to \u003ca href=\"https://apnews.com/article/new-zealand-bird-contest-john-oliver-211ed05e6101f58e5e61a282f1e9b9cc\">eat its own feathers\u003c/a> before vomiting them back up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>All five of Matthew Perry’s \u003cem>Friends\u003c/em> co-stars are sharing more remembrances of the star in their first personal social media posts since \u003ca href=\"https://www.kqed.org/arts/13937162/matthew-perry-emmy-nominated-friends-star-has-died-at-54-reports-say\">the actor’s death\u003c/a> last month.\u003c/p>\n\u003cp>Jennifer Aniston, Courteney Cox, Lisa Kudrow, Matt LeBlanc and David Schwimmer each posted heartfelt notes about Perry, who died Oct. 28, on Instagram. The posts on Tuesday and Wednesday were accompanied by photos from the \u003cem>Friends\u003c/em> set.\u003c/p>\n\u003cp>“In the last couple weeks, I’ve been pouring over our texts to one another. Laughing and crying then laughing again,” \u003ca href=\"https://www.instagram.com/p/Czq8K4DMOMQ/\">Aniston posted\u003c/a> Wednesday, sharing a text message where Perry sent her photo of a script reading session where Perry made her laugh.\u003c/p>\n\u003cp>https://www.instagram.com/p/Czq8K4DMOMQ/\u003c/p>\n\u003cp>“Oh boy this one has cut deep… Having to say goodbye to our Matty has been an insane wave of emotions that I’ve never experienced before,” Aniston’s post read.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kudrow became the fifth \u003cem>Friends\u003c/em> star to pay personal tribute to Perry amid the wave of mourning.\u003c/p>\n\u003cp>“Thank you for making me laugh so hard at something you said, that my muscles ached, and tears poured down my face EVERY DAY,” she said in an \u003ca href=\"https://www.instagram.com/p/CzrZeG5P0n6/\">Instagram post\u003c/a>. “Thank you for the best 10 years a person gets to have.”\u003c/p>\n\u003cp>https://www.instagram.com/p/CzrZeG5P0n6/\u003c/p>\n\u003cp>The stars issued \u003ca href=\"https://apnews.com/article/matthew-perry-friends-castmasts%20mourn-580686c8f9e5fb9031e4cf56ed7b00c2\">a joint statement\u003c/a> a few days after Perry’s death, saying they were “all so utterly devastated by the loss of Matthew. We were more than just cast mates. We are a family.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/Czq8sxqrU0c/\">Schwimmer posted a photo of him and Perry\u003c/a> dressed up in \u003cem>Miami Vice\u003c/em> attire, calling it “one of my favorite moments with you.”\u003c/p>\n\u003cp>“Now it makes me smile and grieve at the same time,” Schwimmer’s post said.\u003c/p>\n\u003cp>https://www.instagram.com/p/Czq8sxqrU0c/\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CzohLcIRk3Y/\">LeBlanc posted Tuesday\u003c/a>: “It was an honor to share the stage with you and to call you my friend. I will always smile when I think of you and I’ll never forget you. Never.” His post included one candid shot of the cast all hugging on set.\u003c/p>\n\u003cp>https://www.instagram.com/p/CzohLcIRk3Y/\u003c/p>\n\u003cp>Perry was found dead last month at his Los Angeles home. After an initial investigation, the Los Angeles County coroner deferred giving a cause of death, which may take weeks to determine.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/courteneycoxofficial/reel/Czo5_9PSZJ2/\">Cox shared a video clip of a \u003cem>Friends\u003c/em> scene\u003c/a> where her and Perry’s characters are in bed together for the first time, trying not to have their relationship discovered. It’s an iconic moment of the show, and Cox shared a bit of backstory about filming.\u003c/p>\n\u003cp>[aside postid='pop_108851']“In this scene, before we started rolling, he whispered a funny line for me to say,” Cox posted. “He often did things like that. He was funny and he was kind.”\u003c/p>\n\u003cp>“I am so grateful for every moment I had with you Matty and I miss you every day,” she wrote.\u003c/p>\n\u003cp>Most of the posts references how sweet, funny and thoughtful Perry was.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>LeBlanc ended his note with a bit of comedy, writing: “Spread your wings and fly brother you’re finally free. Much love. And I guess you’re keeping the 20 bucks you owe me.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All five of Matthew Perry’s \u003cem>Friends\u003c/em> co-stars are sharing more remembrances of the star in their first personal social media posts since \u003ca href=\"https://www.kqed.org/arts/13937162/matthew-perry-emmy-nominated-friends-star-has-died-at-54-reports-say\">the actor’s death\u003c/a> last month.\u003c/p>\n\u003cp>Jennifer Aniston, Courteney Cox, Lisa Kudrow, Matt LeBlanc and David Schwimmer each posted heartfelt notes about Perry, who died Oct. 28, on Instagram. The posts on Tuesday and Wednesday were accompanied by photos from the \u003cem>Friends\u003c/em> set.\u003c/p>\n\u003cp>“In the last couple weeks, I’ve been pouring over our texts to one another. Laughing and crying then laughing again,” \u003ca href=\"https://www.instagram.com/p/Czq8K4DMOMQ/\">Aniston posted\u003c/a> Wednesday, sharing a text message where Perry sent her photo of a script reading session where Perry made her laugh.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Oh boy this one has cut deep… Having to say goodbye to our Matty has been an insane wave of emotions that I’ve never experienced before,” Aniston’s post read.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kudrow became the fifth \u003cem>Friends\u003c/em> star to pay personal tribute to Perry amid the wave of mourning.\u003c/p>\n\u003cp>“Thank you for making me laugh so hard at something you said, that my muscles ached, and tears poured down my face EVERY DAY,” she said in an \u003ca href=\"https://www.instagram.com/p/CzrZeG5P0n6/\">Instagram post\u003c/a>. “Thank you for the best 10 years a person gets to have.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The stars issued \u003ca href=\"https://apnews.com/article/matthew-perry-friends-castmasts%20mourn-580686c8f9e5fb9031e4cf56ed7b00c2\">a joint statement\u003c/a> a few days after Perry’s death, saying they were “all so utterly devastated by the loss of Matthew. We were more than just cast mates. We are a family.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/Czq8sxqrU0c/\">Schwimmer posted a photo of him and Perry\u003c/a> dressed up in \u003cem>Miami Vice\u003c/em> attire, calling it “one of my favorite moments with you.”\u003c/p>\n\u003cp>“Now it makes me smile and grieve at the same time,” Schwimmer’s post said.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/p/CzohLcIRk3Y/\">LeBlanc posted Tuesday\u003c/a>: “It was an honor to share the stage with you and to call you my friend. I will always smile when I think of you and I’ll never forget you. Never.” His post included one candid shot of the cast all hugging on set.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Perry was found dead last month at his Los Angeles home. After an initial investigation, the Los Angeles County coroner deferred giving a cause of death, which may take weeks to determine.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/courteneycoxofficial/reel/Czo5_9PSZJ2/\">Cox shared a video clip of a \u003cem>Friends\u003c/em> scene\u003c/a> where her and Perry’s characters are in bed together for the first time, trying not to have their relationship discovered. It’s an iconic moment of the show, and Cox shared a bit of backstory about filming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“In this scene, before we started rolling, he whispered a funny line for me to say,” Cox posted. “He often did things like that. He was funny and he was kind.”\u003c/p>\n\u003cp>“I am so grateful for every moment I had with you Matty and I miss you every day,” she wrote.\u003c/p>\n\u003cp>Most of the posts references how sweet, funny and thoughtful Perry was.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>LeBlanc ended his note with a bit of comedy, writing: “Spread your wings and fly brother you’re finally free. Much love. And I guess you’re keeping the 20 bucks you owe me.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Ballad of Songbirds and Snakes’ Is Another Win for ‘The Hunger Games’",
