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"title": "Bass Reeves Deserves Better – ‘Lawmen’ Doesn’t Do Justice to the Black US Marshal",
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"content": "\u003cp>I really, \u003cem>really \u003c/em>wanted to love Paramount+’s new series \u003cem>Lawmen: Bass Reeves\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13937572']Not just because it stars magnetic British actor David Oyelowo, in a series he reportedly \u003ca href=\"https://www.vanityfair.com/hollywood/2023/08/lawmen-bass-reeves-first-look-david-oyelowo\">worked more than eight years to get made\u003c/a>. But because, as a Black man who loves Westerns, I have been complaining for decades about the need for someone to make a great TV show or film about Reeves, a real person who was among the first African Americans \u003ca href=\"https://www.washingtonpost.com/entertainment/tv/2023/11/02/bass-reeves-tv-history/\">to serve as a deputy U.S. marshal \u003c/a>west of the Mississippi.\u003c/p>\n\u003cp>Unfortunately, after watching four episodes of \u003cem>Bass Reeves\u003c/em>, I fear this is not the series I have been waiting for. Because it spends so much time trying to be a Modern Western Epic, it forgets about why we watch shows like this in the first place: to see a charismatic, take-charge fighter corral the bad guys and save the day.\u003c/p>\n\u003cp>And his victory feels all the sweeter because, this time, the hero is a Black man.\u003c/p>\n\u003ch3>Once enslaved, Reeves becomes a free hero\u003c/h3>\n\u003cp>Instead, \u003cem>Bass Reeves\u003c/em> kicks off with the lead character in servitude during the Civil War — he’s enslaved by an officer in the Confederate Army. On the battlefield, Reeves kills another Black man on the Confederate side who tries to run away from a brutal battle with Union forces.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Later, when his master cheats at a card game where the prize was to be his freedom, Reeves beats him down and has to flee. (This is a recurring theme which also doesn’t get much explanation — how was Reeves able to develop the habit of beating up white men who violate his strong moral code, given how oppressed most Black people were at the time?)\u003c/p>\n\u003cp>What follows is an over-long preamble setting up Reeves’ legend — we see him living with a Native American family and becoming a failed farmer before actually joining law enforcement in episode three — delaying his appearance as the galvanizing force for justice that made him a western legend.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x3XFsQEoJZI\u003c/p>\n\u003cp>Oyelowo plays Reeves as a taciturn man of few words. Which means a lot of screen time goes to know-it-all white guys around him constantly telling the camera who they are, played by some of the best character actors in the business — like Shea Whigham as the Confederate officer who once owned Reeves, Dennis Quaid as a marshal who enlists his help to catch a fugitive and Donald Sutherland as the judge who eventually hires him to be a marshal, too.\u003c/p>\n\u003cp>[aside postid='arts_13933946']But the central tension in a story about a Black lawman in the Old West should be the fact that the law was so often used as a cudgel to unfairly oppress people who weren’t white. And while we see Reeves advocate for treating non-white criminals with more understanding — one of them even becomes his backup partner — we don’t see him questioning the basic structure of it all, at least in the first four episodes.\u003c/p>\n\u003cp>And the show doesn’t do much to explain why a formerly enslaved man would even agree to enforce a justice system built by white men — though his devout Christianity is often shown to be the source of his strong moral code.\u003c/p>\n\u003ch3>Challenging the cowboy myth with casting\u003c/h3>\n\u003cfigure id=\"attachment_13937600\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469.jpe\" alt=\"Two cowboys face each other on a wooden porch. One, a white man with a sheriff's badge, points in the face of the other, a Black man.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-1536x864.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">David Oyelowo as Bass Reeves and Dennis Quaid as Deputy U.S. Marshal Sherrill Lynn. \u003ccite>(Lauren Smith/ Paramount+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>America loves tales where it is the hero of its own story. It’s one reason why Westerns are often so popular — traditionally, they’ve offered unambiguous stories about the triumph of heroes, the depravity of villains and the virtue of brave (usually white) cowboys and settlers populating the American west.\u003c/p>\n\u003cp>But placing a non-white person, especially a Black person, in the center of that narrative for a TV show or film changes everything. Because suddenly, storytellers must account for slavery, racism, oppression and the way in which many average white people back then simply assumed that Black people were not fully people — a decidedly non-heroic posture for 21\u003csup>st\u003c/sup> century audiences.\u003c/p>\n\u003cp>It’s easier to ignore that reality — which is probably why Hollywood produced two \u003cem>Wyatt Earp\u003c/em> films in the mid 1990s, but has taken decades to tackle the story of a Black western hero who \u003ca href=\"https://www.texasmonthly.com/being-texan/the-resurrection-of-bass-reeves/\">may have inspired the fictional Lone Ranger\u003c/a> character.\u003c/p>\n\u003cp>[aside postid='arts_13936637']Oyelowo wound up teaming with \u003cem>Yellowstone\u003c/em> creator Taylor Sheridan to get \u003cem>Bass Reeves\u003c/em> made, which may explain its strained attempts to build his story into an epic tale and its awkwardness around race. (Despite its success,\u003cem> Yellowstone\u003c/em>‘s focus on validating the virtue of the white Dutton family’s possession of land in the west has always made its attempts to feature Native American characters feel perfunctory.)\u003c/p>\n\u003cp>One trap the series falls into is showing Reeves as a singular superman — he is the only Black character whose skills, smarts and moral code elevate him above the oppression most of his people faced, even after the Civil War ends. He walks through the front door of saloons without question. He challenges white men, punching Quaid’s character in one contentious moment, without fear of being lynched.\u003c/p>\n\u003cp>Watch too much of this and you get the sense that all anyone like Reeves had to do to escape oppression back then was to shoot straight, be honest and beat up anyone who disrespected them. When Sutherland’s character makes him a marshal, they don’t even have a conversation over whether the public will accept a Black man arresting white people — which feels a tad unrealistic.\u003c/p>\n\u003cfigure id=\"attachment_13937601\" class=\"wp-caption aligncenter\" style=\"max-width: 1602px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937601\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07.jpe\" alt=\"A tintype image featuring a Black cowboy wearing a sheriff's badge sitting down and, standing at his side, a Black woman wearing a white dress.\" width=\"1602\" height=\"2136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07.jpe 1602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-800x1067.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-1020x1360.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-160x213.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-768x1024.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-1152x1536.jpe 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-1536x2048.jpe 1536w\" sizes=\"(max-width: 1602px) 100vw, 1602px\">\u003cfigcaption class=\"wp-caption-text\">Lauren E. Banks as Jennie Reeves and David Oyelewo as Bass Reeves. \u003ccite>(Sarah Coulter/ Paramount+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve only seen four of the show’s episodes, so with any luck, some of these issues will be addressed in future installments. And given how white families are centered in all the other series in Sheridan’s \u003cem>Yellowstone\u003c/em>-inspired TV universe, it is a pleasure to see an intact Black family at the heart of this one.\u003c/p>\n\u003cp>But this is just the first season of an anthology series which will go on to profile other lawmen. And its struggle to remain entertaining while also telling Reeves’ complicated story shows there’s still a ways to go before we get true equality in the world of heroes from the Old West.\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=Bass+Reeves+deserves+better+%E2%80%93+%27Lawmen%27+doesn%27t+do+justice+to+the+Black+U.S.+marshal&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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Lawmen: Bass Reeves’ begins streaming on Nov. 5 on Paramount+.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Not just because it stars magnetic British actor David Oyelowo, in a series he reportedly \u003ca href=\"https://www.vanityfair.com/hollywood/2023/08/lawmen-bass-reeves-first-look-david-oyelowo\">worked more than eight years to get made\u003c/a>. But because, as a Black man who loves Westerns, I have been complaining for decades about the need for someone to make a great TV show or film about Reeves, a real person who was among the first African Americans \u003ca href=\"https://www.washingtonpost.com/entertainment/tv/2023/11/02/bass-reeves-tv-history/\">to serve as a deputy U.S. marshal \u003c/a>west of the Mississippi.\u003c/p>\n\u003cp>Unfortunately, after watching four episodes of \u003cem>Bass Reeves\u003c/em>, I fear this is not the series I have been waiting for. Because it spends so much time trying to be a Modern Western Epic, it forgets about why we watch shows like this in the first place: to see a charismatic, take-charge fighter corral the bad guys and save the day.\u003c/p>\n\u003cp>And his victory feels all the sweeter because, this time, the hero is a Black man.\u003c/p>\n\u003ch3>Once enslaved, Reeves becomes a free hero\u003c/h3>\n\u003cp>Instead, \u003cem>Bass Reeves\u003c/em> kicks off with the lead character in servitude during the Civil War — he’s enslaved by an officer in the Confederate Army. On the battlefield, Reeves kills another Black man on the Confederate side who tries to run away from a brutal battle with Union forces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Later, when his master cheats at a card game where the prize was to be his freedom, Reeves beats him down and has to flee. (This is a recurring theme which also doesn’t get much explanation — how was Reeves able to develop the habit of beating up white men who violate his strong moral code, given how oppressed most Black people were at the time?)\u003c/p>\n\u003cp>What follows is an over-long preamble setting up Reeves’ legend — we see him living with a Native American family and becoming a failed farmer before actually joining law enforcement in episode three — delaying his appearance as the galvanizing force for justice that made him a western legend.\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/x3XFsQEoJZI'\n title='//www.youtube.com/embed/x3XFsQEoJZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Oyelowo plays Reeves as a taciturn man of few words. Which means a lot of screen time goes to know-it-all white guys around him constantly telling the camera who they are, played by some of the best character actors in the business — like Shea Whigham as the Confederate officer who once owned Reeves, Dennis Quaid as a marshal who enlists his help to catch a fugitive and Donald Sutherland as the judge who eventually hires him to be a marshal, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the central tension in a story about a Black lawman in the Old West should be the fact that the law was so often used as a cudgel to unfairly oppress people who weren’t white. And while we see Reeves advocate for treating non-white criminals with more understanding — one of them even becomes his backup partner — we don’t see him questioning the basic structure of it all, at least in the first four episodes.\u003c/p>\n\u003cp>And the show doesn’t do much to explain why a formerly enslaved man would even agree to enforce a justice system built by white men — though his devout Christianity is often shown to be the source of his strong moral code.\u003c/p>\n\u003ch3>Challenging the cowboy myth with casting\u003c/h3>\n\u003cfigure id=\"attachment_13937600\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469.jpe\" alt=\"Two cowboys face each other on a wooden porch. One, a white man with a sheriff's badge, points in the face of the other, a Black man.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bassreeves_quaid-and-oyelowo_wide-2368d052fd4a1b77c8cbdba4c52eaea26b4aba71-e1699055417469-1536x864.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">David Oyelowo as Bass Reeves and Dennis Quaid as Deputy U.S. Marshal Sherrill Lynn. \u003ccite>(Lauren Smith/ Paramount+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>America loves tales where it is the hero of its own story. It’s one reason why Westerns are often so popular — traditionally, they’ve offered unambiguous stories about the triumph of heroes, the depravity of villains and the virtue of brave (usually white) cowboys and settlers populating the American west.\u003c/p>\n\u003cp>But placing a non-white person, especially a Black person, in the center of that narrative for a TV show or film changes everything. Because suddenly, storytellers must account for slavery, racism, oppression and the way in which many average white people back then simply assumed that Black people were not fully people — a decidedly non-heroic posture for 21\u003csup>st\u003c/sup> century audiences.\u003c/p>\n\u003cp>It’s easier to ignore that reality — which is probably why Hollywood produced two \u003cem>Wyatt Earp\u003c/em> films in the mid 1990s, but has taken decades to tackle the story of a Black western hero who \u003ca href=\"https://www.texasmonthly.com/being-texan/the-resurrection-of-bass-reeves/\">may have inspired the fictional Lone Ranger\u003c/a> character.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Oyelowo wound up teaming with \u003cem>Yellowstone\u003c/em> creator Taylor Sheridan to get \u003cem>Bass Reeves\u003c/em> made, which may explain its strained attempts to build his story into an epic tale and its awkwardness around race. (Despite its success,\u003cem> Yellowstone\u003c/em>‘s focus on validating the virtue of the white Dutton family’s possession of land in the west has always made its attempts to feature Native American characters feel perfunctory.)\u003c/p>\n\u003cp>One trap the series falls into is showing Reeves as a singular superman — he is the only Black character whose skills, smarts and moral code elevate him above the oppression most of his people faced, even after the Civil War ends. He walks through the front door of saloons without question. He challenges white men, punching Quaid’s character in one contentious moment, without fear of being lynched.\u003c/p>\n\u003cp>Watch too much of this and you get the sense that all anyone like Reeves had to do to escape oppression back then was to shoot straight, be honest and beat up anyone who disrespected them. When Sutherland’s character makes him a marshal, they don’t even have a conversation over whether the public will accept a Black man arresting white people — which feels a tad unrealistic.\u003c/p>\n\u003cfigure id=\"attachment_13937601\" class=\"wp-caption aligncenter\" style=\"max-width: 1602px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937601\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07.jpe\" alt=\"A tintype image featuring a Black cowboy wearing a sheriff's badge sitting down and, standing at his side, a Black woman wearing a white dress.\" width=\"1602\" height=\"2136\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07.jpe 1602w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-800x1067.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-1020x1360.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-160x213.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-768x1024.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-1152x1536.jpe 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/bass_reeves_tintype_bass_and_jennie_vert-8891ee277875bfdaafe92bc87f4a8691d668de07-1536x2048.jpe 1536w\" sizes=\"(max-width: 1602px) 100vw, 1602px\">\u003cfigcaption class=\"wp-caption-text\">Lauren E. Banks as Jennie Reeves and David Oyelewo as Bass Reeves. \u003ccite>(Sarah Coulter/ Paramount+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’ve only seen four of the show’s episodes, so with any luck, some of these issues will be addressed in future installments. And given how white families are centered in all the other series in Sheridan’s \u003cem>Yellowstone\u003c/em>-inspired TV universe, it is a pleasure to see an intact Black family at the heart of this one.\u003c/p>\n\u003cp>But this is just the first season of an anthology series which will go on to profile other lawmen. And its struggle to remain entertaining while also telling Reeves’ complicated story shows there’s still a ways to go before we get true equality in the world of heroes from the Old West.\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=Bass+Reeves+deserves+better+%E2%80%93+%27Lawmen%27+doesn%27t+do+justice+to+the+Black+U.S.+marshal&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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Lawmen: Bass Reeves’ begins streaming on Nov. 5 on Paramount+.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'All the Light We Cannot See' Is a Heartening and Hopeful Wartime Tale",