"headTitle": "‘The Ballad of Songbirds and Snakes’ Is Another Win for ‘The Hunger Games’ | KQED",
"content": "\u003cp>Two hours and 37 minutes is pretty long for a “ballad,” but you can’t call it “The Hunger Games: The Three-Cycle Opera of Songbirds and Snakes” now, can you?\u003c/p>\n\u003cp>Concision was never much in favor in the four \u003cem>Hunger Games\u003c/em> films, which reached a seeming finale with 2015’s \u003cem>The Hunger Games: Mockingjay — Part 2\u003c/em>. The intervening years have done nothing to shrink the ambitions of this unapologetically gaudy dystopic series where the brutal deaths of kids are watched over by outrageously styled Capitol denizens with names like Effie Trinket.\u003c/p>\n\u003cp>[aside postid='pop_14149']That clash of YA allegory and color palette is just as pronounced, if not more so, in \u003cem>The Hunger Games: Ballad of Songbirds and Snakes\u003c/em>, a prequel set 64 years before the original books, adapted from Suzanne Collins’ 2020 book of the same name.\u003c/p>\n\u003cp>\u003cem>The Ballad of Songbirds and Snakes\u003c/em>, which opens in theaters Nov. 16, is an origin story of the Hunger Games, themselves, as well as numerous characters — primarily the devious President Coriolanus Snow, played by Donald Sutherland in the first four films. Here, Snow is an impoverished but opportunistic 18-year-old student played by Tom Blyth.\u003c/p>\n\u003cp>Just as in the \u003cem>Hunger Games\u003c/em> films led by Jennifer Lawrence’s Katniss Everdeen, the new one proves how much you can sacrifice in story when you’ve got a thrilling young performer commanding the screen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Francis Lawrence’s prequel often wobbles, especially in the early going. And yet, in the end, \u003cem>The Ballad of Songbirds and Snakes\u003c/em>, propelled by Blyth’s performance, manages to be the deepest expression yet of the series’ melodrama of adolescence. In Panem, the only thing more tragic than the suffering inflicted by adults on the young may be a bright kid warping wickedly into one of those elders, too.\u003c/p>\n\u003cfigure id=\"attachment_13938004\" class=\"wp-caption aligncenter\" style=\"max-width: 1722px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938004\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM.png\" alt=\"A Black woman with her hair a mass of grey and white curls stands with an unimpressed facial expression. She is wearing a purple and gold gown with a high pleated collar. Her left eye is white.\" width=\"1722\" height=\"1126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM.png 1722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-1536x1004.png 1536w\" sizes=\"(max-width: 1722px) 100vw, 1722px\">\u003cfigcaption class=\"wp-caption-text\">Viola Davis in ‘The Ballad of Songbirds and Snakes.’ \u003ccite>(Lionsgate via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That generational divide was always at the heart of the appeal of \u003cem>The Hunger Games\u003c/em>, a fantasy where no adult or institution can be trusted, and the normal pressures of teendom are amplified in a modern, televised Roman Coliseum — an \u003cem>American Idol\u003c/em> with murder — concocted by elders. It’s madness shrugged off as, “That’s just the way it is.”\u003c/p>\n\u003cp>[aside postid='pop_16694']In \u003cem>The Ballad of Songbirds and Snakes\u003c/em>, we see how it got to be that way. The 10th annual Hunger Games are approaching but it feels more like pre-Super Bowl times when the NFL and the AFL played in separate leagues. The broadcast is low rent, the ratings are poor and the games themselves are staged in a dilapidated stadium.\u003c/p>\n\u003cp>With little food in the fridge, Coriolanus is living with his cousin Tigris (Hunter Schafer) and grandmother (Fionnula Flanagan). Their family has fallen on hard times, in part because of a family rivalry with Casca Highbottom (Peter Dinklage), the dean of the academy who harbors hatred for the Snows. (Dinklage, whose wry presence adds a kick to the film, has managed to appear once again in an outlandish fantasy with a man named Snow. )\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NxW_X4kzeus\u003c/p>\n\u003cp>As the students gather amid Third Reich architectures (the production design by Uli Hanisch is stellar) and the games’ founder Volumnia Gaul (Viola Davis, majestic in blue, with a turquoise eye) gazes on, Coriolanus is assigned his tribute, Lucy Gray Baird, a bold young woman from District 12 (also the home of Katniss) who wears a rainbow skirt and sports a dubious Southern accent. During the reaping ceremony, she makes an immediate impression, putting a snake down the back of a rival and bursting into song for the cameras. (“See, now there’s concision,” I thought. “You get your songbird and snake, straight off.”)\u003c/p>\n\u003cp>[aside postid='arts_13937870']Lawrence’s Katniss was a thrilling female warrior whose seizing of center stage had reverberations off screen, paving the way for blockbuster female protagonists. Rachel Zegler’s Lucy Gray is inevitably a disappointment by comparison. Lawrence’s film, scripted by Michael Arndt and Michael Lesslie, for a while has the stale feeling of an unneeded retread. The tonal fluctuations, always a tricky balance in Panem, can be ridiculous. The stadium is abruptly bombed by unseen rebels. Once the games begin, one tribute contracts rabies.\u003c/p>\n\u003cp>The main thing holding our attention at this point is Jason Schwartzman’s Lucretius Flickerman, a TV host with a Salvador Dali mustache who wants the games wrapped up just so he can make his dinner reservations. (It’s been a very good year for Schwartzman, who transformed himself in Wes Anderson’s \u003cem>Asteroid City\u003c/em> and transmogrified in \u003cem>Spider-Man: Across the Spider-Verse\u003c/em>. )\u003c/p>\n\u003cfigure id=\"attachment_13938006\" class=\"wp-caption aligncenter\" style=\"max-width: 1684px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM.png\" alt=\"A middle-aged man with dwarfism stands in a grand hall wearing a black ceremonial outfit, almost like a priest. Behind him, lines of young people all wearing red uniforms line up in unison.