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"content": "\u003cp>At a time when so much of what we see on television is devoted to ongoing coverage of war, you may not want to seek out a scripted drama about war — even long-ago World War II, and even a story based on Anthony Doerr’s very popular novel. But \u003ca href=\"https://www.npr.org/2014/05/10/310459898/a-fractured-tale-of-time-war-and-a-really-big-diamond\">\u003cem>All the Light We Cannot See, \u003c/em>\u003c/a>the new four-hour Netflix miniseries, is worthwhile and heartening. In the midst of the darkness and horror of war, the “Light” in the title refers to hope.\u003c/p>\n\u003cp>[aside postid='arts_13936820']\u003cem>All the Light We Cannot See \u003c/em>is told in several different time periods, and from several different perspectives — all leading to a climax in which everything somehow comes together. The main characters are two young children — a French girl named Marie-Laure and a German boy named Werner. He’s a tinkerer who becomes adept at building and repairing all types of radios. She’s blind, and is equally fascinated by the radio because she listens nightly to a shortwave broadcast, aimed at kids, hosted by a mysterious ham operator who calls himself the Professor.\u003c/p>\n\u003cp>In Paris, Marie-Laure is inspired by the Professor’s messages of hope — and back in Germany, so is Werner, who intercepts the same broadcasts from his orphanage before being forced into service by the Nazis.\u003c/p>\n\u003cp>Eventually, the roles of these central characters are taken up by older actors. Werner, as played by Louis Hofmann, is now a teenager trained and dispatched by the Nazis to seek out illegal radio operators. And Marie-Laure, now played by Aria Mia Loberti, flees the city of Paris on foot after the Nazi occupation, suitcases in hand. She’s led by her father Daniel, a museum director played by \u003ca href=\"https://www.npr.org/2007/12/27/17641820/fresh-air-reflects-actor-mark-ruffalo\">Mark Ruffalo\u003c/a>, who’s smuggling out some important museum valuables.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QdE-JvKqpBQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Their journey as refugees eventually takes them to the coastal town of Saint-Malo, where Marie-Laure’s uncle Etienne, played by \u003ca href=\"https://www.npr.org/2012/04/25/151405292/hugh-lauries-house-no-pain-no-gain\">Hugh Laurie\u003c/a>, is a member of the French resistance. In time, Werner, the young Nazi, is sent there to hunt down illegal radio operators. And Marie-Laure, discovering the secret location from which the Professor once made his defiantly hopeful broadcasts, decides to do the same.\u003c/p>\n\u003cp>[aside postid='arts_13933946']This puts both Marie-Laure and her father in harm’s way, hunted by other Nazis in addition to Werner, whose conflicted conscience is one of the strongest elements of \u003cem>All the Light We Cannot See. \u003c/em>Laurie’s character, an agoraphobic veteran of an earlier war, is touching too — but no one is as resonant, or as captivating, as Loberti as Marie-Laure.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Loberti, like the young woman she plays, is legally blind, and this is her first professional acting role — I didn’t become aware of that until after I saw all four hours of this Netflix drama. I’m still blown away by how assuredly, and effectively, this relative newcomer carries the weight of her leading role. Co-creators Shawn Levy and Steven Knight, who directed and wrote this miniseries, didn’t just fill a difficult and demanding part when they cast this impressive unknown. They also discovered a talented new actor.\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=%27All+the+Light+We+Cannot+See%27+is+a+heartening+and+hopeful+wartime+tale&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>All the Light We Cannot See \u003c/em>is told in several different time periods, and from several different perspectives — all leading to a climax in which everything somehow comes together. The main characters are two young children — a French girl named Marie-Laure and a German boy named Werner. He’s a tinkerer who becomes adept at building and repairing all types of radios. She’s blind, and is equally fascinated by the radio because she listens nightly to a shortwave broadcast, aimed at kids, hosted by a mysterious ham operator who calls himself the Professor.\u003c/p>\n\u003cp>In Paris, Marie-Laure is inspired by the Professor’s messages of hope — and back in Germany, so is Werner, who intercepts the same broadcasts from his orphanage before being forced into service by the Nazis.\u003c/p>\n\u003cp>Eventually, the roles of these central characters are taken up by older actors. Werner, as played by Louis Hofmann, is now a teenager trained and dispatched by the Nazis to seek out illegal radio operators. And Marie-Laure, now played by Aria Mia Loberti, flees the city of Paris on foot after the Nazi occupation, suitcases in hand. She’s led by her father Daniel, a museum director played by \u003ca href=\"https://www.npr.org/2007/12/27/17641820/fresh-air-reflects-actor-mark-ruffalo\">Mark Ruffalo\u003c/a>, who’s smuggling out some important museum valuables.\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/QdE-JvKqpBQ'\n title='//www.youtube.com/embed/QdE-JvKqpBQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Their journey as refugees eventually takes them to the coastal town of Saint-Malo, where Marie-Laure’s uncle Etienne, played by \u003ca href=\"https://www.npr.org/2012/04/25/151405292/hugh-lauries-house-no-pain-no-gain\">Hugh Laurie\u003c/a>, is a member of the French resistance. In time, Werner, the young Nazi, is sent there to hunt down illegal radio operators. And Marie-Laure, discovering the secret location from which the Professor once made his defiantly hopeful broadcasts, decides to do the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This puts both Marie-Laure and her father in harm’s way, hunted by other Nazis in addition to Werner, whose conflicted conscience is one of the strongest elements of \u003cem>All the Light We Cannot See. \u003c/em>Laurie’s character, an agoraphobic veteran of an earlier war, is touching too — but no one is as resonant, or as captivating, as Loberti as Marie-Laure.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Loberti, like the young woman she plays, is legally blind, and this is her first professional acting role — I didn’t become aware of that until after I saw all four hours of this Netflix drama. I’m still blown away by how assuredly, and effectively, this relative newcomer carries the weight of her leading role. Co-creators Shawn Levy and Steven Knight, who directed and wrote this miniseries, didn’t just fill a difficult and demanding part when they cast this impressive unknown. They also discovered a talented new actor.\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=%27All+the+Light+We+Cannot+See%27+is+a+heartening+and+hopeful+wartime+tale&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Serene Debut From Raven Jackson in ‘All Dirt Roads Taste of Salt’",
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"content": "\u003cp>Nature provides much of the soundtrack to \u003cem>All Dirt Roads Taste of Salt\u003c/em>, a poised and occasionally transcendent debut from writer-director Raven Jackson.\u003c/p>\n\u003cp>[aside postid='arts_13937046']The sounds of crickets and birds, flowing water and the wind in the long summer grass are only sporadically punctured by a song at a party, or a brief moment of a swelling score. These are the kind of details that make you feel immediately rooted in a place. It’s not just the nature setting on a sleep app either, or, if it is, sound supervisor Miguel Calvo ensure that it doesn’t feel like that. It’s thoughtful and precise and also lets you more fully enjoy the moments where those human-made sounds take over.\u003c/p>\n\u003cp>This might be a lot of talk about sound design to start, but it’s also a bit of a primer on what to expect from \u003cem>All Dirt Roads Taste of Salt\u003c/em>, which counts \u003cem>Moonlight\u003c/em> filmmaker Barry Jenkins among its producers. Like sitting in a field for hours without a phone or a book or a companion to chat with, just the world around you, Jackson’s film requires a level of conscious, almost meditative submission. The dialogue is sparse, the narrative is also. It is probably not an accident that some of the first words uttered, minutes in, are “not too quick … slow, take your time.” It applies to the fishing lesson between father and daughter that we’re witnessing, yes, but it works on another level too.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qiQvFKfpCi4\u003c/p>\n\u003cp>\u003cem>All Dirt Roads Taste of Salt\u003c/em> is a collection of moments in the life of Mack (Charleen McClure as an adult, Kaylee Nicole Johnson as a child), sometimes skipping back and forth in time. There are long stretches where the camera lingers on a hug, or the red painted toes of a mother at a party, the back of our heroine’s head, a fish on a table, a crying infant getting their first bath in a kitchen sink, or two sisters sitting on a porch, in silence, until one breaks into laughter. And there are many, many hands. It’s possible the camera spends more or at least equal time on hands — preparing a fish, digging in the dirt, holding — or not holding — another, swirling muddy water in a pond. Within this tapestry there are glimpses of great loss, of solitude, of new life and of transitions that feel familiar even if they’re not your own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For as stubbornly minimalist as it is, the imagery is always vibrant, aided by the rich, primary colors of the costumes, and thoughtfully composed shots, whether of a worm wriggling or a classic silhouette looking outside a darkened door. The emotion, too, is surprisingly palpable considering how little we really know about the people we’re watching.\u003c/p>\n\u003cfigure id=\"attachment_13937372\" class=\"wp-caption aligncenter\" style=\"max-width: 1700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-01-at-12.54.15-PM.png\" alt=\"An elderly Black woman sits in the center of a brown couch between two children. One child leans her head on the woman's shoulder. The other rests his head on her lap. All three look somber. The room they're in is rustic.\" width=\"1700\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-01-at-12.54.15-PM.png 1700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-01-at-12.54.15-PM-800x511.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-01-at-12.54.15-PM-1020x652.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-01-at-12.54.15-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-01-at-12.54.15-PM-768x491.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-01-at-12.54.15-PM-1536x981.png 1536w\" sizes=\"(max-width: 1700px) 100vw, 1700px\">\u003cfigcaption class=\"wp-caption-text\">Kaylee Nicole Johnson, Jannie Hampton, Jayah Henry in ‘All Dirt Roads Taste of Salt.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_13936873']Still, at a certain point, you may find yourself yearning for more — more story, more arc, more information, something to hold onto, to sustain interest or engagement. Sometimes it feels like you’re wandering through a gallery of moving moments that you understand on an intellectual level are connected but maybe don’t add up to a completely satisfying whole — especially at a trim, but standard, feature length.\u003c/p>\n\u003cp>That it works as well as it does is quite a feat, though. And with \u003cem>All Dirt Roads Taste of Salt\u003c/em>, Jackson has firmly established herself as a filmmaker to watch.\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>‘All Dirt Roads Taste of Salt’ is released nationwide on Nov. 3.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The sounds of crickets and birds, flowing water and the wind in the long summer grass are only sporadically punctured by a song at a party, or a brief moment of a swelling score. These are the kind of details that make you feel immediately rooted in a place. It’s not just the nature setting on a sleep app either, or, if it is, sound supervisor Miguel Calvo ensure that it doesn’t feel like that. It’s thoughtful and precise and also lets you more fully enjoy the moments where those human-made sounds take over.\u003c/p>\n\u003cp>This might be a lot of talk about sound design to start, but it’s also a bit of a primer on what to expect from \u003cem>All Dirt Roads Taste of Salt\u003c/em>, which counts \u003cem>Moonlight\u003c/em> filmmaker Barry Jenkins among its producers. Like sitting in a field for hours without a phone or a book or a companion to chat with, just the world around you, Jackson’s film requires a level of conscious, almost meditative submission. The dialogue is sparse, the narrative is also. It is probably not an accident that some of the first words uttered, minutes in, are “not too quick … slow, take your time.” It applies to the fishing lesson between father and daughter that we’re witnessing, yes, but it works on another level too.\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/qiQvFKfpCi4'\n title='//www.youtube.com/embed/qiQvFKfpCi4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>All Dirt Roads Taste of Salt\u003c/em> is a collection of moments in the life of Mack (Charleen McClure as an adult, Kaylee Nicole Johnson as a child), sometimes skipping back and forth in time. There are long stretches where the camera lingers on a hug, or the red painted toes of a mother at a party, the back of our heroine’s head, a fish on a table, a crying infant getting their first bath in a kitchen sink, or two sisters sitting on a porch, in silence, until one breaks into laughter. And there are many, many hands. It’s possible the camera spends more or at least equal time on hands — preparing a fish, digging in the dirt, holding — or not holding — another, swirling muddy water in a pond. Within this tapestry there are glimpses of great loss, of solitude, of new life and of transitions that feel familiar even if they’re not your own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For as stubbornly minimalist as it is, the imagery is always vibrant, aided by the rich, primary colors of the costumes, and thoughtfully composed shots, whether of a worm wriggling or a classic silhouette looking outside a darkened door. The emotion, too, is surprisingly palpable considering how little we really know about the people we’re watching.\u003c/p>\n\u003cfigure id=\"attachment_13937372\" class=\"wp-caption aligncenter\" style=\"max-width: 1700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-01-at-12.54.15-PM.png\" alt=\"An elderly Black woman sits in the center of a brown couch between two children. One child leans her head on the woman's shoulder. The other rests his head on her lap. All three look somber. The room they're in is rustic.\" width=\"1700\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-01-at-12.54.15-PM.png 1700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-01-at-12.54.15-PM-800x511.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-01-at-12.54.15-PM-1020x652.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-01-at-12.54.15-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-01-at-12.54.15-PM-768x491.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-01-at-12.54.15-PM-1536x981.png 1536w\" sizes=\"(max-width: 1700px) 100vw, 1700px\">\u003cfigcaption class=\"wp-caption-text\">Kaylee Nicole Johnson, Jannie Hampton, Jayah Henry in ‘All Dirt Roads Taste of Salt.’ \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>Still, at a certain point, you may find yourself yearning for more — more story, more arc, more information, something to hold onto, to sustain interest or engagement. Sometimes it feels like you’re wandering through a gallery of moving moments that you understand on an intellectual level are connected but maybe don’t add up to a completely satisfying whole — especially at a trim, but standard, feature length.\u003c/p>\n\u003cp>That it works as well as it does is quite a feat, though. And with \u003cem>All Dirt Roads Taste of Salt\u003c/em>, Jackson has firmly established herself as a filmmaker to watch.\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>‘All Dirt Roads Taste of Salt’ is released nationwide on Nov. 3.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Priest Explains What ‘The Exorcist’ Tells Us About Evil",
"headTitle": "A Priest Explains What ‘The Exorcist’ Tells Us About Evil | KQED",
"content": "\u003cp>Not much power has leached from \u003ca href=\"https://www.kqed.org/arts/13830037/william-friedkin-meets-the-devil-and-father-amorth\">\u003cem>The Exorcist\u003c/em>\u003c/a> since its first release in 1973. The horror film’s upcoming 50\u003csup>th\u003c/sup> anniversary has unleashed an inevitable \u003ca href=\"https://www.theexorcistbeliever.movie/\">new version\u003c/a> out in theaters now, as well as countless other tributes, including articles, special screenings and podcasts.\u003c/p>\n\u003cp>Among the latter, the podcast \u003ca href=\"https://rss.com/podcasts/takingonthedevil/\">\u003cem>Taking on the Devil\u003c/em>\u003c/a> is notable for its heady, intellectual interrogation of \u003cem>The Exorcist\u003c/em>‘s theological implications. The host is horror movie scholar \u003ca href=\"https://lsa.umich.edu/sweetland/people/faculty/gmbrand.html\">Gina Brandolino\u003c/a>, who teaches at the University of Michigan. (Full disclosure, I became friends with Brandolino while on a fellowship there.) Her partner in the podcast is \u003ca href=\"https://candler.emory.edu/faculty-profiles/gabrielle-thomas/\">Gabrielle Thomas\u003c/a>, an ordained priest and Emory University professor of early Christianity, who has written about representations of the devil. The two debate questions such as how \u003cem>The Exorcist\u003c/em> helps us think about evil in the world.\u003c/p>\n\u003cp>[aside postid='arts_13904911']The film has had an ongoing impact on pop culture and contemporary Christianity, Thomas told NPR. “I mean, the Church of England I’m ordained in,” she said, “we actually had to go back and look at liturgies for exorcism and deliverance and that kind of thing as a result of that movie.”\u003c/p>\n\u003cp>Long ago in early Christianity, she said, exorcisms were a completely normal ritual that took place before baptism. “Everybody was exorcised because there was an assumption that everyone would be experiencing some kind of demonic oppression, because that’s where the church was at that time,” she said.\u003c/p>\n\u003cp>“How humans have thought about the devil has evolved” over centuries and across faiths, she added. For example, the devil was once usually presented as being blue in the Christian contexts Thomas studies. He was seen as being like the sea, wild and inexplicable. “We understand that there’s chaos in the sea,” she said. “And it’s relatively recently that we ended up with this red thing with horns and the trident that’s slightly comical… There’s been a sort of ‘nice-ification’ of the devil.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YDGw1MTEe9k\u003c/p>\n\u003cp>In this era of grinning purple devil emojis, cute cartoon characters like Hot Stuff and sexy demon antiheros on popular shows like \u003cem>Lucifer \u003c/em>and\u003cem> Good Omens\u003c/em>, the devil in \u003cem>The Exorcist\u003c/em> punches with medieval-era power, Thomas says. This demon, Pazuzu, is not palatable. He is grotesque, primal and scary, regardless of your faith or lack thereof.\u003c/p>\n\u003cp>But ultimately, Thomas said, \u003cem>The Exorcist\u003c/em> is not really concerned with the devil. It’s about the people who observe his possession of a 12-year-old girl named Regan who did nothing worse than play with a Ouija board. Which raises the question: why Regan? And that in turn, Thomas notes, raises an even older question: “Why hasn’t God stepped in and solved all of this? Which is a question that lots of people are asking all the time.”\u003c/p>\n\u003cp>[aside postid='arts_13936524']Why do bad things happen to good people? Thomas says this is not an inquiry for God. This is a question for humans.\u003c/p>\n\u003cp>“What I loved about \u003cem>The Exorcist \u003c/em>is that it gives us a [sense of] how to respond, in the sense of these two priests,” she said, referring to the characters Father Karras and Father Merrin, who perform the film’s dramatic exorcism. “They’re not perfect. They’re completely messed up, just as many people on the street would be. But they respond with love,” she said. “They’re absolutely not the most successful in the way that they approach it … but they’re present in it. So Regan is not alone ultimately.”\u003c/p>\n\u003cp>And right at a moment when the world feels caught in something profoundly, cosmically terrible, maybe \u003cem>The Exorcist \u003c/em>still carries a message.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PIxpPMyGcpU\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>“It doesn’t leave us with a sense of ‘there’s just nothing we can do’,” Thomas said. “It leaves us with a sense of: I can be present. I can be present with the person who’s experiencing evil. I can stand with them. If I’m a priest, I might pray some particular prayers. If I’m not a priest, I might not pray these prayers, but I can be with that person or with that group of people… For me, it was the message of presence.”\u003c/p>\n\u003cp>[aside postid='arts_13830037']The director of \u003cem>The Exorcist\u003c/em> always insisted \u003ca href=\"https://medium.com/@transylvania/the-exorcist-is-not-a-horror-film-50b9ecfa17ea#:~:text=hold%20much%20weight.-,William%20Friedkin%20famously%20said%20that%20he%20didn't%20consider%20The,from%20the%20franchise%20moving%20forward.\">his movie was not a horror movie\u003c/a>. It was a movie about faith. And it reminds us that when we feel helpless and hopeless, there is power in being present.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Edited for the web by Rose Friedman. Produced for the web by Beth Novey.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+priest+explains+what+%27The+Exorcist%27+tells+us+about+evil&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not much power has leached from \u003ca href=\"https://www.kqed.org/arts/13830037/william-friedkin-meets-the-devil-and-father-amorth\">\u003cem>The Exorcist\u003c/em>\u003c/a> since its first release in 1973. The horror film’s upcoming 50\u003csup>th\u003c/sup> anniversary has unleashed an inevitable \u003ca href=\"https://www.theexorcistbeliever.movie/\">new version\u003c/a> out in theaters now, as well as countless other tributes, including articles, special screenings and podcasts.\u003c/p>\n\u003cp>Among the latter, the podcast \u003ca href=\"https://rss.com/podcasts/takingonthedevil/\">\u003cem>Taking on the Devil\u003c/em>\u003c/a> is notable for its heady, intellectual interrogation of \u003cem>The Exorcist\u003c/em>‘s theological implications. The host is horror movie scholar \u003ca href=\"https://lsa.umich.edu/sweetland/people/faculty/gmbrand.html\">Gina Brandolino\u003c/a>, who teaches at the University of Michigan. (Full disclosure, I became friends with Brandolino while on a fellowship there.) Her partner in the podcast is \u003ca href=\"https://candler.emory.edu/faculty-profiles/gabrielle-thomas/\">Gabrielle Thomas\u003c/a>, an ordained priest and Emory University professor of early Christianity, who has written about representations of the devil. The two debate questions such as how \u003cem>The Exorcist\u003c/em> helps us think about evil in the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film has had an ongoing impact on pop culture and contemporary Christianity, Thomas told NPR. “I mean, the Church of England I’m ordained in,” she said, “we actually had to go back and look at liturgies for exorcism and deliverance and that kind of thing as a result of that movie.”\u003c/p>\n\u003cp>Long ago in early Christianity, she said, exorcisms were a completely normal ritual that took place before baptism. “Everybody was exorcised because there was an assumption that everyone would be experiencing some kind of demonic oppression, because that’s where the church was at that time,” she said.\u003c/p>\n\u003cp>“How humans have thought about the devil has evolved” over centuries and across faiths, she added. For example, the devil was once usually presented as being blue in the Christian contexts Thomas studies. He was seen as being like the sea, wild and inexplicable. “We understand that there’s chaos in the sea,” she said. “And it’s relatively recently that we ended up with this red thing with horns and the trident that’s slightly comical… There’s been a sort of ‘nice-ification’ of the devil.”\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/YDGw1MTEe9k'\n title='//www.youtube.com/embed/YDGw1MTEe9k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In this era of grinning purple devil emojis, cute cartoon characters like Hot Stuff and sexy demon antiheros on popular shows like \u003cem>Lucifer \u003c/em>and\u003cem> Good Omens\u003c/em>, the devil in \u003cem>The Exorcist\u003c/em> punches with medieval-era power, Thomas says. This demon, Pazuzu, is not palatable. He is grotesque, primal and scary, regardless of your faith or lack thereof.\u003c/p>\n\u003cp>But ultimately, Thomas said, \u003cem>The Exorcist\u003c/em> is not really concerned with the devil. It’s about the people who observe his possession of a 12-year-old girl named Regan who did nothing worse than play with a Ouija board. Which raises the question: why Regan? And that in turn, Thomas notes, raises an even older question: “Why hasn’t God stepped in and solved all of this? Which is a question that lots of people are asking all the time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Why do bad things happen to good people? Thomas says this is not an inquiry for God. This is a question for humans.\u003c/p>\n\u003cp>“What I loved about \u003cem>The Exorcist \u003c/em>is that it gives us a [sense of] how to respond, in the sense of these two priests,” she said, referring to the characters Father Karras and Father Merrin, who perform the film’s dramatic exorcism. “They’re not perfect. They’re completely messed up, just as many people on the street would be. But they respond with love,” she said. “They’re absolutely not the most successful in the way that they approach it … but they’re present in it. So Regan is not alone ultimately.”\u003c/p>\n\u003cp>And right at a moment when the world feels caught in something profoundly, cosmically terrible, maybe \u003cem>The Exorcist \u003c/em>still carries a message.\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/PIxpPMyGcpU'\n title='//www.youtube.com/embed/PIxpPMyGcpU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>“It doesn’t leave us with a sense of ‘there’s just nothing we can do’,” Thomas said. “It leaves us with a sense of: I can be present. I can be present with the person who’s experiencing evil. I can stand with them. If I’m a priest, I might pray some particular prayers. If I’m not a priest, I might not pray these prayers, but I can be with that person or with that group of people… For me, it was the message of presence.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The director of \u003cem>The Exorcist\u003c/em> always insisted \u003ca href=\"https://medium.com/@transylvania/the-exorcist-is-not-a-horror-film-50b9ecfa17ea#:~:text=hold%20much%20weight.-,William%20Friedkin%20famously%20said%20that%20he%20didn't%20consider%20The,from%20the%20franchise%20moving%20forward.\">his movie was not a horror movie\u003c/a>. It was a movie about faith. And it reminds us that when we feel helpless and hopeless, there is power in being present.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Edited for the web by Rose Friedman. Produced for the web by Beth Novey.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+priest+explains+what+%27The+Exorcist%27+tells+us+about+evil&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Willie starts with the words.\u003c/p>\n\u003cp>It’s one of the surprising revelations in Willie Nelson’s new book, \u003cem>Energy Follows Thought: The Stories Behind My Songs\u003c/em>, an examination of the 90-year-old country legend and soon-to-be Rock & Roll Hall of Famer’s seven decades of songwriting.\u003c/p>\n\u003cp>[aside postid='arts_13936614']While his guitar is practically an extension of his body at this point, he has always started the writing process by thinking up words rather than strumming chords. To him, it’s doing the hard part first.\u003cbr>\n“The melodies are easier to write than the words,” Nelson told The Associated Press in an interview ahead of Tuesday’s release of his book.\u003c/p>\n\u003cp>He does not, however, write those words down, not even on a napkin.\u003c/p>\n\u003cp>“I have a theory,” he said, “that if you can’t remember ’em, it probably wasn’t that good.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nelson actually started out as a poet of sorts. At age 6 in Depression-era Texas, he composed a verse in response to the looks he got when he picked his nose and got a nosebleed while standing in front of his church congregation.\u003c/p>\n\u003cp>“My poem was, ‘What are you looking at me for? I ain’t got nothin to say, if you don’t like the looks of me, look some other way,’” he recalled 84 years later. “That was the beginning.”\u003c/p>\n\u003cp>He started writing songs soon after.\u003c/p>\n\u003cp>When he became a superstar in middle age in the mid-1970s, Nelson would be best known for his dynamic live performances and his guitar and vocal stylings.\u003c/p>\n\u003cp>But as a young man in the 1950s and early ’60s, he was best known as one of the struggling songsmiths who spent their days and nights at Tootsie’s Orchid Lounge in Nashville.\u003c/p>\n\u003cp>In 1961, three of his songs became hits for other artists: Billy Walker’s “Funny How Time Slips Away,” Faron Young’s “Hello Walls” and, most importantly, Patsy Cline’s “Crazy,” a song that would become a signature for her and both a financial boon and an ego boost for him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_0jOR5DC0rM\u003c/p>\n\u003cp>“Because Patsy liked it, I was poor no longer,” he writes in the book. “This particular ‘Crazy’ convinced me, at a time when I wasn’t a hundred percent sure of my writing talent, that I’d be crazy to stop writing.”\u003c/p>\n\u003cp>He would go on to make other writers’ songs his own in the same way. He didn’t write most of the biggest hits associated with him, which came in the 1970s and ’80s: “Blue Eyes Crying in the Rain,” “Mammas Don’t Let Your Babies Grow Up to Be Cowboys,” “Always on My Mind.”\u003c/p>\n\u003cp>He almost seemed to retire from songwriting when fame finally came to him in the Outlaw Country era, enjoying the chance to record his favorite old standards or the compositions of hot young writers.\u003c/p>\n\u003cp>[aside postid='arts_13913286']But he never stopped composing entirely. Director Sydney Pollack prodded him to write a new song for the 1980 Nelson-starring film \u003cem>Honeysuckle Rose\u003c/em>, on which Pollack was an executive producer.\u003c/p>\n\u003cp>Nelson responded by writing — words first — “On The Road Again.”\u003c/p>\n\u003cp>Pollack was less than thrilled with the lyrics in isolation: “The life I love is makin’ music with my friends, and I can’t wait to get on the road again.”\u003c/p>\n\u003cp>But was pleased when he heard the chugging music that suggested a train, or a tour bus.\u003c/p>\n\u003cp>And Nelson would appreciate the nudge.\u003c/p>\n\u003cp>“Without knowing or trying, in a few little lines, I’d written the story of my life,” he says in the book.\u003c/p>\n\u003cp>But the songs did get fewer and farther between. More than performing, songwriting can be a young man’s game.\u003c/p>\n\u003cp>“I don’t write as much as I used to,” he told the AP. “The ideas don’t come that quick. I still write now and then.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8tXosYPillw\u003c/p>\n\u003cp>He did recently write the song that gives the name to his book, “Energy Follows Thought,” for his 2022 album, \u003cem>A Beautiful Time\u003c/em>.\u003c/p>\n\u003cp>In it, Nelson and co-authors David Ritz and Mickey Raphael give brief backstories to 160 different songs he’s written through the years.\u003c/p>\n\u003cp>It wasn’t prompted by any great sense of reflection.\u003c/p>\n\u003cp>[aside postid='arts_13922004']“Some of my business guys thought it would be a good thing to do,” Nelson said.\u003c/p>\n\u003cp>The year of his 90th birthday has been overloaded with events. He was feted by a fellow stars, including Neil Young and Snoop Dogg, in a two-night celebration at the Hollywood Bowl in the summer.\u003c/p>\n\u003cp>And on Friday, the same week the book is released, he’ll be inducted into the Rock & Roll Hall of Fame.\u003c/p>\n\u003cp>Last year, fellow country legend Dolly Parton got a spot in the hall, and had mixed feelings about whether she belonged, even turning down the honor at first.\u003c/p>\n\u003cp>But Nelson, whose whole body of work has been built on ignoring the lines between genres, has no such problem.\u003c/p>\n\u003cp>“You can get rock and roll in country, rock and roll in any kind of music,” he said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.harpercollins.com/products/energy-follows-thought-willie-nelsondavid-ritz?variant=41030312263714\">Energy Follows Thought: The Stories Behind My Songs\u003c/a>’ by Willie Nelson and co-authors David Ritz and Mickey Raphael is released on Oct. 31, via William Morrow.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Willie starts with the words.\u003c/p>\n\u003cp>It’s one of the surprising revelations in Willie Nelson’s new book, \u003cem>Energy Follows Thought: The Stories Behind My Songs\u003c/em>, an examination of the 90-year-old country legend and soon-to-be Rock & Roll Hall of Famer’s seven decades of songwriting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While his guitar is practically an extension of his body at this point, he has always started the writing process by thinking up words rather than strumming chords. To him, it’s doing the hard part first.\u003cbr>\n“The melodies are easier to write than the words,” Nelson told The Associated Press in an interview ahead of Tuesday’s release of his book.\u003c/p>\n\u003cp>He does not, however, write those words down, not even on a napkin.\u003c/p>\n\u003cp>“I have a theory,” he said, “that if you can’t remember ’em, it probably wasn’t that good.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nelson actually started out as a poet of sorts. At age 6 in Depression-era Texas, he composed a verse in response to the looks he got when he picked his nose and got a nosebleed while standing in front of his church congregation.\u003c/p>\n\u003cp>“My poem was, ‘What are you looking at me for? I ain’t got nothin to say, if you don’t like the looks of me, look some other way,’” he recalled 84 years later. “That was the beginning.”\u003c/p>\n\u003cp>He started writing songs soon after.\u003c/p>\n\u003cp>When he became a superstar in middle age in the mid-1970s, Nelson would be best known for his dynamic live performances and his guitar and vocal stylings.\u003c/p>\n\u003cp>But as a young man in the 1950s and early ’60s, he was best known as one of the struggling songsmiths who spent their days and nights at Tootsie’s Orchid Lounge in Nashville.\u003c/p>\n\u003cp>In 1961, three of his songs became hits for other artists: Billy Walker’s “Funny How Time Slips Away,” Faron Young’s “Hello Walls” and, most importantly, Patsy Cline’s “Crazy,” a song that would become a signature for her and both a financial boon and an ego boost for him.\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/_0jOR5DC0rM'\n title='//www.youtube.com/embed/_0jOR5DC0rM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Because Patsy liked it, I was poor no longer,” he writes in the book. “This particular ‘Crazy’ convinced me, at a time when I wasn’t a hundred percent sure of my writing talent, that I’d be crazy to stop writing.”\u003c/p>\n\u003cp>He would go on to make other writers’ songs his own in the same way. He didn’t write most of the biggest hits associated with him, which came in the 1970s and ’80s: “Blue Eyes Crying in the Rain,” “Mammas Don’t Let Your Babies Grow Up to Be Cowboys,” “Always on My Mind.”