\" width=\"1684\" height=\"1188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM.png 1684w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-800x564.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-1020x720.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-768x542.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-1536x1084.png 1536w\" sizes=\"(max-width: 1684px) 100vw, 1684px\">\u003cfigcaption class=\"wp-caption-text\">Peter Dinklage in ‘The Ballad of Songbirds and Snakes.’ \u003ccite>(Lionsgate via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But \u003cem>Songbirds and Snakes\u003c/em> sneakily begins making a case for itself. The relationship between Coriolanus and Lucy Gray is compellingly complex. He works desperately to help her survive the games because he believes in her, and maybe loves her, but also because her success benefits him, too. Whether Lucy Gray is as purehearted as her songs, too, is up for debate. Both, we sense, are cunningly playing the hands they’ve been delt, seeking an advantage where they can. When Coriolanus begins making suggestions for the games to Volumnia, he proves himself a natural-born marketer.\u003c/p>\n\u003cp>That there’s tension in Coriolanus’ character, considering we know how he ultimately ends up, is a tribute to just how good Blyth is. We’ve by now seen plenty of prequels that show us how some famous villain broke bad, but there’s nothing in Blyth’s performance that telegraphs his future. He’s a sincere striver — we root for him because of his poverty and his puck — who’s operating in the society he’s found himself. He’s a villain born entirely of circumstance.\u003c/p>\n\u003cp>[aside postid='arts_13304145']\u003cem>The Ballad of Songbirds and Snakes\u003c/em> extends the saga for a third act that takes place in District 12, an addition that another franchise might have saved for the next installment. But it’s also where that tragedy of \u003cem>The Hunger Games\u003c/em>, and Coriolanus’ fate, earns some of the Shakespearean touches that have liberally been sprinkled throughout. (Shakespeare’s \u003cem>Coriolanus\u003c/em> is likewise about an ambiguous warrior set amid times of famine and class struggle.)\u003c/p>\n\u003cp>\u003cem>The Hunger Games\u003c/em> kicked off a YA craze in film that had its ups and downs but petered out several years ago. Whether \u003cem>The Ballad of Songbirds and Snakes\u003c/em> is enough to relight those embers remains to be seen, but it is a reminder how good a platform they offered young actors. It’s a ritual worth returning to.\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\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Hunger Games: The Ballad of Songbirds and Snakes’ hits theaters nationwide on Friday, Nov. 17.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two hours and 37 minutes is pretty long for a “ballad,” but you can’t call it “The Hunger Games: The Three-Cycle Opera of Songbirds and Snakes” now, can you?\u003c/p>\n\u003cp>Concision was never much in favor in the four \u003cem>Hunger Games\u003c/em> films, which reached a seeming finale with 2015’s \u003cem>The Hunger Games: Mockingjay — Part 2\u003c/em>. The intervening years have done nothing to shrink the ambitions of this unapologetically gaudy dystopic series where the brutal deaths of kids are watched over by outrageously styled Capitol denizens with names like Effie Trinket.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That clash of YA allegory and color palette is just as pronounced, if not more so, in \u003cem>The Hunger Games: Ballad of Songbirds and Snakes\u003c/em>, a prequel set 64 years before the original books, adapted from Suzanne Collins’ 2020 book of the same name.\u003c/p>\n\u003cp>\u003cem>The Ballad of Songbirds and Snakes\u003c/em>, which opens in theaters Nov. 16, is an origin story of the Hunger Games, themselves, as well as numerous characters — primarily the devious President Coriolanus Snow, played by Donald Sutherland in the first four films. Here, Snow is an impoverished but opportunistic 18-year-old student played by Tom Blyth.\u003c/p>\n\u003cp>Just as in the \u003cem>Hunger Games\u003c/em> films led by Jennifer Lawrence’s Katniss Everdeen, the new one proves how much you can sacrifice in story when you’ve got a thrilling young performer commanding the screen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Francis Lawrence’s prequel often wobbles, especially in the early going. And yet, in the end, \u003cem>The Ballad of Songbirds and Snakes\u003c/em>, propelled by Blyth’s performance, manages to be the deepest expression yet of the series’ melodrama of adolescence. In Panem, the only thing more tragic than the suffering inflicted by adults on the young may be a bright kid warping wickedly into one of those elders, too.\u003c/p>\n\u003cfigure id=\"attachment_13938004\" class=\"wp-caption aligncenter\" style=\"max-width: 1722px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938004\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM.png\" alt=\"A Black woman with her hair a mass of grey and white curls stands with an unimpressed facial expression. She is wearing a purple and gold gown with a high pleated collar. Her left eye is white.\" width=\"1722\" height=\"1126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM.png 1722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-1536x1004.png 1536w\" sizes=\"(max-width: 1722px) 100vw, 1722px\">\u003cfigcaption class=\"wp-caption-text\">Viola Davis in ‘The Ballad of Songbirds and Snakes.’ \u003ccite>(Lionsgate via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That generational divide was always at the heart of the appeal of \u003cem>The Hunger Games\u003c/em>, a fantasy where no adult or institution can be trusted, and the normal pressures of teendom are amplified in a modern, televised Roman Coliseum — an \u003cem>American Idol\u003c/em> with murder — concocted by elders. It’s madness shrugged off as, “That’s just the way it is.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>The Ballad of Songbirds and Snakes\u003c/em>, we see how it got to be that way. The 10th annual Hunger Games are approaching but it feels more like pre-Super Bowl times when the NFL and the AFL played in separate leagues. The broadcast is low rent, the ratings are poor and the games themselves are staged in a dilapidated stadium.\u003c/p>\n\u003cp>With little food in the fridge, Coriolanus is living with his cousin Tigris (Hunter Schafer) and grandmother (Fionnula Flanagan). Their family has fallen on hard times, in part because of a family rivalry with Casca Highbottom (Peter Dinklage), the dean of the academy who harbors hatred for the Snows. (Dinklage, whose wry presence adds a kick to the film, has managed to appear once again in an outlandish fantasy with a man named Snow. )\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/NxW_X4kzeus'\n title='//www.youtube.com/embed/NxW_X4kzeus'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the students gather amid Third Reich architectures (the production design by Uli Hanisch is stellar) and the games’ founder Volumnia Gaul (Viola Davis, majestic in blue, with a turquoise eye) gazes on, Coriolanus is assigned his tribute, Lucy Gray Baird, a bold young woman from District 12 (also the home of Katniss) who wears a rainbow skirt and sports a dubious Southern accent. During the reaping ceremony, she makes an immediate impression, putting a snake down the back of a rival and bursting into song for the cameras. (“See, now there’s concision,” I thought. “You get your songbird and snake, straight off.