\u003c/p>\n\u003cp>He almost seemed to retire from songwriting when fame finally came to him in the Outlaw Country era, enjoying the chance to record his favorite old standards or the compositions of hot young writers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But he never stopped composing entirely. Director Sydney Pollack prodded him to write a new song for the 1980 Nelson-starring film \u003cem>Honeysuckle Rose\u003c/em>, on which Pollack was an executive producer.\u003c/p>\n\u003cp>Nelson responded by writing — words first — “On The Road Again.”\u003c/p>\n\u003cp>Pollack was less than thrilled with the lyrics in isolation: “The life I love is makin’ music with my friends, and I can’t wait to get on the road again.”\u003c/p>\n\u003cp>But was pleased when he heard the chugging music that suggested a train, or a tour bus.\u003c/p>\n\u003cp>And Nelson would appreciate the nudge.\u003c/p>\n\u003cp>“Without knowing or trying, in a few little lines, I’d written the story of my life,” he says in the book.\u003c/p>\n\u003cp>But the songs did get fewer and farther between. More than performing, songwriting can be a young man’s game.\u003c/p>\n\u003cp>“I don’t write as much as I used to,” he told the AP. “The ideas don’t come that quick. I still write now and then.”\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/8tXosYPillw'\n title='//www.youtube.com/embed/8tXosYPillw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He did recently write the song that gives the name to his book, “Energy Follows Thought,” for his 2022 album, \u003cem>A Beautiful Time\u003c/em>.\u003c/p>\n\u003cp>In it, Nelson and co-authors David Ritz and Mickey Raphael give brief backstories to 160 different songs he’s written through the years.\u003c/p>\n\u003cp>It wasn’t prompted by any great sense of reflection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Some of my business guys thought it would be a good thing to do,” Nelson said.\u003c/p>\n\u003cp>The year of his 90th birthday has been overloaded with events. He was feted by a fellow stars, including Neil Young and Snoop Dogg, in a two-night celebration at the Hollywood Bowl in the summer.\u003c/p>\n\u003cp>And on Friday, the same week the book is released, he’ll be inducted into the Rock & Roll Hall of Fame.\u003c/p>\n\u003cp>Last year, fellow country legend Dolly Parton got a spot in the hall, and had mixed feelings about whether she belonged, even turning down the honor at first.\u003c/p>\n\u003cp>But Nelson, whose whole body of work has been built on ignoring the lines between genres, has no such problem.\u003c/p>\n\u003cp>“You can get rock and roll in country, rock and roll in any kind of music,” he said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.harpercollins.com/products/energy-follows-thought-willie-nelsondavid-ritz?variant=41030312263714\">Energy Follows Thought: The Stories Behind My Songs\u003c/a>’ by Willie Nelson and co-authors David Ritz and Mickey Raphael is released on Oct. 31, via William Morrow.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Matthew Perry, Emmy-Nominated ‘Friends’ Star, Has Died at 54, Reports Say",
"headTitle": "Matthew Perry, Emmy-Nominated ‘Friends’ Star, Has Died at 54, Reports Say | KQED",
"content": "\u003cp>Matthew Perry, who starred as sarcastic-but-sweet Chandler Bing in the hit series \u003cem>Friends\u003c/em>, has died. He was 54.\u003c/p>\n\u003cp>The Emmy-nominated actor was found dead of an apparent drowning at his Los Angeles home Saturday, according to the \u003cem>Los Angeles Times\u003c/em> and celebrity website TMZ, which was the first to report the news. Both outlets cited unnamed sources confirming Perry’s death.\u003c/p>\n\u003cp>[aside postid='pop_108851']His publicists and other representatives did not immediately respond to messages from The Associated Press seeking comment. Asked to confirm police response to what was listed as Perry’s home address, LAPD Officer Drake Madison told AP that officers had gone to that block “for a death investigation of a male in his 50s.”\u003c/p>\n\u003cp>Perry’s 10 seasons on \u003cem>Friends\u003c/em> made him one of Hollywood’s most recognizable actors, starring opposite Jennifer Aniston, Courteney Cox, Matt LeBlanc, Lisa Kudrow and David Schwimmer as a friend group in New York.\u003c/p>\n\u003cp>As Chandler, he played the quick-witted, insecure and neurotic roommate of LeBlanc’s Joey and a close friend of Schwimmer’s Ross. During the show’s hijinks, he could be counted on to chime in with a line like, “Could this BE any more awkward?” or another well-timed quip.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the series’ end, Chandler is married to Cox’s Monica and they have a family, reflecting the journey of the core cast from single New Yorkers trying to figure their lives out to several of them married and starting families.\u003c/p>\n\u003cp>The series was one of television’s biggest hits and has taken on a new life — and found surprising popularity with younger fans — in recent years on streaming services.\u003c/p>\n\u003cfigure id=\"attachment_13937163\" class=\"wp-caption aligncenter\" style=\"max-width: 1476px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-51535873.jpg\" alt=\"A blonde white woman in a black gown clutches an award. Standing on one side of her is a white man in a tuxedo. To the left, another blonde woman and a man in a suit. All are smiling.\" width=\"1476\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873.jpg 1476w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-768x521.jpg 768w\" sizes=\"(max-width: 1476px) 100vw, 1476px\">\u003cfigcaption class=\"wp-caption-text\">Perry with his ‘Friends’ costars: Lisa Kudrow, Jennifer Aniston and David Schwimmer at the 26th People’s Choice Awards. \u003ccite>(LUCY NICHOLSON/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Friends\u003c/em> ran from 1994 until 2004, winning one best comedy series Emmy Award in 2002. The cast notably banded together for later seasons to obtain a salary of $1 million per episode for each.\u003c/p>\n\u003cp>Unknown at the time was the struggle Perry had with addiction and an intense desire to please audiences.\u003c/p>\n\u003cp>“\u003cem>Friends\u003c/em> was huge. I couldn’t jeopardize that. I loved my co-actors. I loved the scripts. I loved everything about the show but I was struggling with my addictions which only added to my sense of shame,” he wrote in his memoir, \u003cem>Friends, Lovers and the Big Terrible Thing\u003c/em>. “I had a secret and no one could know.”\u003c/p>\n\u003cp>“I felt like I was gonna die if the live audience didn’t laugh, and that’s not healthy for sure. But I could sometimes say a line and the audience wouldn’t laugh and I would sweat and sometimes go into convulsions,” Perry wrote. “If I didn’t get the laugh I was supposed to get I would freak out. I felt that every single night. This pressure left me in a bad place. I also knew of the six people making that show, only one of them was sick.”\u003c/p>\n\u003cp>He recalled in his memoir that Aniston confronted him about being inebriated while filming.\u003c/p>\n\u003cp>“I know you’re drinking,” he remembered her telling him once. “We can smell it,” she said, in what Perry called a “kind of weird but loving way, and the plural ‘we’ hit me like a sledgehammer.”\u003c/p>\n\u003cp>An\u003ca href=\"https://www.kqed.org/arts/13897888/friends-the-reunion-provides-plenty-of-laughs-actively-avoids-the-tough-stuff\"> HBO Max reunion special in 2021\u003c/a> was hosted by James Corden and fed into huge interest in seeing the cast together again, although the program consisted of the actors discussing the show and was not a continuation of their characters’ storylines.\u003c/p>\n\u003cp>Perry received one Emmy nomination for his \u003cem>Friends\u003c/em> role and two more for appearances as an associate White House counsel on \u003cem>The West Wing.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13897888']Perry also had several notable film roles, starring opposite Salma Hayek in the rom-com \u003cem>Fools Rush In\u003c/em> and Bruce Willis in the the crime comedy\u003cem> The Whole Nine Yards\u003c/em>.\u003c/p>\n\u003cp>He worked consistently after \u003cem>Friends\u003c/em>, though never in a role that brought him as much attention or acclaim.\u003c/p>\n\u003cp>In 2015, he played Oscar for a CBS reboot of \u003cem>The Odd Couple\u003c/em> that aired for two seasons. He told AP that playing Oscar Madison, the character originally made famous in the 1960s series by Walter Matthau, was a “dream role.” He also said he was surprised how much he enjoyed being filmed again in front of a live audience.\u003c/p>\n\u003cp>“I didn’t realize I missed it really until it actually happened, til we actually shot the pilot and there was a studio audience there and I realized, ‘Wow, I really like this. This is nice,’” he said. “You kind of ham up for the people in the audience. My performance never got better than when there was an audience there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perry was born Aug. 19, 1969, in Williamstown, Massachusetts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Matthew Perry, who starred as sarcastic-but-sweet Chandler Bing in the hit series \u003cem>Friends\u003c/em>, has died. He was 54.\u003c/p>\n\u003cp>The Emmy-nominated actor was found dead of an apparent drowning at his Los Angeles home Saturday, according to the \u003cem>Los Angeles Times\u003c/em> and celebrity website TMZ, which was the first to report the news. Both outlets cited unnamed sources confirming Perry’s death.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>His publicists and other representatives did not immediately respond to messages from The Associated Press seeking comment. Asked to confirm police response to what was listed as Perry’s home address, LAPD Officer Drake Madison told AP that officers had gone to that block “for a death investigation of a male in his 50s.”\u003c/p>\n\u003cp>Perry’s 10 seasons on \u003cem>Friends\u003c/em> made him one of Hollywood’s most recognizable actors, starring opposite Jennifer Aniston, Courteney Cox, Matt LeBlanc, Lisa Kudrow and David Schwimmer as a friend group in New York.\u003c/p>\n\u003cp>As Chandler, he played the quick-witted, insecure and neurotic roommate of LeBlanc’s Joey and a close friend of Schwimmer’s Ross. During the show’s hijinks, he could be counted on to chime in with a line like, “Could this BE any more awkward?” or another well-timed quip.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the series’ end, Chandler is married to Cox’s Monica and they have a family, reflecting the journey of the core cast from single New Yorkers trying to figure their lives out to several of them married and starting families.\u003c/p>\n\u003cp>The series was one of television’s biggest hits and has taken on a new life — and found surprising popularity with younger fans — in recent years on streaming services.\u003c/p>\n\u003cfigure id=\"attachment_13937163\" class=\"wp-caption aligncenter\" style=\"max-width: 1476px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-51535873.jpg\" alt=\"A blonde white woman in a black gown clutches an award. Standing on one side of her is a white man in a tuxedo. To the left, another blonde woman and a man in a suit. All are smiling.\" width=\"1476\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873.jpg 1476w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-768x521.jpg 768w\" sizes=\"(max-width: 1476px) 100vw, 1476px\">\u003cfigcaption class=\"wp-caption-text\">Perry with his ‘Friends’ costars: Lisa Kudrow, Jennifer Aniston and David Schwimmer at the 26th People’s Choice Awards. \u003ccite>(LUCY NICHOLSON/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Friends\u003c/em> ran from 1994 until 2004, winning one best comedy series Emmy Award in 2002. The cast notably banded together for later seasons to obtain a salary of $1 million per episode for each.\u003c/p>\n\u003cp>Unknown at the time was the struggle Perry had with addiction and an intense desire to please audiences.\u003c/p>\n\u003cp>“\u003cem>Friends\u003c/em> was huge. I couldn’t jeopardize that. I loved my co-actors. I loved the scripts. I loved everything about the show but I was struggling with my addictions which only added to my sense of shame,” he wrote in his memoir, \u003cem>Friends, Lovers and the Big Terrible Thing\u003c/em>. “I had a secret and no one could know.”\u003c/p>\n\u003cp>“I felt like I was gonna die if the live audience didn’t laugh, and that’s not healthy for sure. But I could sometimes say a line and the audience wouldn’t laugh and I would sweat and sometimes go into convulsions,” Perry wrote. “If I didn’t get the laugh I was supposed to get I would freak out. I felt that every single night. This pressure left me in a bad place. I also knew of the six people making that show, only one of them was sick.”\u003c/p>\n\u003cp>He recalled in his memoir that Aniston confronted him about being inebriated while filming.\u003c/p>\n\u003cp>“I know you’re drinking,” he remembered her telling him once. “We can smell it,” she said, in what Perry called a “kind of weird but loving way, and the plural ‘we’ hit me like a sledgehammer.”\u003c/p>\n\u003cp>An\u003ca href=\"https://www.kqed.org/arts/13897888/friends-the-reunion-provides-plenty-of-laughs-actively-avoids-the-tough-stuff\"> HBO Max reunion special in 2021\u003c/a> was hosted by James Corden and fed into huge interest in seeing the cast together again, although the program consisted of the actors discussing the show and was not a continuation of their characters’ storylines.\u003c/p>\n\u003cp>Perry received one Emmy nomination for his \u003cem>Friends\u003c/em> role and two more for appearances as an associate White House counsel on \u003cem>The West Wing.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Perry also had several notable film roles, starring opposite Salma Hayek in the rom-com \u003cem>Fools Rush In\u003c/em> and Bruce Willis in the the crime comedy\u003cem> The Whole Nine Yards\u003c/em>.\u003c/p>\n\u003cp>He worked consistently after \u003cem>Friends\u003c/em>, though never in a role that brought him as much attention or acclaim.\u003c/p>\n\u003cp>In 2015, he played Oscar for a CBS reboot of \u003cem>The Odd Couple\u003c/em> that aired for two seasons. He told AP that playing Oscar Madison, the character originally made famous in the 1960s series by Walter Matthau, was a “dream role.” He also said he was surprised how much he enjoyed being filmed again in front of a live audience.\u003c/p>\n\u003cp>“I didn’t realize I missed it really until it actually happened, til we actually shot the pilot and there was a studio audience there and I realized, ‘Wow, I really like this. This is nice,’” he said. “You kind of ham up for the people in the audience. My performance never got better than when there was an audience there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perry was born Aug. 19, 1969, in Williamstown, Massachusetts.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Alexander Payne Keeps Real Emotion at Bay in the Coyly Comic ‘Holdovers’",
"headTitle": "Alexander Payne Keeps Real Emotion at Bay in the Coyly Comic ‘Holdovers’ | KQED",
"content": "\u003cp>Even as someone whose job is to complain about the state of contemporary filmmaking, I’ve never really bought into the idea that “They don’t make ’em like they used to” — something moviegoers have been saying since the silent era.\u003c/p>\n\u003cp>Still, I understand why some critics have been waxing so nostalgic in their praise of \u003cem>The Holdovers\u003c/em>. From the moment its scratched-up retro-style studio logo appears, \u003ca href=\"https://www.npr.org/2013/12/02/248185910/director-alexander-payne-on-mining-every-film-for-comic-potential\">Alexander Payne\u003c/a>‘s new film offers itself up as a throwback to a time when thoughtful, character-driven comedies for adults were more of a staple than they are now. The movie isn’t just set in 1970; it wants to look as though it were \u003cem>made\u003c/em> in 1970.\u003c/p>\n\u003cp>It’s also a reunion for Payne and actor \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1674650\">Paul Giamatti\u003c/a>, nearly 20 years after their superior wine-country comedy \u003ca href=\"https://www.npr.org/2004/10/15/4111467/sideways-paynes-latest-comic-antidote\">\u003cem>Sideways\u003c/em>\u003c/a>. In \u003cem>The Holdovers\u003c/em>, Giamatti again plays a hard-drinking, sharp-tongued curmudgeon with tragicomic verve. This time he’s Paul Hunham, a teacher of ancient history at a prestigious New England boarding school called Barton Academy.\u003c/p>\n\u003cp>Paul believes in showing tough love to his students, whom he openly refers to as “degenerates” and “reprobates.” On the last day of school before winter break, he hands the boys back their exams, which nearly all of them failed.\u003c/p>\n\u003cp>The only student to get a decent grade is Angus Tully, played by Dominic Sessa. He’s a sharp, smart kid with a rebellious streak, fueled in part by family problems back home. When he learns that his mom and new stepdad have decided to spend the holidays honeymooning in the Caribbean, Angus is forced to stay at Barton for two weeks under Paul’s supervision.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are four other young holdovers as well, but David Hemingson’s script conveniently gets them out of the way. Joining Paul and Angus is the school cafeteria manager, Mary Lamb, wonderfully played by \u003ca href=\"https://www.npr.org/2019/10/03/766927018/actress-davine-joy-randolph-on-her-role-in-dolemite-is-my-name\">Da’Vine Joy Randolph\u003c/a> from \u003ca href=\"https://www.npr.org/2019/10/29/774348252/dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a>. It’s Mary’s first Christmas since her son, a Barton grad, died serving in the Vietnam War.\u003c/p>\n\u003cp>A prickly teacher, an angry student and a grieving cook cooped up together for two frigid weeks without central heating sounds like a recipe for horror-movie disaster: \u003cem>The Catcher in the Rye \u003c/em>meets \u003cem>The Shining\u003c/em>. Thankfully, no one gets axed to death in \u003cem>The Holdovers\u003c/em>, though someone does end up in the hospital after a minor accident.