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lawrence’s Katniss was a thrilling female warrior whose seizing of center stage had reverberations off screen, paving the way for blockbuster female protagonists. Rachel Zegler’s Lucy Gray is inevitably a disappointment by comparison. Lawrence’s film, scripted by Michael Arndt and Michael Lesslie, for a while has the stale feeling of an unneeded retread. The tonal fluctuations, always a tricky balance in Panem, can be ridiculous. The stadium is abruptly bombed by unseen rebels. Once the games begin, one tribute contracts rabies.\u003c/p>\n\u003cp>The main thing holding our attention at this point is Jason Schwartzman’s Lucretius Flickerman, a TV host with a Salvador Dali mustache who wants the games wrapped up just so he can make his dinner reservations. (It’s been a very good year for Schwartzman, who transformed himself in Wes Anderson’s \u003cem>Asteroid City\u003c/em> and transmogrified in \u003cem>Spider-Man: Across the Spider-Verse\u003c/em>. )\u003c/p>\n\u003cfigure id=\"attachment_13938006\" class=\"wp-caption aligncenter\" style=\"max-width: 1684px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM.png\" alt=\"A middle-aged man with dwarfism stands in a grand hall wearing a black ceremonial outfit, almost like a priest. Behind him, lines of young people all wearing red uniforms line up in unison.\" width=\"1684\" height=\"1188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM.png 1684w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-800x564.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-1020x720.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-768x542.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-1536x1084.png 1536w\" sizes=\"(max-width: 1684px) 100vw, 1684px\">\u003cfigcaption class=\"wp-caption-text\">Peter Dinklage in ‘The Ballad of Songbirds and Snakes.’ \u003ccite>(Lionsgate via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But \u003cem>Songbirds and Snakes\u003c/em> sneakily begins making a case for itself. The relationship between Coriolanus and Lucy Gray is compellingly complex. He works desperately to help her survive the games because he believes in her, and maybe loves her, but also because her success benefits him, too. Whether Lucy Gray is as purehearted as her songs, too, is up for debate. Both, we sense, are cunningly playing the hands they’ve been delt, seeking an advantage where they can. When Coriolanus begins making suggestions for the games to Volumnia, he proves himself a natural-born marketer.\u003c/p>\n\u003cp>That there’s tension in Coriolanus’ character, considering we know how he ultimately ends up, is a tribute to just how good Blyth is. We’ve by now seen plenty of prequels that show us how some famous villain broke bad, but there’s nothing in Blyth’s performance that telegraphs his future. He’s a sincere striver — we root for him because of his poverty and his puck — who’s operating in the society he’s found himself. He’s a villain born entirely of circumstance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Ballad of Songbirds and Snakes\u003c/em> extends the saga for a third act that takes place in District 12, an addition that another franchise might have saved for the next installment. But it’s also where that tragedy of \u003cem>The Hunger Games\u003c/em>, and Coriolanus’ fate, earns some of the Shakespearean touches that have liberally been sprinkled throughout. (Shakespeare’s \u003cem>Coriolanus\u003c/em> is likewise about an ambiguous warrior set amid times of famine and class struggle.)\u003c/p>\n\u003cp>\u003cem>The Hunger Games\u003c/em> kicked off a YA craze in film that had its ups and downs but petered out several years ago. Whether \u003cem>The Ballad of Songbirds and Snakes\u003c/em> is enough to relight those embers remains to be seen, but it is a reminder how good a platform they offered young actors. It’s a ritual worth returning to.\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\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Hunger Games: The Ballad of Songbirds and Snakes’ hits theaters nationwide on Friday, Nov. 17.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tracy Chapman Becomes First Black Person to Win CMAs’ Song of the Year",
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"content": "\u003cp>Tracy Chapman was honored with Song of the Year for her 1988 folk anthem “Fast Car” at the Country Music Awards on Wednesday, becoming the first Black songwriter to ever win the award.\u003c/p>\n\u003cp>[aside postid='arts_13937563']“Fast Car” peaked at No. 6 on the Billboard Hot 100 chart following its release more than 30 years ago. The song was nominated for three Grammys when it first came out, and Chapman won Best Female Pop Vocal Performance.\u003c/p>\n\u003cp>But it got a second wind in recent months after singer Luke Combs came out with a cover of the song in April. His version peaked at No. 2 on the Hot 100 chart and won Single of the Year at the CMAs in Nashville.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fr7oYjnt3bM\u003c/p>\n\u003cp>Chapman did not attend the ceremony, but she sent a written statement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m sorry I couldn’t join you all tonight,” she said. “It’s truly an honor for my song to be newly recognized after 35 years of its debut. Thank you to the CMAs and a special thanks to Luke and all of the fans of ‘Fast Car.’”\u003c/p>\n\u003cp>[aside postid='arts_13937489']Combs called “Fast Car” his “first favorite song” in his acceptance speech for Single of the Year.\u003c/p>\n\u003cp>“First and foremost, I want to thank Tracy Chapman for writing one of the best songs of all time,” he said. “Never intended for that — I just recorded it because I love this song so much. It’s meant so much to me throughout my entire life. It’s the first favorite song I ever had from the time I was four years old.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AIOAlaACuv4\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Chapman, originally from Cleveland, is additionally behind such hits as “Give Me One Reason,” “Baby Can I Hold You” and “Crossroads.” She has been nominated for 13 Grammys and won four.\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\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=Tracy+Chapman+becomes+the+first+Black+person+to+win+Song+of+the+Year+at+the+CMAs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\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>This year’s Country Music Awards ceremony will be available to watch on Nov. 9 at 5 p.m. via \u003ca href=\"https://www.abcinstantaccess.com/\">ABC Instant Access\u003c/a>. It begins streaming on \u003ca href=\"https://www.hulu.com/hub/home\">Hulu\u003c/a> on Nov. 10.\u003c/em>\u003c/div>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Fast Car” peaked at No. 6 on the Billboard Hot 100 chart following its release more than 30 years ago. The song was nominated for three Grammys when it first came out, and Chapman won Best Female Pop Vocal Performance.\u003c/p>\n\u003cp>But it got a second wind in recent months after singer Luke Combs came out with a cover of the song in April. His version peaked at No. 2 on the Hot 100 chart and won Single of the Year at the CMAs in Nashville.\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/Fr7oYjnt3bM'\n title='//www.youtube.com/embed/Fr7oYjnt3bM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Chapman did not attend the ceremony, but she sent a written statement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Combs called “Fast Car” his “first favorite song” in his acceptance speech for Single of the Year.\u003c/p>\n\u003cp>“First and foremost, I want to thank Tracy Chapman for writing one of the best songs of all time,” he said. “Never intended for that — I just recorded it because I love this song so much. It’s meant so much to me throughout my entire life. It’s the first favorite song I ever had from the time I was four years old.”\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/AIOAlaACuv4'\n title='//www.youtube.com/embed/AIOAlaACuv4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Chapman, originally from Cleveland, is additionally behind such hits as “Give Me One Reason,” “Baby Can I Hold You” and “Crossroads.” She has been nominated for 13 Grammys and won four.\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\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=Tracy+Chapman+becomes+the+first+Black+person+to+win+Song+of+the+Year+at+the+CMAs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\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>This year’s Country Music Awards ceremony will be available to watch on Nov. 9 at 5 p.m. via \u003ca href=\"https://www.abcinstantaccess.com/\">ABC Instant Access\u003c/a>. It begins streaming on \u003ca href=\"https://www.hulu.com/hub/home\">Hulu\u003c/a> on Nov. 10.\u003c/em>\u003c/div>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Nicolas Cage Finds Fame to Be Overrated in Chillingly Funny ‘Dream Scenario’",
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"content": "\u003cp>Quick: What’s a good adjective for Nicolas Cage’s screen presence? Mercurial, perhaps? Volcanic? Volatile?\u003c/p>\n\u003cp>How about mundane, schlubby, average? Not the page we’d think to turn to in our Roget’s Thesaurus.\u003c/p>\n\u003cp>[aside postid='arts_13937140']Yet here Cage is, channeling his inner drabness to chillingly comic effect in Kristoffer Borgli’s \u003cem>Dream Scenario\u003c/em>. As Paul Matthews (heck, even the name is drab), a college professor at nowhere famous, he performs his job with perfect mediocrity, and seems a fairly mediocre husband and dad, too. With his graying beard, wire-rimmed specs and shiny bald spot, Cage’s Paul is the guy in the room you ignore.\u003c/p>\n\u003cp>Until, suddenly, you can’t. Because something weird starts happening. Paul starts appearing in people’s dreams. Everyone’s dreams.\u003c/p>\n\u003cp>The premise is delicious — and precarious. It recalled for me the setup in a very different movie, \u003cem>Yesterday\u003c/em>, where only one guy on Earth remembers the Beatles. It makes for a fantastic beginning, but you immediately worry how they’ll manage to keep it going.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Borgli, the Norwegian writer-director making his English-language debut here (Ari Aster co-produces), is aiming for a broader statement about the nature of fame. And while the topic, which he’s broached before, may not be original, it’s ripe for exploration in the right hands — especially with an actor as inventive and unpredictable as Cage. Fame can be intoxicating, this film is saying, but it can and probably will turn on you in an instant, unless you’re Taylor Swift (OK, we added that last part).\u003c/p>\n\u003cp>We begin on an autumn day by a suburban swimming pool, where Paul is raking leaves near his teen daughter. Scary things start dropping from the heavens, and suddenly the girl is grabbed by an unknown force and lifted, screaming, into the sky. Dad? He does nothing to help.\u003c/p>\n\u003cp>It’s only the girl’s dream. But then there are more. Paul and his patient wife, Janet (Julianne Nicholson, reliably excellent) run into someone at the theater, and she too has dreamed about Paul. At a dinner party, several guests discover to their shock that they’ve been dreaming about the same person. Yep, Paul.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q3x9iUL-74w\u003c/p>\n\u003cp>What’s happening? On campus, Paul’s students, who mostly chat among themselves during his unremarkable lectures on evolutionary biology, start listening — they’re dreaming about him, too.\u003c/p>\n\u003cp>In many of these dreams, Paul stands by, inexplicably, as others experience peril — slithering alligators, for example. But in real life, for once, Paul has the floor — a man who until now seethed with frustration over his unrealized ambitions as others succeeded. Now, everyone is interested in him.\u003c/p>\n\u003cp>[aside postid='arts_13937708']Borgli never stops to analyze the science of this bizarre development, and frankly, Paul doesn’t either. He takes a meeting with a snarky group of branding experts (led by Michael Cera, perfectly cast) who want to market him up the wazoo. They can get him a Sprite commercial! Well, Paul doesn’t want that — he just wants a book deal for his biology research. But his ears perk up at the idea of an endorsement from Barack Obama. (“I know Malia,” one of these young professionals says.)\u003c/p>\n\u003cp>One young woman even lets on to Paul that in her dreams, the two have great sex. This is too stunning for the schlubby Paul to ignore, especially when she invites him home to recreate the dream. Needless to say, it doesn’t go as well in real life. In fact, the dénoument is utterly, agonizingly humiliating.\u003c/p>\n\u003cp>And then, everyone’s dreams change. Suddenly Paul is the one causing harm. His students, terrified, don’t want to see him anymore. He gets sent home from a dinner with friends. He can’t even sit in a coffee shop and read a book without a fellow diner spitting on his food.\u003c/p>\n\u003cp>As for the branding consultants, well, they inform Paul that Obama is off the table — but hey, they could get him time with Joe Rogan or maybe Tucker Carlson.\u003c/p>\n\u003cfigure id=\"attachment_13937880\" class=\"wp-caption aligncenter\" style=\"max-width: 1834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937880\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM.png\" alt=\"\" width=\"1834\" height=\"1102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM.png 1834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM-1020x613.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM-1536x923.png 1536w\" sizes=\"(max-width: 1834px) 100vw, 1834px\">\u003cfigcaption class=\"wp-caption-text\">Dylan Gelula, Michael Cera and Kate Berlant in ‘Dream Scenario.