\u003c/p>\n\u003cp>https://youtube.com/watch?v=AhKLpJmHhIg\u003c/p>\n\u003cp>Soon the three find better reasons to leave campus, attending a Christmas Eve party and taking an unexpected field trip to Boston. Road trips have been something of a Payne specialty in movies like \u003cem>Sideways\u003c/em> and \u003ca href=\"https://www.npr.org/2013/11/15/245395877/across-nebraska-on-a-journey-that-goes-beyond-the-trip\">\u003cem>Nebraska\u003c/em>\u003c/a>, a chance for rough-edged characters to travel together and bond over each other’s losses and disappointments.\u003c/p>\n\u003cp>That’s a lovely idea, and \u003cem>The Holdovers\u003c/em> sometimes lives up to it. Some of the best scenes find Paul and Mary watching TV, drinking whisky and joshing with each other well into the wee hours. These moments have a lived-in casual-hangout quality that’s missing elsewhere.\u003c/p>\n\u003cp>In their many arguments, Paul and Angus tend to spell out the obvious — how they’re feeling, why they’re mad at each other and all the awful things they’ve been through. Giamatti is a skilled enough actor to make this seem like part of Paul’s overbearing nature. But Sessa, an appealing newcomer, doesn’t fare as well; too often he’s made to talk about his teenage angst rather than embody it.\u003c/p>\n\u003cp>And then there’s Mary, whose name can’t help but smack of cheap symbolism given that she’s mourning a child at Christmastime. The script doesn’t know what to do with Mary besides sanctify her, turning her grief into a prop. That’s a shame, since Mary is easily the most interesting character here, which is due entirely to the terrific comic timing and deep emotion that Randolph brings to an underwritten role.\u003c/p>\n\u003cp>Watching Paul, Angus and Mary, we’re meant to reflect on the social turmoil of the past and how it dovetails with the present. Angus’ family drama touches on depression and mental illness. The death of Mary’s son in Vietnam raises issues like racism and classism. But these points are glossed over in a movie that skims the surface of its ’70s milieu without fully engaging with it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Payne isn’t really “making ’em like they used to”; beneath its old-school aesthetic, \u003cem>The Holdovers\u003c/em> faces a problem that’s all too familiar in this director’s work: a coyness about his characters and their circumstances that keeps real emotion and holiday spirit at bay.\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=Alexander+Payne+keeps+real+emotion+at+bay+in+the+coyly+comic+%27Holdovers%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even as someone whose job is to complain about the state of contemporary filmmaking, I’ve never really bought into the idea that “They don’t make ’em like they used to” — something moviegoers have been saying since the silent era.\u003c/p>\n\u003cp>Still, I understand why some critics have been waxing so nostalgic in their praise of \u003cem>The Holdovers\u003c/em>. From the moment its scratched-up retro-style studio logo appears, \u003ca href=\"https://www.npr.org/2013/12/02/248185910/director-alexander-payne-on-mining-every-film-for-comic-potential\">Alexander Payne\u003c/a>‘s new film offers itself up as a throwback to a time when thoughtful, character-driven comedies for adults were more of a staple than they are now. The movie isn’t just set in 1970; it wants to look as though it were \u003cem>made\u003c/em> in 1970.\u003c/p>\n\u003cp>It’s also a reunion for Payne and actor \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1674650\">Paul Giamatti\u003c/a>, nearly 20 years after their superior wine-country comedy \u003ca href=\"https://www.npr.org/2004/10/15/4111467/sideways-paynes-latest-comic-antidote\">\u003cem>Sideways\u003c/em>\u003c/a>. In \u003cem>The Holdovers\u003c/em>, Giamatti again plays a hard-drinking, sharp-tongued curmudgeon with tragicomic verve. This time he’s Paul Hunham, a teacher of ancient history at a prestigious New England boarding school called Barton Academy.\u003c/p>\n\u003cp>Paul believes in showing tough love to his students, whom he openly refers to as “degenerates” and “reprobates.” On the last day of school before winter break, he hands the boys back their exams, which nearly all of them failed.\u003c/p>\n\u003cp>The only student to get a decent grade is Angus Tully, played by Dominic Sessa. He’s a sharp, smart kid with a rebellious streak, fueled in part by family problems back home. When he learns that his mom and new stepdad have decided to spend the holidays honeymooning in the Caribbean, Angus is forced to stay at Barton for two weeks under Paul’s supervision.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are four other young holdovers as well, but David Hemingson’s script conveniently gets them out of the way. Joining Paul and Angus is the school cafeteria manager, Mary Lamb, wonderfully played by \u003ca href=\"https://www.npr.org/2019/10/03/766927018/actress-davine-joy-randolph-on-her-role-in-dolemite-is-my-name\">Da’Vine Joy Randolph\u003c/a> from \u003ca href=\"https://www.npr.org/2019/10/29/774348252/dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a>. It’s Mary’s first Christmas since her son, a Barton grad, died serving in the Vietnam War.\u003c/p>\n\u003cp>A prickly teacher, an angry student and a grieving cook cooped up together for two frigid weeks without central heating sounds like a recipe for horror-movie disaster: \u003cem>The Catcher in the Rye \u003c/em>meets \u003cem>The Shining\u003c/em>. Thankfully, no one gets axed to death in \u003cem>The Holdovers\u003c/em>, though someone does end up in the hospital after a minor accident.\u003c/p>\n\u003cp>https://youtube.com/watch?v=AhKLpJmHhIg\u003c/p>\n\u003cp>Soon the three find better reasons to leave campus, attending a Christmas Eve party and taking an unexpected field trip to Boston. Road trips have been something of a Payne specialty in movies like \u003cem>Sideways\u003c/em> and \u003ca href=\"https://www.npr.org/2013/11/15/245395877/across-nebraska-on-a-journey-that-goes-beyond-the-trip\">\u003cem>Nebraska\u003c/em>\u003c/a>, a chance for rough-edged characters to travel together and bond over each other’s losses and disappointments.\u003c/p>\n\u003cp>That’s a lovely idea, and \u003cem>The Holdovers\u003c/em> sometimes lives up to it. Some of the best scenes find Paul and Mary watching TV, drinking whisky and joshing with each other well into the wee hours. These moments have a lived-in casual-hangout quality that’s missing elsewhere.\u003c/p>\n\u003cp>In their many arguments, Paul and Angus tend to spell out the obvious — how they’re feeling, why they’re mad at each other and all the awful things they’ve been through. Giamatti is a skilled enough actor to make this seem like part of Paul’s overbearing nature. But Sessa, an appealing newcomer, doesn’t fare as well; too often he’s made to talk about his teenage angst rather than embody it.\u003c/p>\n\u003cp>And then there’s Mary, whose name can’t help but smack of cheap symbolism given that she’s mourning a child at Christmastime. The script doesn’t know what to do with Mary besides sanctify her, turning her grief into a prop. That’s a shame, since Mary is easily the most interesting character here, which is due entirely to the terrific comic timing and deep emotion that Randolph brings to an underwritten role.\u003c/p>\n\u003cp>Watching Paul, Angus and Mary, we’re meant to reflect on the social turmoil of the past and how it dovetails with the present. Angus’ family drama touches on depression and mental illness. The death of Mary’s son in Vietnam raises issues like racism and classism. But these points are glossed over in a movie that skims the surface of its ’70s milieu without fully engaging with it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Payne isn’t really “making ’em like they used to”; beneath its old-school aesthetic, \u003cem>The Holdovers\u003c/em> faces a problem that’s all too familiar in this director’s work: a coyness about his characters and their circumstances that keeps real emotion and holiday spirit at bay.\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=Alexander+Payne+keeps+real+emotion+at+bay+in+the+coyly+comic+%27Holdovers%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Teen Dreams and Adult Nightmares in Sofia Coppola’s ‘Priscilla’",
"headTitle": "Teen Dreams and Adult Nightmares in Sofia Coppola’s ‘Priscilla’ | KQED",
"content": "\u003cp>Dreamily gazing at the album covers of Elvis Presley was not, statistically speaking, a rare habit among American teen girls in the late 1950s and early ’60s.\u003c/p>\n\u003cp>[aside postid='arts_13936873']But for Priscilla Beaulieu, teenage fantasy became a strange and surreal reality. Sofia Coppola’s \u003cem>Priscilla\u003c/em>, starring Cailee Spaeny, captures all the dreaminess, the absurdity and, finally, the nightmare of falling in love with Elvis.\u003c/p>\n\u003cp>Priscilla was just 14 years-old — a 9th grader — when she first met him. It was 1959. She was living in West Germany, where her Air Force officer stepfather was stationed. The swoony early scenes of Coppola’s film find a solitary Priscilla sipping soda in a Navy base diner while Frankie Avalon’s “Venus” (“Venus, make her fair / A lovely girl with sunlight in her hair”) plays around her, as covered by the band Phoenix.\u003c/p>\n\u003cfigure id=\"attachment_13936976\" class=\"wp-caption aligncenter\" style=\"max-width: 1932px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM.png\" alt=\"A teenage girl in 1950s-style pink short-sleeved sweater and black cigarette pants lies on her belly, feet in the air, with schoolbooks laid out in front of her.\" width=\"1932\" height=\"1230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM.png 1932w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1020x649.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-768x489.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1536x978.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1920x1222.png 1920w\" sizes=\"(max-width: 1932px) 100vw, 1932px\">\u003cfigcaption class=\"wp-caption-text\">Cailee Spaeny in ‘Priscilla.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A man approaches and asks if she likes Elvis. Of course she does. Would she like to meet him? Um, what? After some negotiations with her parents, Priscilla is sitting there on the sofa at a small party when the King of Rock ‘n’ Roll, himself (Jacob Elordi), strolls down the stairs. Big, big sigh.\u003c/p>\n\u003cp>Coppola, the writer-director of \u003cem>The Virgin Suicides\u003c/em>, \u003cem>Lost in Translation\u003c/em> and \u003cem>Somewhere\u003c/em>, has always been innately attuned to the forming identities, swelling desires and intimate revelations of young women. In the story of Priscilla Presley (the film is based on her 1985 memoir, \u003cem>Elvis and Me\u003c/em>), Coppola has found a tale tailor-made for her delicately perceptive style of filmmaking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a movie, \u003cem>Priscilla\u003c/em> is the diametric opposite of Baz Luhrmann’s \u003cem>Elvis\u003c/em>. Where Luhrmann’s film was lurid and careening, Coppola’s is muted and textured. Her film is a kind of fairy tale that turns claustrophobic and cautionary.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DBWk6BohVXk\u003c/p>\n\u003cp>\u003cem>Priscilla\u003c/em> is, at least at first, quite funny. After Priscilla initially catches Elvis’ eye at that party, she’s back at school learning about the food groups. How could anyone possibly stomach that? Or when, after Elvis hasn’t called following his stint in the military, Priscilla’s mother asks her if there aren’t any boys in school she might be interested in, instead. Priscilla doesn’t need to say anything; just the image of lining up your average 9th grade boy against Elvis Presley is enough.\u003c/p>\n\u003cp>[aside postid='arts_13936628']Yet their courtship continues in somewhat traditional fashion. Elvis, played with relaxed magnetism by Elordi (\u003cem>The Kissing Booth\u003c/em>, \u003cem>Saltburn\u003c/em>), is drawn to Priscilla because she reminds him of home; it’s clear her purity is part of her appeal to him. It’s a long time before they have sex, though her youth remains tacitly problematic. “Wow, she’s young,” says one woman watching Elvis lead Priscilla upstairs. “Like a little girl.”\u003c/p>\n\u003cp>Their life together is initially sweet if deranged. Priscilla drifts through a dream world even if Elvis’ extremes are glaring to us. His bedroom in Graceland is comically gaudy. “I got this for you,” we hear Elvis say kindly, before a handgun is handed over.\u003c/p>\n\u003cfigure id=\"attachment_13936977\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936977\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM.png\" alt=\"A handsome young white man with dark hair sits in a chair playing guitar with his feet up on a desk. A window with brown drapes is behind him.\" width=\"1896\" height=\"1172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM.png 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-1020x631.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-768x475.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-1536x949.png 1536w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Elordi in ‘Priscilla.’ \u003ccite>(Sabrina Lantos/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No Presley songs play in \u003cem>Priscilla\u003c/em>. (While Priscilla Presley is an executive producer, the Elvis estate didn’t participate in the film.) But it does share a telling track ( Carl Orff’s “Gassenhauer” ) with Terence Malick’s \u003cem>Badlands\u003c/em>, another movie about an underage teen girl (Sissy Spacek) who throws her life in with a charismatic drifter with matinee-idol looks (Martin Sheen).\u003c/p>\n\u003cp>And like they do for Holly in \u003cem>Badlands\u003c/em>, things turn increasingly dark for Priscilla. Elvis treats her like a doll he keeps at home while he goes in and out. “It’s either me or a career, baby,” he tells her. Coppola, who dedicates the movie to her mother, Eleanor Coppola, has long specialized in gilded cages (\u003cem>Marie Antoinette\u003c/em>, \u003cem>The Bling Ring\u003c/em>). Graceland turns out to be a prison to Priscilla.\u003c/p>\n\u003cp>[aside postid='arts_13936929']There aren’t many false notes in Coppola’s richly layered film, handsomely shot by Philippe Le Sourd, with sumptuous production design from Tamara Deverell and fine, toned-down costumes by Stacey Battat.\u003c/p>\n\u003cp>But \u003cem>Priscilla\u003c/em> fades where \u003cem>Elvis\u003c/em> found its footing. When Presley’s downturn accelerates in Las Vegas, Luhrmann’s movie swelled with tragedy. In the same time period here, Priscilla awakens. Yet it feels underdeveloped, coming too quickly, in a sudden rush — albeit a terrific rush, with Dolly Parton playing.\u003c/p>\n\u003cp>A constant throughout, though, is Spaeny. This is a deft breakthrough performance perfectly poised between youthful fantasy and adult reality.\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>‘Priscilla’ is released nationwide on Nov. 3, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dreamily gazing at the album covers of Elvis Presley was not, statistically speaking, a rare habit among American teen girls in the late 1950s and early ’60s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But for Priscilla Beaulieu, teenage fantasy became a strange and surreal reality. Sofia Coppola’s \u003cem>Priscilla\u003c/em>, starring Cailee Spaeny, captures all the dreaminess, the absurdity and, finally, the nightmare of falling in love with Elvis.\u003c/p>\n\u003cp>Priscilla was just 14 years-old — a 9th grader — when she first met him. It was 1959. She was living in West Germany, where her Air Force officer stepfather was stationed. The swoony early scenes of Coppola’s film find a solitary Priscilla sipping soda in a Navy base diner while Frankie Avalon’s “Venus” (“Venus, make her fair / A lovely girl with sunlight in her hair”) plays around her, as covered by the band Phoenix.\u003c/p>\n\u003cfigure id=\"attachment_13936976\" class=\"wp-caption aligncenter\" style=\"max-width: 1932px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM.png\" alt=\"A teenage girl in 1950s-style pink short-sleeved sweater and black cigarette pants lies on her belly, feet in the air, with schoolbooks laid out in front of her.\" width=\"1932\" height=\"1230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM.png 1932w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1020x649.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-768x489.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1536x978.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1920x1222.png 1920w\" sizes=\"(max-width: 1932px) 100vw, 1932px\">\u003cfigcaption class=\"wp-caption-text\">Cailee Spaeny in ‘Priscilla.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A man approaches and asks if she likes Elvis. Of course she does. Would she like to meet him? Um, what? After some negotiations with her parents, Priscilla is sitting there on the sofa at a small party when the King of Rock ‘n’ Roll, himself (Jacob Elordi), strolls down the stairs. Big, big sigh.\u003c/p>\n\u003cp>Coppola, the writer-director of \u003cem>The Virgin Suicides\u003c/em>, \u003cem>Lost in Translation\u003c/em> and \u003cem>Somewhere\u003c/em>, has always been innately attuned to the forming identities, swelling desires and intimate revelations of young women. In the story of Priscilla Presley (the film is based on her 1985 memoir, \u003cem>Elvis and Me\u003c/em>), Coppola has found a tale tailor-made for her delicately perceptive style of filmmaking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a movie, \u003cem>Priscilla\u003c/em> is the diametric opposite of Baz Luhrmann’s \u003cem>Elvis\u003c/em>. Where Luhrmann’s film was lurid and careening, Coppola’s is muted and textured. Her film is a kind of fairy tale that turns claustrophobic and cautionary.\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/DBWk6BohVXk'\n title='//www.youtube.com/embed/DBWk6BohVXk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Priscilla\u003c/em> is, at least at first, quite funny. After Priscilla initially catches Elvis’ eye at that party, she’s back at school learning about the food groups. How could anyone possibly stomach that? Or when, after Elvis hasn’t called following his stint in the military, Priscilla’s mother asks her if there aren’t any boys in school she might be interested in, instead. Priscilla doesn’t need to say anything; just the image of lining up your average 9th grade boy against Elvis Presley is enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet their courtship continues in somewhat traditional fashion. Elvis, played with relaxed magnetism by Elordi (\u003cem>The Kissing Booth\u003c/em>, \u003cem>Saltburn\u003c/em>), is drawn to Priscilla because she reminds him of home; it’s clear her purity is part of her appeal to him. It’s a long time before they have sex, though her youth remains tacitly problematic. “Wow, she’s young,” says one woman watching Elvis lead Priscilla upstairs. “Like a little girl.”\u003c/p>\n\u003cp>Their life together is initially sweet if deranged. Priscilla drifts through a dream world even if Elvis’ extremes are glaring to us. His bedroom in Graceland is comically gaudy. “I got this for you,” we hear Elvis say kindly, before a handgun is handed over.\u003c/p>\n\u003cfigure id=\"attachment_13936977\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936977\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM.png\" alt=\"A handsome young white man with dark hair sits in a chair playing guitar with his feet up on a desk. A window with brown drapes is behind him.\" width=\"1896\" height=\"1172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM.png 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-1020x631.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-768x475.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-1536x949.png 1536w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Elordi in ‘Priscilla.’ \u003ccite>(Sabrina Lantos/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No Presley songs play in \u003cem>Priscilla\u003c/em>. (While Priscilla Presley is an executive producer, the Elvis estate didn’t participate in the film.) But it does share a telling track ( Carl Orff’s “Gassenhauer” ) with Terence Malick’s \u003cem>Badlands\u003c/em>, another movie about an underage teen girl (Sissy Spacek) who throws her life in with a charismatic drifter with matinee-idol looks (Martin Sheen).\u003c/p>\n\u003cp>And like they do for Holly in \u003cem>Badlands\u003c/em>, things turn increasingly dark for Priscilla. Elvis treats her like a doll he keeps at home while he goes in and out. “It’s either me or a career, baby,” he tells her. Coppola, who dedicates the movie to her mother, Eleanor Coppola, has long specialized in gilded cages (\u003cem>Marie Antoinette\u003c/em>, \u003cem>The Bling Ring\u003c/em>). Graceland turns out to be a prison to Priscilla.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There aren’t many false notes in Coppola’s richly layered film, handsomely shot by Philippe Le Sourd, with sumptuous production design from Tamara Deverell and fine, toned-down costumes by Stacey Battat.\u003c/p>\n\u003cp>But \u003cem>Priscilla\u003c/em> fades where \u003cem>Elvis\u003c/em> found its footing. When Presley’s downturn accelerates in Las Vegas, Luhrmann’s movie swelled with tragedy. In the same time period here, Priscilla awakens. Yet it feels underdeveloped, coming too quickly, in a sudden rush — albeit a terrific rush, with Dolly Parton playing.\u003c/p>\n\u003cp>A constant throughout, though, is Spaeny. This is a deft breakthrough performance perfectly poised between youthful fantasy and adult reality.\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>‘Priscilla’ is released nationwide on Nov. 3, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Persian Version’ Finds Laughter, Tears in Iranian American Tale of Resilient Women",
"headTitle": "‘Persian Version’ Finds Laughter, Tears in Iranian American Tale of Resilient Women | KQED",
"content": "\u003cp>Let nobody say writer-director Maryam Keshavarz doesn’t know how to start a movie.\u003c/p>\n\u003cp>The first time we see Leila, her alter ego in the autobiographical, warm-hearted, personal, funny but also somewhat chaotic \u003cem>The Persian Version\u003c/em>, she’s walking across the Brooklyn Bridge. Headed to a Halloween party, she’s carrying a surfboard and wearing what she calls a “burkini” — a sexy bikini, but paired with a niqab, the face-covering garment worn by some Muslim women.\u003c/p>\n\u003cp>It’s surely not an accident that Leila is crossing a bridge, because her film (and Halloween costume) is about bridging two identities — her Iranian heritage, and her American life. Leila (an engaging Layla Mohammadi) is a New York born-and-raised aspiring screenwriter (she wants to be an Iranian Martin Scorsese) who, we learn, has never been fully comfortable in either world. American kids would call her names at school; Iranians saw her as too Americanized.\u003c/p>\n\u003cp>[aside postid='arts_13936363']There are other bridges to be crossed here, too. The most important is that between Leila and her formidable immigrant mother, Shireen (the wonderful Niousha Noor), who created a successful life in America out of sheer grit, educating herself and becoming an adept businesswoman while running a household full of boys and one girl. It’s the girl, Leila, with whom Shireen has the fraught relationship, because — well, if you’re a mother or a daughter you probably get it.\u003c/p>\n\u003cp>But there’s a deeper backstory behind this troubled dynamic, and to learn all that, we must take a journey — a long journey, in terms of the film’s run time — back to a remote village in 1960s rural Iran. But let’s not get ahead of ourselves, because first adult Leila, gay and newly divorced from her wife, gets pregnant with the guy in drag who plays Hedwig on Broadway.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We told you this was chaotic.\u003c/p>\n\u003cp>About that Halloween party: Leila wins the costume prize — justifiably! — and also hooks up in a back room with Maximillian (Tom Byrne, charming in a less roguish Hugh Grant way), who’s starring in \u003cem>Hedwig and the Angry Inch\u003c/em> at the Belasco Theatre (where the show did actually run). And when she gets pregnant — professing she didn’t know you could get pregnant from a one-night stand — Max says he’s all in.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PDrlpcv4vXE\u003c/p>\n\u003cp>Keshavarz, whose film won the audience prize at Sundance, likes a flashback, and one of them takes us back to Leila’s childhood summer trips to Iran, fooling guards at the airport looking for banned American music and videos, and bringing Cyndi Lauper to her Iranian relatives. Who, in turn, dance with abandon to “Girls Just Wanna Have Fun” — a joyous scene.\u003c/p>\n\u003cp>[aside postid='arts_13936754']Back in the States (the film toggles perhaps too frequently between eras, mostly 2000s New Jersey, 1980s Brooklyn and 1960s rural Iran) adult Leila’s father needs a heart transplant. And Leila is hurting from her failed marriage. In flashback, we see her bringing her wife to Thanksgiving dinner and her mother, unable to approve of the gay relationship, ultimately kicking the couple out in disgust.\u003c/p>\n\u003cp>What has made her mother’s heart so cold, particularly with her daughter? Leila’s grandmother hints that a mysterious scandal long ago brought Shireen to America. To understand, we’re taken back to that village in Iran, where Shireen was a bride at 14, coping with early motherhood and heartbreak. Luckily, this section of the film stars an extraordinary young actor, Kamand Shafieisabet in her first film, packing an emotional wallop into every scene.\u003c/p>\n\u003cp>As vividly as Keshavarz portrays the country of her heritage, she is unable to return there — her first feature, \u003cem>Circumstance\u003c/em>, about sexual desire between two girls in Iran, won her her first audience award at Sundance but also got her banned from the country.\u003c/p>\n\u003cfigure id=\"attachment_13936875\" class=\"wp-caption aligncenter\" style=\"max-width: 1788px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936875\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM.png\" alt=\"A young middle eastern woman walks on a road, between lanes of cars stuck in traffic. She looks wistful and is wearing a long brown coat with a fur collar, pale pants, a tight top and boots. She has cascading brown hair.\" width=\"1788\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM.png 1788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-1020x686.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-768x516.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-1536x1033.png 1536w\" sizes=\"(max-width: 1788px) 100vw, 1788px\">\u003cfigcaption class=\"wp-caption-text\">Layla Mohammadi in a scene from ‘The Persian Version.‘ \u003ccite>(Yiget Eken/ Sony Pictures Classics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In any case we end \u003cem>The Persian Version\u003c/em> not in Iran but back in the States, in a place not usually very comical but where most comedies involving a birth, even a dramatic comedy like this, eventually wind up: the maternity ward.\u003c/p>\n\u003cp>[aside postid='arts_13936628']The scene here is intentionally crowded and yes, chaotic, just like the entire film. But it ends on a note that brings easy tears.\u003c/p>\n\u003cp>The rebelliousness of each of the strong women here — mother and daughter — somehow coalesces into understanding. Such moments can be sappy, but here, as with her lovely opening shot, Keshavarz does it well. She sticks the landing.\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 Persian Version’ was released on Oct. 20, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let nobody say writer-director Maryam Keshavarz doesn’t know how to start a movie.\u003c/p>\n\u003cp>The first time we see Leila, her alter ego in the autobiographical, warm-hearted, personal, funny but also somewhat chaotic \u003cem>The Persian Version\u003c/em>, she’s walking across the Brooklyn Bridge. Headed to a Halloween party, she’s carrying a surfboard and wearing what she calls a “burkini” — a sexy bikini, but paired with a niqab, the face-covering garment worn by some Muslim women.\u003c/p>\n\u003cp>It’s surely not an accident that Leila is crossing a bridge, because her film (and Halloween costume) is about bridging two identities — her Iranian heritage, and her American life. Leila (an engaging Layla Mohammadi) is a New York born-and-raised aspiring screenwriter (she wants to be an Iranian Martin Scorsese) who, we learn, has never been fully comfortable in either world. American kids would call her names at school; Iranians saw her as too Americanized.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are other bridges to be crossed here, too. The most important is that between Leila and her formidable immigrant mother, Shireen (the wonderful Niousha Noor), who created a successful life in America out of sheer grit, educating herself and becoming an adept businesswoman while running a household full of boys and one girl. It’s the girl, Leila, with whom Shireen has the fraught relationship, because — well, if you’re a mother or a daughter you probably get it.\u003c/p>\n\u003cp>But there’s a deeper backstory behind this troubled dynamic, and to learn all that, we must take a journey — a long journey, in terms of the film’s run time — back to a remote village in 1960s rural Iran. But let’s not get ahead of ourselves, because first adult Leila, gay and newly divorced from her wife, gets pregnant with the guy in drag who plays Hedwig on Broadway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We told you this was chaotic.\u003c/p>\n\u003cp>About that Halloween party: Leila wins the costume prize — justifiably! — and also hooks up in a back room with Maximillian (Tom Byrne, charming in a less roguish Hugh Grant way), who’s starring in \u003cem>Hedwig and the Angry Inch\u003c/em> at the Belasco Theatre (where the show did actually run). And when she gets pregnant — professing she didn’t know you could get pregnant from a one-night stand — Max says he’s all in.\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/PDrlpcv4vXE'\n title='//www.youtube.com/embed/PDrlpcv4vXE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Keshavarz, whose film won the audience prize at Sundance, likes a flashback, and one of them takes us back to Leila’s childhood summer trips to Iran, fooling guards at the airport looking for banned American music and videos, and bringing Cyndi Lauper to her Iranian relatives. Who, in turn, dance with abandon to “Girls Just Wanna Have Fun” — a joyous scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Back in the States (the film toggles perhaps too frequently between eras, mostly 2000s New Jersey, 1980s Brooklyn and 1960s rural Iran) adult Leila’s father needs a heart transplant. And Leila is hurting from her failed marriage. In flashback, we see her bringing her wife to Thanksgiving dinner and her mother, unable to approve of the gay relationship, ultimately kicking the couple out in disgust.\u003c/p>\n\u003cp>What has made her mother’s heart so cold, particularly with her daughter? Leila’s grandmother hints that a mysterious scandal long ago brought Shireen to America. To understand, we’re taken back to that village in Iran, where Shireen was a bride at 14, coping with early motherhood and heartbreak. Luckily, this section of the film stars an extraordinary young actor, Kamand Shafieisabet in her first film, packing an emotional wallop into every scene.\u003c/p>\n\u003cp>As vividly as Keshavarz portrays the country of her heritage, she is unable to return there — her first feature, \u003cem>Circumstance\u003c/em>, about sexual desire between two girls in Iran, won her her first audience award at Sundance but also got her banned from the country.\u003c/p>\n\u003cfigure id=\"attachment_13936875\" class=\"wp-caption aligncenter\" style=\"max-width: 1788px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936875\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM.png\" alt=\"A young middle eastern woman walks on a road, between lanes of cars stuck in traffic. She looks wistful and is wearing a long brown coat with a fur collar, pale pants, a tight top and boots. She has cascading brown hair.\" width=\"1788\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM.png 1788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-1020x686.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-768x516.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-1536x1033.png 1536w\" sizes=\"(max-width: 1788px) 100vw, 1788px\">\u003cfigcaption class=\"wp-caption-text\">Layla Mohammadi in a scene from ‘The Persian Version.‘ \u003ccite>(Yiget Eken/ Sony Pictures Classics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In any case we end \u003cem>The Persian Version\u003c/em> not in Iran but back in the States, in a place not usually very comical but where most comedies involving a birth, even a dramatic comedy like this, eventually wind up: the maternity ward.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The scene here is intentionally crowded and yes, chaotic, just like the entire film. But it ends on a note that brings easy tears.\u003c/p>\n\u003cp>The rebelliousness of each of the strong women here — mother and daughter — somehow coalesces into understanding. Such moments can be sappy, but here, as with her lovely opening shot, Keshavarz does it well. She sticks the landing.\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 Persian Version’ was released on Oct. 20, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s almost Halloween — and, anyway, fall is always a great time for mysteries and thrillers.\u003c/p>\n\u003cp>This batch is intriguing, for sure. It includes an homage to Shirley Jackson, an examination of online lists crashing into real life, and an atmospheric look at the world of queer people in the 1950s Navy.\u003c/p>\n\u003ch3>\u003cem>A Haunting on the Hill\u003c/em>\u003c/h3>\n\u003cp>While Elizabeth Hand’s new novel might not be the same as a new novel from Shirley Jackson, it’s pretty close, because Hand (\u003cem>Curious Toys\u003c/em>) wittily and delicately ties her titular locale to Jackson’s famed Hill House and its creepy doings.\u003c/p>\n\u003cp>[aside postid='arts_13935438']\u003cem>A Haunting on the Hill\u003c/em> follows a quartet of theater people who decide to hold rehearsals at a wonderfully decrepit and disturbing old mansion. Each of the four has some kind of secret and each of the four will be triggered by things that happen during their stay; readers should understand, from Hand’s previous books, that she’s more interested in atmosphere and suspense than in gotchas and procedure. Her plots take place in old-time Chicago, contemporary Hawai’i, an English country house, and always play hard with juxtapositions (like placing a rock band in that country house) and interior fears and desires. Despite the misgivings of playwright Holly and her girlfriend Nisa, what happens on the Hill could be benign. It could be. But they should know that anything can happen before the curtain goes down on the play…\u003c/p>\n\u003ch3>\u003cem>The Leftover Woman \u003c/em>\u003c/h3>\n\u003cp>Anyone looking for an of-the-moment page-turner of a novel need look no further. Jean Kwok — whose \u003cem>Girl in Translation\u003c/em> and \u003cem>Searching for Sylvie Lee\u003c/em> are novels that illuminate the Chinese experience in America — expands her material in a thriller about a Chinese woman named Jasmine Yang who comes to American to find the daughter her controlling husband gave away without her knowledge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moving from teahouse to strip club to Manhattan townhouse and more, the book places Jasmine against publishing executive Rebecca — who has just adopted a much-longed-for baby, a little girl. The tension between the two, especially given Jasmine’s lack of resources and Rebecca’s privilege, places the idea of motherhood in stark relief. What is most important: The primal bond, or the ability to provide? While Kwok is clearly on Team Jasmine (the game complicated by the snakeheads to whom Jasmine owes money for her passage to the States), she also shows how dear the baby Rebecca has named Fiona is to her adoptive family.