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_13937525']We won’t spoil the ending, but let’s just make the obvious point that Borgli is not making a rom-com — is there a word for “horror-com”? We walk away from this funny, sad, scary film acutely reminded that if fame has two sides, one of them is pretty darned horrible.\u003c/p>\n\u003cp>And perhaps, as you walk home from the multiplex this time, you might even revel in the fact that nobody’s paying attention. Obscurity can be underrated.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dream Scenario’ is released nationwide on Nov. 10.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Quick: What’s a good adjective for Nicolas Cage’s screen presence? Mercurial, perhaps? Volcanic? Volatile?\u003c/p>\n\u003cp>How about mundane, schlubby, average? Not the page we’d think to turn to in our Roget’s Thesaurus.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet here Cage is, channeling his inner drabness to chillingly comic effect in Kristoffer Borgli’s \u003cem>Dream Scenario\u003c/em>. As Paul Matthews (heck, even the name is drab), a college professor at nowhere famous, he performs his job with perfect mediocrity, and seems a fairly mediocre husband and dad, too. With his graying beard, wire-rimmed specs and shiny bald spot, Cage’s Paul is the guy in the room you ignore.\u003c/p>\n\u003cp>Until, suddenly, you can’t. Because something weird starts happening. Paul starts appearing in people’s dreams. Everyone’s dreams.\u003c/p>\n\u003cp>The premise is delicious — and precarious. It recalled for me the setup in a very different movie, \u003cem>Yesterday\u003c/em>, where only one guy on Earth remembers the Beatles. It makes for a fantastic beginning, but you immediately worry how they’ll manage to keep it going.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Borgli, the Norwegian writer-director making his English-language debut here (Ari Aster co-produces), is aiming for a broader statement about the nature of fame. And while the topic, which he’s broached before, may not be original, it’s ripe for exploration in the right hands — especially with an actor as inventive and unpredictable as Cage. Fame can be intoxicating, this film is saying, but it can and probably will turn on you in an instant, unless you’re Taylor Swift (OK, we added that last part).\u003c/p>\n\u003cp>We begin on an autumn day by a suburban swimming pool, where Paul is raking leaves near his teen daughter. Scary things start dropping from the heavens, and suddenly the girl is grabbed by an unknown force and lifted, screaming, into the sky. Dad? He does nothing to help.\u003c/p>\n\u003cp>It’s only the girl’s dream. But then there are more. Paul and his patient wife, Janet (Julianne Nicholson, reliably excellent) run into someone at the theater, and she too has dreamed about Paul. At a dinner party, several guests discover to their shock that they’ve been dreaming about the same person. Yep, Paul.\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/q3x9iUL-74w'\n title='//www.youtube.com/embed/q3x9iUL-74w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What’s happening? On campus, Paul’s students, who mostly chat among themselves during his unremarkable lectures on evolutionary biology, start listening — they’re dreaming about him, too.\u003c/p>\n\u003cp>In many of these dreams, Paul stands by, inexplicably, as others experience peril — slithering alligators, for example. But in real life, for once, Paul has the floor — a man who until now seethed with frustration over his unrealized ambitions as others succeeded. Now, everyone is interested in him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Borgli never stops to analyze the science of this bizarre development, and frankly, Paul doesn’t either. He takes a meeting with a snarky group of branding experts (led by Michael Cera, perfectly cast) who want to market him up the wazoo. They can get him a Sprite commercial! Well, Paul doesn’t want that — he just wants a book deal for his biology research. But his ears perk up at the idea of an endorsement from Barack Obama. (“I know Malia,” one of these young professionals says.)\u003c/p>\n\u003cp>One young woman even lets on to Paul that in her dreams, the two have great sex. This is too stunning for the schlubby Paul to ignore, especially when she invites him home to recreate the dream. Needless to say, it doesn’t go as well in real life. In fact, the dénoument is utterly, agonizingly humiliating.\u003c/p>\n\u003cp>And then, everyone’s dreams change. Suddenly Paul is the one causing harm. His students, terrified, don’t want to see him anymore. He gets sent home from a dinner with friends. He can’t even sit in a coffee shop and read a book without a fellow diner spitting on his food.\u003c/p>\n\u003cp>As for the branding consultants, well, they inform Paul that Obama is off the table — but hey, they could get him time with Joe Rogan or maybe Tucker Carlson.\u003c/p>\n\u003cfigure id=\"attachment_13937880\" class=\"wp-caption aligncenter\" style=\"max-width: 1834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937880\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM.png\" alt=\"\" width=\"1834\" height=\"1102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM.png 1834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM-1020x613.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM-1536x923.png 1536w\" sizes=\"(max-width: 1834px) 100vw, 1834px\">\u003cfigcaption class=\"wp-caption-text\">Dylan Gelula, Michael Cera and Kate Berlant in ‘Dream Scenario.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We won’t spoil the ending, but let’s just make the obvious point that Borgli is not making a rom-com — is there a word for “horror-com”? We walk away from this funny, sad, scary film acutely reminded that if fame has two sides, one of them is pretty darned horrible.\u003c/p>\n\u003cp>And perhaps, as you walk home from the multiplex this time, you might even revel in the fact that nobody’s paying attention. Obscurity can be underrated.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dream Scenario’ is released nationwide on Nov. 10.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Let’s get this out of the way: \u003cem>Donna and Ally\u003c/em> is not a polished movie. Hell, it’s not even a movie that always entirely makes sense. But it is a movie that — over the course of 83 minutes — will win you over with heart and humor. Most importantly, it has two lead characters with whom you might just fall head-over-heels in love.\u003c/p>\n\u003cp>[aside postid='arts_13832451']Set in Oakland, the story is about Ally (played by rapper \u003ca href=\"https://www.kqed.org/arts/13845940/after-a-high-speed-police-chase-a-female-rapper-endures-raps-double-standard\">Qing Qi\u003c/a>) and Donna (Cousin Shy, who also wrote and executive produced the movie) who’ve been best friends since the teen years they spent in a group home together. Since running away from the home at 16 years old, the duo has been hustling to survive and dreaming of a day when they wouldn’t just be scraping by anymore. A major hindrance to their success: Donna’s temper. When facing any kind of criticism or threat, Donna launches herself at the problem with both fists first, and leaves it to Ally to worry about the consequences later.\u003c/p>\n\u003cp>After losing their jobs at a local strip club, Donna and Ally must get extra creative to make rent. When a guy Donna punched at the club tracks her down and asks for more of the same, the duo set up a dominatrix dungeon in their studio apartment. It’s there that Donna finally figures out how to turn her inner rage into cold, hard cash — whipping, beating and humiliating people who actually enjoy it — and Ally turns into the boss she always knew she could be.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YPfD7y0vuH0\u003c/p>\n\u003cp>Often absurd, and awash with winks and nods to the audience, \u003cem>Donna and Ally\u003c/em> is held together by the realistic and endearing friendship at its center. Shy and Qi both shine in their roles, even when faced with some decidedly clunky acting from a couple of the side characters. Both women also have a delightful knack for delivering dry humor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shy is radiant and memorable on screen, but it’s Qi’s consistently unselfconscious performance that ultimately steals the show. (The sight of her lying spreadeagled on a giant inflatable swan inside a tiny inflatable pool belongs on a line of T-shirts.) Qi’s music also offers the perfect soundtrack to this story, with “\u003ca href=\"https://www.youtube.com/watch?v=EGc-GzV1NK4\">IDWIW\u003c/a>” an outstanding anthem for these rebellious entrepreneurs. (The twosome’s ridiculous dance routine to “\u003ca href=\"https://www.youtube.com/watch?v=-GMMKS125kA\">Talking on the Phone Is Cancerous\u003c/a>” is also a high point.)\u003c/p>\n\u003cp>[aside postid='arts_13937068']When the credits roll, \u003cem>Donna and Ally\u003c/em> isn’t quite the “Oakland Cinderella Story” it proclaims to be. Not because there isn’t true love at the center of it — there’s plenty of that — but because the love doesn’t come from some fantasy prince. Rather, at its core, this is a tale about women supporting other women and the enduring value of female friendships. By the end of it, you’ll wish Donna and Ally, messy as they are, were your best friends too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.donnaandally.com/\">Donna and Ally\u003c/a>’ premieres at Oakland’s New Parkway Theater (474 24th St.) on Nov. 11 at 7 p.m. \u003ca href=\"https://www.donnaandally.com/premiere-ticket/p/red-carpet-premiere\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Set in Oakland, the story is about Ally (played by rapper \u003ca href=\"https://www.kqed.org/arts/13845940/after-a-high-speed-police-chase-a-female-rapper-endures-raps-double-standard\">Qing Qi\u003c/a>) and Donna (Cousin Shy, who also wrote and executive produced the movie) who’ve been best friends since the teen years they spent in a group home together. Since running away from the home at 16 years old, the duo has been hustling to survive and dreaming of a day when they wouldn’t just be scraping by anymore. A major hindrance to their success: Donna’s temper. When facing any kind of criticism or threat, Donna launches herself at the problem with both fists first, and leaves it to Ally to worry about the consequences later.\u003c/p>\n\u003cp>After losing their jobs at a local strip club, Donna and Ally must get extra creative to make rent. When a guy Donna punched at the club tracks her down and asks for more of the same, the duo set up a dominatrix dungeon in their studio apartment. It’s there that Donna finally figures out how to turn her inner rage into cold, hard cash — whipping, beating and humiliating people who actually enjoy it — and Ally turns into the boss she always knew she could be.\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/YPfD7y0vuH0'\n title='//www.youtube.com/embed/YPfD7y0vuH0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Often absurd, and awash with winks and nods to the audience, \u003cem>Donna and Ally\u003c/em> is held together by the realistic and endearing friendship at its center. Shy and Qi both shine in their roles, even when faced with some decidedly clunky acting from a couple of the side characters. Both women also have a delightful knack for delivering dry humor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shy is radiant and memorable on screen, but it’s Qi’s consistently unselfconscious performance that ultimately steals the show. (The sight of her lying spreadeagled on a giant inflatable swan inside a tiny inflatable pool belongs on a line of T-shirts.) Qi’s music also offers the perfect soundtrack to this story, with “\u003ca href=\"https://www.youtube.com/watch?v=EGc-GzV1NK4\">IDWIW\u003c/a>” an outstanding anthem for these rebellious entrepreneurs. (The twosome’s ridiculous dance routine to “\u003ca href=\"https://www.youtube.com/watch?v=-GMMKS125kA\">Talking on the Phone Is Cancerous\u003c/a>” is also a high point.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When the credits roll, \u003cem>Donna and Ally\u003c/em> isn’t quite the “Oakland Cinderella Story” it proclaims to be. Not because there isn’t true love at the center of it — there’s plenty of that — but because the love doesn’t come from some fantasy prince. Rather, at its core, this is a tale about women supporting other women and the enduring value of female friendships. By the end of it, you’ll wish Donna and Ally, messy as they are, were your best friends too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.donnaandally.com/\">Donna and Ally\u003c/a>’ premieres at Oakland’s New Parkway Theater (474 24th St.) on Nov. 11 at 7 p.m. \u003ca href=\"https://www.donnaandally.com/premiere-ticket/p/red-carpet-premiere\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In David Fincher’s ‘The Killer,’ an Assassin Hides in Plain Sight",
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"content": "\u003cp>It’s a noir staple to open with a bit of narration, but once the nameless hit-man protagonist of David Fincher’s \u003cem>The Killer\u003c/em> starts gabbing, he doesn’t stop.\u003c/p>\n\u003cp>[aside postid='arts_34570']As Fincher’s assassin (Michael Fassbender) awaits his target from a high, unfinished floor in a Paris building that looks out on the home of his mark, his inner monologue runs with a smooth, affectless monotone. His musings are a mix of professional tips (“Anticipate, don’t improvise”), nihilistic existential observations (“Most people refuse to believe that the great beyond is anything more than a cold, infinite void”) and sincere self-reflections (“I’m not exceptional, I’m just apart”).\u003c/p>\n\u003cp>That last line is the most telling one. \u003cem>The Killer\u003c/em> is a terse, minimalist thriller in the cool, cold-hearted tradition of Jean Pierre Melville’s \u003cem>Le Samouraï\u003c/em>. But while its methodical and solitary assassin acts and moves like cunning killers we’ve seen before, he blends into a modern background. He doesn’t wear a trench coat or fedora; he dresses like a German tourist, with a dopey bucket hat. He shops for tools on Amazon. He picks up supplies at Home Depot. His position in Paris is an unused WeWork space.