\u003c/p>\n\u003ch3>\u003cem>West Heart Kill \u003c/em>\u003c/h3>\n\u003cp>Every mystery lover enjoys a closed-room/locked-door whodunnit, whether it’s the on-screen \u003cem>Glass Onion\u003c/em> or a re-read of Agatha Christie’s \u003cem>The Murder of Roger Ackroyd.\u003c/em> In \u003cem>West Heart Kill\u003c/em>, Dann McDorman sets a murder mystery at an upstate New York hunt club on a dark and stormy night in the 1970s. Author McDorman, an MSNBC news producer, doesn’t stint on the murder in murder mystery; as club guests who have gathered for Fourth of July celebrations shrink in fear, three corpses pile up in four days.\u003c/p>\n\u003cp>[aside postid='arts_13936315']There’s lots of clever ripostes and wordplay involved, including quotes from and allusions to lots of great crime writers — the aforementioned Christie, Dashiell Hammett (a Knopf author, like McDorman!), and even Shakespeare, who should be better remembered for his crime writing (Ghosts! Witches! Sleepwalkers!). Since the story takes place in the 1970s, there’s lots of substance use and some adultery, all of which ratchets up the suspicions the tony guests have about each other. Since the novel is published in 2023, the author bakes in some choice about the ending — sheer catnip for readers raised on the “Choose Your Own Adventure” model of interactivity.\u003c/p>\n\u003ch3>\u003cem>The List\u003c/em>\u003c/h3>\n\u003cp>The young, beautiful, and on-the-go journalist Ola Olajide, about to marry the love of her life, Michael, comes crashing down to Earth when Michael’s name appears on a list of sexual predators that’s making the rounds of social media. How can the “the king and queen of #BlackLove” get past this? Author Yomi Adegoke, who actually started her own magazine for young Black women, makes the brilliant choice of having Ola and Michael narrate alternating chapters. Ola tests her faith in her fiancé against her belief in women’s stories and Michael furiously tries to think of who might have accused him of “harassment and sexual assault.”\u003c/p>\n\u003cp>Anyone who’s ever been part of a whisper network will recognize the misogyny in the worlds this couple inhabits, and anyone who has watched \u003cem>The Morning Show\u003c/em> will recognize that there’s going to be a big showdown, although the accusations might surprise everyone. Adegoke does not disappoint and, in fact, has already got a series underway that she’s creating and executive producing.\u003c/p>\n\u003ch3>\u003cem>The Bell in the Fog\u003c/em>\u003c/h3>\n\u003cp>The second Detective Evander “Andy” Mills again takes place in 1950s San Francisco, this time in the world of the United States Navy, where anyone queer remained closeted and closemouthed about their identity.\u003c/p>\n\u003cp>[aside postid='arts_13909309']Lev AC Rosen’s first Mills novel, \u003cem>Lavender House\u003c/em>, ended with Andy’s firing from the San Francisco Police Department when he was outed. Now, Mills has his own office, and when an old lover walks in asking for his help, he takes the case despite his broken heart. That old lover, James Morris, is a USN captain who is being blackmailed. As Det. Mills searches for the incriminating photos and the young man who holds them, readers will take a tour of the era’s gay and lesbian clubs, in many cases the only venues where queer San Franciscans could be at ease and among friends. Rosen has told readers that there are at least two more books coming in this series, and readers who love lively, authentic, historical P.I. stories will not want to miss them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Bethanne Patrick is a freelance writer and critic who tweets \u003ca href=\"https://twitter.com/thebookmaven\">@TheBookMaven\u003c/a> and hosts the podcast Missing Pages.\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=5+mysteries+and+thrillers+new+this+fall+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s almost Halloween — and, anyway, fall is always a great time for mysteries and thrillers.\u003c/p>\n\u003cp>This batch is intriguing, for sure. It includes an homage to Shirley Jackson, an examination of online lists crashing into real life, and an atmospheric look at the world of queer people in the 1950s Navy.\u003c/p>\n\u003ch3>\u003cem>A Haunting on the Hill\u003c/em>\u003c/h3>\n\u003cp>While Elizabeth Hand’s new novel might not be the same as a new novel from Shirley Jackson, it’s pretty close, because Hand (\u003cem>Curious Toys\u003c/em>) wittily and delicately ties her titular locale to Jackson’s famed Hill House and its creepy doings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>A Haunting on the Hill\u003c/em> follows a quartet of theater people who decide to hold rehearsals at a wonderfully decrepit and disturbing old mansion. Each of the four has some kind of secret and each of the four will be triggered by things that happen during their stay; readers should understand, from Hand’s previous books, that she’s more interested in atmosphere and suspense than in gotchas and procedure. Her plots take place in old-time Chicago, contemporary Hawai’i, an English country house, and always play hard with juxtapositions (like placing a rock band in that country house) and interior fears and desires. Despite the misgivings of playwright Holly and her girlfriend Nisa, what happens on the Hill could be benign. It could be. But they should know that anything can happen before the curtain goes down on the play…\u003c/p>\n\u003ch3>\u003cem>The Leftover Woman \u003c/em>\u003c/h3>\n\u003cp>Anyone looking for an of-the-moment page-turner of a novel need look no further. Jean Kwok — whose \u003cem>Girl in Translation\u003c/em> and \u003cem>Searching for Sylvie Lee\u003c/em> are novels that illuminate the Chinese experience in America — expands her material in a thriller about a Chinese woman named Jasmine Yang who comes to American to find the daughter her controlling husband gave away without her knowledge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moving from teahouse to strip club to Manhattan townhouse and more, the book places Jasmine against publishing executive Rebecca — who has just adopted a much-longed-for baby, a little girl. The tension between the two, especially given Jasmine’s lack of resources and Rebecca’s privilege, places the idea of motherhood in stark relief. What is most important: The primal bond, or the ability to provide? While Kwok is clearly on Team Jasmine (the game complicated by the snakeheads to whom Jasmine owes money for her passage to the States), she also shows how dear the baby Rebecca has named Fiona is to her adoptive family.\u003c/p>\n\u003ch3>\u003cem>West Heart Kill \u003c/em>\u003c/h3>\n\u003cp>Every mystery lover enjoys a closed-room/locked-door whodunnit, whether it’s the on-screen \u003cem>Glass Onion\u003c/em> or a re-read of Agatha Christie’s \u003cem>The Murder of Roger Ackroyd.\u003c/em> In \u003cem>West Heart Kill\u003c/em>, Dann McDorman sets a murder mystery at an upstate New York hunt club on a dark and stormy night in the 1970s. Author McDorman, an MSNBC news producer, doesn’t stint on the murder in murder mystery; as club guests who have gathered for Fourth of July celebrations shrink in fear, three corpses pile up in four days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s lots of clever ripostes and wordplay involved, including quotes from and allusions to lots of great crime writers — the aforementioned Christie, Dashiell Hammett (a Knopf author, like McDorman!), and even Shakespeare, who should be better remembered for his crime writing (Ghosts! Witches! Sleepwalkers!). Since the story takes place in the 1970s, there’s lots of substance use and some adultery, all of which ratchets up the suspicions the tony guests have about each other. Since the novel is published in 2023, the author bakes in some choice about the ending — sheer catnip for readers raised on the “Choose Your Own Adventure” model of interactivity.\u003c/p>\n\u003ch3>\u003cem>The List\u003c/em>\u003c/h3>\n\u003cp>The young, beautiful, and on-the-go journalist Ola Olajide, about to marry the love of her life, Michael, comes crashing down to Earth when Michael’s name appears on a list of sexual predators that’s making the rounds of social media. How can the “the king and queen of #BlackLove” get past this? Author Yomi Adegoke, who actually started her own magazine for young Black women, makes the brilliant choice of having Ola and Michael narrate alternating chapters. Ola tests her faith in her fiancé against her belief in women’s stories and Michael furiously tries to think of who might have accused him of “harassment and sexual assault.”\u003c/p>\n\u003cp>Anyone who’s ever been part of a whisper network will recognize the misogyny in the worlds this couple inhabits, and anyone who has watched \u003cem>The Morning Show\u003c/em> will recognize that there’s going to be a big showdown, although the accusations might surprise everyone. Adegoke does not disappoint and, in fact, has already got a series underway that she’s creating and executive producing.\u003c/p>\n\u003ch3>\u003cem>The Bell in the Fog\u003c/em>\u003c/h3>\n\u003cp>The second Detective Evander “Andy” Mills again takes place in 1950s San Francisco, this time in the world of the United States Navy, where anyone queer remained closeted and closemouthed about their identity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lev AC Rosen’s first Mills novel, \u003cem>Lavender House\u003c/em>, ended with Andy’s firing from the San Francisco Police Department when he was outed. Now, Mills has his own office, and when an old lover walks in asking for his help, he takes the case despite his broken heart. That old lover, James Morris, is a USN captain who is being blackmailed. As Det. Mills searches for the incriminating photos and the young man who holds them, readers will take a tour of the era’s gay and lesbian clubs, in many cases the only venues where queer San Franciscans could be at ease and among friends. Rosen has told readers that there are at least two more books coming in this series, and readers who love lively, authentic, historical P.I. stories will not want to miss them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Bethanne Patrick is a freelance writer and critic who tweets \u003ca href=\"https://twitter.com/thebookmaven\">@TheBookMaven\u003c/a> and hosts the podcast Missing Pages.\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=5+mysteries+and+thrillers+new+this+fall+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Recipe for a Better ‘Bake-Off’? Fun Format, Good Casting, and Less Host Shtick",
"headTitle": "The Recipe for a Better ‘Bake-Off’? Fun Format, Good Casting, and Less Host Shtick | KQED",
"content": "\u003cp>I think last season of \u003cem>The Great British Baking Show \u003c/em>was the first one I didn’t gobble up (no pun intended) the minute the episodes dropped. I had grown weary of the hosting team of Noel Fielding and Matt Lucas, frustrated with overly complicated bakes that were almost impossible to execute well, and dismayed at repeated and \u003ca href=\"https://www.bonappetit.com/story/great-british-bake-off-mexico-week\">increasingly obnoxious takes\u003c/a> on “ethnic” food weeks that didn’t even seem to represent good-faith efforts to get things right.\u003c/p>\n\u003cp>What a relief to be looking forward to episodes arriving on Netflix on Friday mornings again.\u003c/p>\n\u003cp>[aside postid='arts_13936463']The show has had a long and bumpy ride; I am not alone in believing that the best and purest version will always be the first one, the public television one, with Mary Berry alongside Paul Hollywood, and with Mel Giedroyc and Sue Perkins hosting. But the era that followed, with Prue Leith taking Mary’s place and Noel Fielding hosting with Sandi Toksvig, had its charms, too. Then Sandi left, and she was replaced by \u003ca href=\"https://www.npr.org/2020/11/17/934780111/im-happy-to-eat-the-cakes-matt-lucas-joins-the-bake-off-tent\">Matt Lucas\u003c/a>, who was much too close to being another Noel, a look-at-me presence who seemed less interested in the contestants than in doing bits and being the center of attention. You can do bits on this show — that’s why they hire comedians! — but you have to care about the contestants first. Things got wonky.\u003c/p>\n\u003cp>Lucas is gone now, replaced by Alison Hammond, a boisterous but generous companion to Fielding who has helped the show restore its balance. She’s silly but not distracting. She and Noel don’t interrupt the flow to do shtick the way he did with Lucas. Production has knocked off the convoluted challenges and gone back to ones the bakers can do well. This week’s showstopper, for instance, is a cake inside any sort of chocolate box you want to make. Is making a chocolate box fancy? Sure! Is it impossible, or does it result in nothing but a \u003ca href=\"https://www.vice.com/en/article/qj4qgm/the-great-british-bake-off-celebrity-busts-review-2020\">series of failures\u003c/a>? No. And, yes, they’ve made the wise decision to stop the “national weeks” that were increasingly \u003ca href=\"https://www.foodandwine.com/great-british-baking-show-ends-national-themed-weeks-7965459\">embarrassing for everyone involved\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13936821\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936821\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733.jpg\" alt=\"A diverse group of 12 people arranged in two rows of 6 near a green field. The rear row is sitting on a stone wall with their arms around one another. The front row is crouched before them. All are wearing matching brown aprons.\" width=\"1920\" height=\"1279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733-1536x1023.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The 2023 contestants for ‘The Great British Baking Show.’ The series has had a long and bumpy ride, but it’s finally righted the ship by focusing on the fundamentals. \u003ccite>(Mark Bourdillon/ Love Productions/ Channel 4)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are two ways a show, particularly a competition show, can try to assure itself a long life. One is to go the \u003cem>Survivor \u003c/em>route of becoming ever more complicated, introducing new twists and turns and producer interventions that keep anybody from figuring out a reliable strategy, lest the outcome become predictable. It’s hard to argue with a show that’s on its 45th season when it comes to sticking around, but the game itself is much less smart and skilled than it once was, and as it eats its own tail by casting \u003cem>Survivor \u003c/em>superfans who proceed to spend their time on the show talking about how much they love the show, it’s \u003ca href=\"https://www.thedailybeast.com/obsessed/survivor-season-45-superfans-are-ruining-the-show\">less and less compelling\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other way is to do what \u003cem>Bake-Off \u003c/em>(yes, yes, in the U.S. we technically call it \u003cem>The Great British Baking Show\u003c/em>, but it’s \u003cem>Bake-Off \u003c/em>in our hearts) is currently doing. You trust your format, you concentrate on good casting, you lean on your fundamentals — in short, you calm the thing down. \u003cem>Bake-Off \u003c/em>has always been soothing; that’s its nature. It doesn’t need to be brand-new every time, with things you’ve never seen before. One technical challenge this season was custard creams, perhaps unfamiliar to many Americans but a basic and very popular sandwich cookie in the UK. It \u003ca href=\"https://thegreatbritishbakeoff.co.uk/recipes/all/prue-leiths-custard-creams/\">looks a lot like a golden Oreo\u003c/a>, though it’s rectangular and I’m pretty sure the texture is different. Getting it right comes down to details and technique. It’s not flashy; fussing over the execution is for \u003cem>nerds\u003c/em>, in the best way.\u003c/p>\n\u003cp>[aside postid='arts_13936637']There’s a lesson here for other shows: If your format is a good idea, you don’t have to keep complicating it. The human beings and the happenings will keep it fresh. And when you do that, the hosts can stay out of the way, because they’re not the main event. They never were.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+recipe+for+a+better+%27Bake-Off%27%3F+Fun+format%2C+good+casting%2C+and+less+host+shtick&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I think last season of \u003cem>The Great British Baking Show \u003c/em>was the first one I didn’t gobble up (no pun intended) the minute the episodes dropped. I had grown weary of the hosting team of Noel Fielding and Matt Lucas, frustrated with overly complicated bakes that were almost impossible to execute well, and dismayed at repeated and \u003ca href=\"https://www.bonappetit.com/story/great-british-bake-off-mexico-week\">increasingly obnoxious takes\u003c/a> on “ethnic” food weeks that didn’t even seem to represent good-faith efforts to get things right.\u003c/p>\n\u003cp>What a relief to be looking forward to episodes arriving on Netflix on Friday mornings again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The show has had a long and bumpy ride; I am not alone in believing that the best and purest version will always be the first one, the public television one, with Mary Berry alongside Paul Hollywood, and with Mel Giedroyc and Sue Perkins hosting. But the era that followed, with Prue Leith taking Mary’s place and Noel Fielding hosting with Sandi Toksvig, had its charms, too. Then Sandi left, and she was replaced by \u003ca href=\"https://www.npr.org/2020/11/17/934780111/im-happy-to-eat-the-cakes-matt-lucas-joins-the-bake-off-tent\">Matt Lucas\u003c/a>, who was much too close to being another Noel, a look-at-me presence who seemed less interested in the contestants than in doing bits and being the center of attention. You can do bits on this show — that’s why they hire comedians! — but you have to care about the contestants first. Things got wonky.