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vs1epO_zLG8\u003c/p>\n\u003cp>In \u003cem>The Killer\u003c/em>, an agent of death is hiding in plain sight. He’s an assassin for our homogeneous, corporate world operating in the same spaces we all do. He eats McDonalds. He drives a white Avis rental van that’s the exact same as a dozen others in the rental car parking lot. Sameness is his superpower.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That also means that his nihilism is ours, too. \u003cem>The Killer\u003c/em>, which begins streaming Friday on Netflix, is a thriller where pointlessness isn’t just lurking in the shadows. It’s everywhere, even in a movie plot that grows increasingly resistant to offering the usual genre satisfactions. Fassbender’s hitman, a background actor supreme, is a lethal manifestation of our soulless environment.\u003c/p>\n\u003cp>[aside postid='arts_13937525']In that opening scene, he boasts of having a batting average (1.000, he brags) ‘better than Ted Williams.’ Yet the job goes badly. In the ensuing turmoil, he races to erase his footsteps but not before a dissatisfied client has his girlfriend (Sophie Charlotte) nearly beaten to death at their clandestine Dominican Republic home.\u003c/p>\n\u003cp>He embarks on a location-hopping mission to eliminate those responsible, an odd twist for an assassin who, at length, preaches disaffection. Much doesn’t quite fit in \u003cem>The Killer\u003c/em>. That he even has a live-in girlfriend — we barely see her and his thoughts never again turn back to her — seems unlikely. A revenge plot also doesn’t quite suit such a dispassionate protagonist. “Forbid empathy,” he says. And the movie, too, can be withholding of anything like emotion. The most distinct thing about Fassbender’s killer is that, like Patrick Bateman bopped to Huey Lewis and the News, he listens exclusively to the Smiths.\u003c/p>\n\u003cp>There’s much pleasure to be found in the unnamed hit man’s proficiency, just as there is in Fincher’s cool finesse. Here, the director — long known for his own meticulous rigor — is working with some regular collaborators, among them screenwriter Andrew Kevin Walker (\u003cem>Se7en\u003c/em>), composers Trent Reznor and Atticus Ross (\u003cem>The Social Network\u003c/em>) and cinematographer Erik Messerschmidt (\u003cem>Mank\u003c/em>). And there’s a kinetic thrill to seeing Fincher back in B-movie territory. (The script is based on a French graphic novel by Alexis “Matz” Nolent.)\u003c/p>\n\u003cp>Especially good is a nighttime sequence set in Florida that begins and ends with a bloodthirsty dog and in between features violent hand-to-hand combat that careens through glass and walls. The scene, like several others in \u003cem>The Killer\u003c/em>, is a filmmaking feat of control. Fassbender, a natural at playing a loner (see \u003cem>Shame\u003c/em>), is captivating throughout because he so possesses the movie’s chief traits of guile and a deadpan sense of humor.\u003c/p>\n\u003cp>[aside postid='arts_13937499']Everything here is tantalizingly close to calculated perfection that it comes almost as a surprise how \u003cem>The Killer\u003c/em> ends up missing its mark. You could call it a feature of the film’s existentialism, but \u003cem>The Killer\u003c/em> increasingly is working, albeit proficiently, in a vacuum. Our hitman travels from place to place — always with fake passports with the names of TV characters like Felix Unger, Lou Grant or Sam Malone — but we don’t get anywhere deeper with him or anything else. Meaningless may be the point in \u003cem>The Killer\u003c/em>, but at a certain point in this stylishly composed but empty vessel, you feel like pleading as another Fincher protagonist once did: What’s in the box?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Killer’ begins streaming on Netflix on Nov. 10.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In that opening scene, he boasts of having a batting average (1.000, he brags) ‘better than Ted Williams.’ Yet the job goes badly. In the ensuing turmoil, he races to erase his footsteps but not before a dissatisfied client has his girlfriend (Sophie Charlotte) nearly beaten to death at their clandestine Dominican Republic home.\u003c/p>\n\u003cp>He embarks on a location-hopping mission to eliminate those responsible, an odd twist for an assassin who, at length, preaches disaffection. Much doesn’t quite fit in \u003cem>The Killer\u003c/em>. That he even has a live-in girlfriend — we barely see her and his thoughts never again turn back to her — seems unlikely. A revenge plot also doesn’t quite suit such a dispassionate protagonist. “Forbid empathy,” he says. And the movie, too, can be withholding of anything like emotion. The most distinct thing about Fassbender’s killer is that, like Patrick Bateman bopped to Huey Lewis and the News, he listens exclusively to the Smiths.\u003c/p>\n\u003cp>There’s much pleasure to be found in the unnamed hit man’s proficiency, just as there is in Fincher’s cool finesse. Here, the director — long known for his own meticulous rigor — is working with some regular collaborators, among them screenwriter Andrew Kevin Walker (\u003cem>Se7en\u003c/em>), composers Trent Reznor and Atticus Ross (\u003cem>The Social Network\u003c/em>) and cinematographer Erik Messerschmidt (\u003cem>Mank\u003c/em>). And there’s a kinetic thrill to seeing Fincher back in B-movie territory. (The script is based on a French graphic novel by Alexis “Matz” Nolent.)\u003c/p>\n\u003cp>Especially good is a nighttime sequence set in Florida that begins and ends with a bloodthirsty dog and in between features violent hand-to-hand combat that careens through glass and walls. The scene, like several others in \u003cem>The Killer\u003c/em>, is a filmmaking feat of control. Fassbender, a natural at playing a loner (see \u003cem>Shame\u003c/em>), is captivating throughout because he so possesses the movie’s chief traits of guile and a deadpan sense of humor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Everything here is tantalizingly close to calculated perfection that it comes almost as a surprise how \u003cem>The Killer\u003c/em> ends up missing its mark. You could call it a feature of the film’s existentialism, but \u003cem>The Killer\u003c/em> increasingly is working, albeit proficiently, in a vacuum. Our hitman travels from place to place — always with fake passports with the names of TV characters like Felix Unger, Lou Grant or Sam Malone — but we don’t get anywhere deeper with him or anything else. Meaningless may be the point in \u003cem>The Killer\u003c/em>, but at a certain point in this stylishly composed but empty vessel, you feel like pleading as another Fincher protagonist once did: What’s in the box?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Killer’ begins streaming on Netflix on Nov. 10.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"tagline": "True-life supernatural stories",
"info": "",
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