\u003c/p>\n\u003cp>Lucas is gone now, replaced by Alison Hammond, a boisterous but generous companion to Fielding who has helped the show restore its balance. She’s silly but not distracting. She and Noel don’t interrupt the flow to do shtick the way he did with Lucas. Production has knocked off the convoluted challenges and gone back to ones the bakers can do well. This week’s showstopper, for instance, is a cake inside any sort of chocolate box you want to make. Is making a chocolate box fancy? Sure! Is it impossible, or does it result in nothing but a \u003ca href=\"https://www.vice.com/en/article/qj4qgm/the-great-british-bake-off-celebrity-busts-review-2020\">series of failures\u003c/a>? No. And, yes, they’ve made the wise decision to stop the “national weeks” that were increasingly \u003ca href=\"https://www.foodandwine.com/great-british-baking-show-ends-national-themed-weeks-7965459\">embarrassing for everyone involved\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13936821\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936821\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733.jpg\" alt=\"A diverse group of 12 people arranged in two rows of 6 near a green field. The rear row is sitting on a stone wall with their arms around one another. The front row is crouched before them. All are wearing matching brown aprons.\" width=\"1920\" height=\"1279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733-1536x1023.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The 2023 contestants for ‘The Great British Baking Show.’ The series has had a long and bumpy ride, but it’s finally righted the ship by focusing on the fundamentals. \u003ccite>(Mark Bourdillon/ Love Productions/ Channel 4)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are two ways a show, particularly a competition show, can try to assure itself a long life. One is to go the \u003cem>Survivor \u003c/em>route of becoming ever more complicated, introducing new twists and turns and producer interventions that keep anybody from figuring out a reliable strategy, lest the outcome become predictable. It’s hard to argue with a show that’s on its 45th season when it comes to sticking around, but the game itself is much less smart and skilled than it once was, and as it eats its own tail by casting \u003cem>Survivor \u003c/em>superfans who proceed to spend their time on the show talking about how much they love the show, it’s \u003ca href=\"https://www.thedailybeast.com/obsessed/survivor-season-45-superfans-are-ruining-the-show\">less and less compelling\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other way is to do what \u003cem>Bake-Off \u003c/em>(yes, yes, in the U.S. we technically call it \u003cem>The Great British Baking Show\u003c/em>, but it’s \u003cem>Bake-Off \u003c/em>in our hearts) is currently doing. You trust your format, you concentrate on good casting, you lean on your fundamentals — in short, you calm the thing down. \u003cem>Bake-Off \u003c/em>has always been soothing; that’s its nature. It doesn’t need to be brand-new every time, with things you’ve never seen before. One technical challenge this season was custard creams, perhaps unfamiliar to many Americans but a basic and very popular sandwich cookie in the UK. It \u003ca href=\"https://thegreatbritishbakeoff.co.uk/recipes/all/prue-leiths-custard-creams/\">looks a lot like a golden Oreo\u003c/a>, though it’s rectangular and I’m pretty sure the texture is different. Getting it right comes down to details and technique. It’s not flashy; fussing over the execution is for \u003cem>nerds\u003c/em>, in the best way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s a lesson here for other shows: If your format is a good idea, you don’t have to keep complicating it. The human beings and the happenings will keep it fresh. And when you do that, the hosts can stay out of the way, because they’re not the main event. They never were.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+recipe+for+a+better+%27Bake-Off%27%3F+Fun+format%2C+good+casting%2C+and+less+host+shtick&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Showtime’s ‘Fellow Travelers’ Offers a Soupçon of Sexy Sex and a Heap of Gay Misery",
"headTitle": "Showtime’s ‘Fellow Travelers’ Offers a Soupçon of Sexy Sex and a Heap of Gay Misery | KQED",
"content": "\u003cp>We’ve seen bad love interests before. They’re handsome, smarmy and casually abusive. These characters are usually relegated to the sidelines as examples of who \u003ci data-stringify-type=\"italic\">not\u003c/i> to pursue. That is, unfortunately, not the case in \u003ci data-stringify-type=\"italic\">Fellow Travelers\u003c/i>, a new eight-part Showtime adaptation of Thomas Mallon’s 2007 novel.\u003c/p>\n\u003cp>[aside postid='arts_13933261']\u003cem>Fellow Travelers\u003c/em> is an epic love story that, at its core, hinges on gay lovers snatching moments together at sporadic points throughout their lives. More than half of the series, however, is set in McCarthy-era Washington, D.C. That’s an inherently difficult setting for any gay couple to thrive in, but the struggles faced by this pair would be far easier to watch if one of them didn’t behave like a self-centered, self-righteous jackass most of the time.\u003c/p>\n\u003cp>One gets the sense that the producers of \u003cem>Fellow Travelers\u003c/em> wanted said jackass, Hawk Fuller (played by Matt Bomer), to come across as a flawed and complicated man who has no choice but to keep his lover Tim Laughlin (Jonathan Bailey) at arm’s length because of the difficult times they’re living through. Instead, Hawk comes off as casually cruel, on a nonstop power trip and interested only in gratifying his own sexual needs and ego. (He’s basically Jon Hamm in \u003cem>Bridesmaids\u003c/em>, without the laughs.) Worse, Hawk is so dispassionate that not only is it impossible to feel invested in him as a character, it becomes difficult to care about submissive, moon-eyed Tim either. As a viewer, watching Tim willingly wolf down emotional scraps from Hawk, instead of finding someone better, remains frustrating for the entire first half of the series. (Hot bod aside, what does Tim even see in this guy?)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k_zI9UwYNQo\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s true that the folks behind this adaptation are a who’s-who of queer pop culture content. The series was created by Ron Nyswaner (\u003cem>Philadelphia\u003c/em>). And Nyswaner and Bomer executive produced with Robbie Rogers (\u003cem>My Policeman\u003c/em>) and Daniel Minahan (\u003cem>Halston\u003c/em>, \u003cem>American Crime Story: Versace\u003c/em>). But oh, what a difference it might have made had there been someone working on this series who had more experience presenting stories about LGBTQ folks who weren’t inherently doomed to tragedy in one form or another.\u003c/p>\n\u003cp>Sure, the (apparently also miserable) novel (I haven’t read it) dictates the circumstances. But some extra stolen moments of joy between our two protagonists would have gone a long way to explaining why they’re so into each other in the first place. As it stands, the only time they seem even vaguely happy together is in the bedroom. (Bravo to all of the steamy man sex in this series — that’s one of the things it actually does do with gusto.)\u003c/p>\n\u003cp>[aside postid='arts_13933974']\u003cem>Fellow Travelers\u003c/em> is not all bad. It’s an aesthetically pleasing period piece that gets much better in its second half. In the first, it does an excellent job of capturing the anxiety of being a member of the gay community during the \u003ca href=\"https://press.uchicago.edu/ucp/books/book/chicago/L/bo3614333.html\">Lavender Scare\u003c/a> of the 1950s. The sneaking around, the paranoia, the personal and professional risks at hand make for stressful viewing, but it’s certainly an interesting reflection of what the LGBTQ+ community went through during the McCarthy hearings.\u003c/p>\n\u003cp>The series is also aided by side characters who are worth rooting for. In particular, Black journalist Marcus (Jelani Alladin) and his lover Frankie (Noah J. Ricketts) who experience all of the hardships of Hawk and Ted with the added burden of dealing with flagrant racism at every turn.\u003c/p>\n\u003cfigure id=\"attachment_13935141\" class=\"wp-caption aligncenter\" style=\"max-width: 1662px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13935141 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/frankie-final.png\" alt=\"A beautiful slender Black man sits in a bar looking content. He is wearing a white shirt, vest and bow tie.\" width=\"1662\" height=\"1118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final.png 1662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-1020x686.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-1536x1033.png 1536w\" sizes=\"(max-width: 1662px) 100vw, 1662px\">\u003cfigcaption class=\"wp-caption-text\">Frankie (Noah J. Ricketts): The one tiny beacon of gay joy in ‘Fellow Travelers.’ \u003ccite>(Showtime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thankfully, Episodes 6 through 8 offer significant payoffs. Hawk and Tim get much less arduous to watch once the show moves into the 1960s. Marriage and family life turns Hawk into a more sensitive human, while Tim grows a spine in the process of joining the Army and later, becoming an anti-war activist. Allison Williams also puts in a wonderful — and impressively sympathetic — performance as Hawk’s wife Lucy, as she struggles to sustain a stable home despite the secrets her husband insists on keeping from her.\u003c/p>\n\u003cp>[aside postid='arts_13930323']Episodes 7 and 8 move to San Francisco in the late ’70s and early ’80s, meaning — yay! — there’s suddenly a healthy amount of Sylvester on the soundtrack. Don’t get too excited about the potential for joy though — the story remains dour as ever, hitting the Harvey Milk and George Moscone murders before ploughing face first into the AIDS crisis. Even a foxy little trip to Fire Island manages to go depressingly off the rails. (At least Frankie and Marcus are around and still being cute as hell.)\u003c/p>\n\u003cp>Truth be told, this series would have benefited from being about three hours shorter. The McCarthy-era portion of the show is unnecessarily protracted — something that comes into stark relief when later episodes skip through years and years at a time.\u003c/p>\n\u003cp>If you’re someone who (for some reason) can’t get enough tragic gay stories in your life, you will absolutely love the way \u003cem>Fellow Travelers\u003c/em> revels in its own sepia-toned misery. If a series of steamy sex scenes is enough to get you through hours of doom and gloom, then by all means, have at it. But for everyone else? Consider this series a kind of endurance test, one in which characters respond to small gifts by saying things like, “I can’t bear being this happy.”\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.sho.com/fellow-travelers\">Fellow Travelers\u003c/a>’ begins streaming on Showtime and Paramount+ on Oct. 27, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve seen bad love interests before. They’re handsome, smarmy and casually abusive. These characters are usually relegated to the sidelines as examples of who \u003ci data-stringify-type=\"italic\">not\u003c/i> to pursue. That is, unfortunately, not the case in \u003ci data-stringify-type=\"italic\">Fellow Travelers\u003c/i>, a new eight-part Showtime adaptation of Thomas Mallon’s 2007 novel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Fellow Travelers\u003c/em> is an epic love story that, at its core, hinges on gay lovers snatching moments together at sporadic points throughout their lives. More than half of the series, however, is set in McCarthy-era Washington, D.C. That’s an inherently difficult setting for any gay couple to thrive in, but the struggles faced by this pair would be far easier to watch if one of them didn’t behave like a self-centered, self-righteous jackass most of the time.\u003c/p>\n\u003cp>One gets the sense that the producers of \u003cem>Fellow Travelers\u003c/em> wanted said jackass, Hawk Fuller (played by Matt Bomer), to come across as a flawed and complicated man who has no choice but to keep his lover Tim Laughlin (Jonathan Bailey) at arm’s length because of the difficult times they’re living through. Instead, Hawk comes off as casually cruel, on a nonstop power trip and interested only in gratifying his own sexual needs and ego. (He’s basically Jon Hamm in \u003cem>Bridesmaids\u003c/em>, without the laughs.) Worse, Hawk is so dispassionate that not only is it impossible to feel invested in him as a character, it becomes difficult to care about submissive, moon-eyed Tim either. As a viewer, watching Tim willingly wolf down emotional scraps from Hawk, instead of finding someone better, remains frustrating for the entire first half of the series. (Hot bod aside, what does Tim even see in this guy?)\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/k_zI9UwYNQo'\n title='//www.youtube.com/embed/k_zI9UwYNQo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s true that the folks behind this adaptation are a who’s-who of queer pop culture content. The series was created by Ron Nyswaner (\u003cem>Philadelphia\u003c/em>). And Nyswaner and Bomer executive produced with Robbie Rogers (\u003cem>My Policeman\u003c/em>) and Daniel Minahan (\u003cem>Halston\u003c/em>, \u003cem>American Crime Story: Versace\u003c/em>). But oh, what a difference it might have made had there been someone working on this series who had more experience presenting stories about LGBTQ folks who weren’t inherently doomed to tragedy in one form or another.\u003c/p>\n\u003cp>Sure, the (apparently also miserable) novel (I haven’t read it) dictates the circumstances. But some extra stolen moments of joy between our two protagonists would have gone a long way to explaining why they’re so into each other in the first place. As it stands, the only time they seem even vaguely happy together is in the bedroom. (Bravo to all of the steamy man sex in this series — that’s one of the things it actually does do with gusto.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Fellow Travelers\u003c/em> is not all bad. It’s an aesthetically pleasing period piece that gets much better in its second half. In the first, it does an excellent job of capturing the anxiety of being a member of the gay community during the \u003ca href=\"https://press.uchicago.edu/ucp/books/book/chicago/L/bo3614333.html\">Lavender Scare\u003c/a> of the 1950s. The sneaking around, the paranoia, the personal and professional risks at hand make for stressful viewing, but it’s certainly an interesting reflection of what the LGBTQ+ community went through during the McCarthy hearings.\u003c/p>\n\u003cp>The series is also aided by side characters who are worth rooting for. In particular, Black journalist Marcus (Jelani Alladin) and his lover Frankie (Noah J. Ricketts) who experience all of the hardships of Hawk and Ted with the added burden of dealing with flagrant racism at every turn.\u003c/p>\n\u003cfigure id=\"attachment_13935141\" class=\"wp-caption aligncenter\" style=\"max-width: 1662px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13935141 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/frankie-final.png\" alt=\"A beautiful slender Black man sits in a bar looking content. He is wearing a white shirt, vest and bow tie.\" width=\"1662\" height=\"1118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final.png 1662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-1020x686.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-1536x1033.png 1536w\" sizes=\"(max-width: 1662px) 100vw, 1662px\">\u003cfigcaption class=\"wp-caption-text\">Frankie (Noah J. Ricketts): The one tiny beacon of gay joy in ‘Fellow Travelers.’ \u003ccite>(Showtime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thankfully, Episodes 6 through 8 offer significant payoffs. Hawk and Tim get much less arduous to watch once the show moves into the 1960s. Marriage and family life turns Hawk into a more sensitive human, while Tim grows a spine in the process of joining the Army and later, becoming an anti-war activist. Allison Williams also puts in a wonderful — and impressively sympathetic — performance as Hawk’s wife Lucy, as she struggles to sustain a stable home despite the secrets her husband insists on keeping from her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Episodes 7 and 8 move to San Francisco in the late ’70s and early ’80s, meaning — yay! — there’s suddenly a healthy amount of Sylvester on the soundtrack. Don’t get too excited about the potential for joy though — the story remains dour as ever, hitting the Harvey Milk and George Moscone murders before ploughing face first into the AIDS crisis. Even a foxy little trip to Fire Island manages to go depressingly off the rails. (At least Frankie and Marcus are around and still being cute as hell.)\u003c/p>\n\u003cp>Truth be told, this series would have benefited from being about three hours shorter. The McCarthy-era portion of the show is unnecessarily protracted — something that comes into stark relief when later episodes skip through years and years at a time.\u003c/p>\n\u003cp>If you’re someone who (for some reason) can’t get enough tragic gay stories in your life, you will absolutely love the way \u003cem>Fellow Travelers\u003c/em> revels in its own sepia-toned misery. If a series of steamy sex scenes is enough to get you through hours of doom and gloom, then by all means, have at it. But for everyone else? Consider this series a kind of endurance test, one in which characters respond to small gifts by saying things like, “I can’t bear being this happy.”\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.sho.com/fellow-travelers\">Fellow Travelers\u003c/a>’ begins streaming on Showtime and Paramount+ on Oct. 27, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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