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"content": "\u003cp>A threatened bird called the pūteketeke landed the top spot in a New Zealand bird contest after comedian and talk show host \u003ca href=\"https://www.kqed.org/arts/tag/john-oliver\">John Oliver\u003c/a> unleashed a zany, worldwide campaign on its behalf.\u003c/p>\n\u003cp>[aside postid='arts_13927659']The New Zealand conservation organization Forest & Bird held the contest for \u003ca href=\"https://www.birdoftheyear.org.nz/\">Bird of the Century\u003c/a>, asking people in the country and abroad to vote for their favorite threatened species among dozens of contestants.\u003c/p>\n\u003cp>The \u003cem>Last Week Tonight\u003c/em> host said his staff asked Forest & Bird if they could campaign for the pūteketeke, a native water bird with a distinctive black-brown frill around its neck, and the group agreed.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6GF6Gd7wrlk\u003c/p>\n\u003cp>“I don’t think they understood quite what they were unleashing when they said, ‘Go 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290,374 votes.\u003c/p>\n\u003cp>By comparison, the North Island brown kiwi secured second place with only 12,904 votes.\u003c/p>\n\u003cp>“We promised controversy but didn’t quite expect this!” Forest & Bird Chief Executive Nicola Toki said in a statement. “We’re stoked to see the outpouring of passion, creativity and debate that this campaign has ignited.”\u003c/p>\n\u003cp>Even New Zealand’s incoming Prime Minister Christopher Luxon applauded the talk show host for vaulting the pūteketeke to victory.\u003c/p>\n\u003cp>“Congratulations to campaign manager @iamjohnoliver and all those who gave their support to the Pūteketeke,” Luxon said \u003ca href=\"https://twitter.com/chrisluxonmp/status/1724509183704494367\">in a tweet\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13938125\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938125\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM.png\" alt='A couple walks past a bus billboard depicting a parody of Lord of the Rings featuring unusual birds. \"Lord of the wings,\" it reads. \"One bird to rule them all.\"' width=\"1296\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-768x507.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">A billboard at a bus stop promotes comedian John Oliver’s campaign for the pūteketeke to be named New Zealand’s Bird of the Century on Saturday in Wellington. \u003ccite>(Nick Perry/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also known as the Australasian crested grebe, the pūteketeke has a pointy black beak and a long white neck and is known for its strange behaviors.\u003c/p>\n\u003cp>The species boasts a bizarre \u003ca href=\"https://www.youtube.com/watch?v=98ceB5SPRXI\">mating ritual\u003c/a>, \u003ca href=\"https://nzbirdsonline.org.nz/species/australasian-crested-grebe\">carries around its young\u003c/a> on its back in the water and has been known to \u003ca href=\"https://apnews.com/article/new-zealand-bird-contest-john-oliver-211ed05e6101f58e5e61a282f1e9b9cc\">eat its own feathers\u003c/a> before vomiting them back up.\u003c/p>\n\u003cp>[aside postid='arts_13912438']“Pūteketeke began as an outside contender for Bird of the Century but was catapulted to the top spot thanks to its unique looks, adorable parenting style, and propensity for puking,” Toki said.\u003c/p>\n\u003cp>According to Forest & Bird, there are fewer than 3,000 of the birds across New Zealand and Australia, but that number was even lower a few decades ago and has been steadily increasing thanks in part to conservation efforts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The group noted that more than 80% of the native birds in New Zealand are on the threatened species list.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>Forest & Bird \u003ca href=\"https://www.forestandbird.org.nz/resources/bird-century-winner-announced-puteketeke-pandemonium-prevails\">announced\u003c/a> Wednesday that the pūteketeke won the contest with a whopping 290,374 votes.\u003c/p>\n\u003cp>By comparison, the North Island brown kiwi secured second place with only 12,904 votes.\u003c/p>\n\u003cp>“We promised controversy but didn’t quite expect this!” Forest & Bird Chief Executive Nicola Toki said in a statement. “We’re stoked to see the outpouring of passion, creativity and debate that this campaign has ignited.”\u003c/p>\n\u003cp>Even New Zealand’s incoming Prime Minister Christopher Luxon applauded the talk show host for vaulting the pūteketeke to victory.\u003c/p>\n\u003cp>“Congratulations to campaign manager @iamjohnoliver and all those who gave their support to the Pūteketeke,” Luxon said \u003ca href=\"https://twitter.com/chrisluxonmp/status/1724509183704494367\">in a tweet\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13938125\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938125\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM.png\" alt='A couple walks past a bus billboard depicting a parody of Lord of the Rings featuring unusual birds. \"Lord of the wings,\" it reads. \"One bird to rule them all.\"' width=\"1296\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-15-at-4.15.09-PM-768x507.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">A billboard at a bus stop promotes comedian John Oliver’s campaign for the pūteketeke to be named New Zealand’s Bird of the Century on Saturday in Wellington. \u003ccite>(Nick Perry/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Also known as the Australasian crested grebe, the pūteketeke has a pointy black beak and a long white neck and is known for its strange behaviors.\u003c/p>\n\u003cp>The species boasts a bizarre \u003ca href=\"https://www.youtube.com/watch?v=98ceB5SPRXI\">mating ritual\u003c/a>, \u003ca href=\"https://nzbirdsonline.org.nz/species/australasian-crested-grebe\">carries around its young\u003c/a> on its back in the water and has been known to \u003ca href=\"https://apnews.com/article/new-zealand-bird-contest-john-oliver-211ed05e6101f58e5e61a282f1e9b9cc\">eat its own feathers\u003c/a> before vomiting them back up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Pūteketeke began as an outside contender for Bird of the Century but was catapulted to the top spot thanks to its unique looks, adorable parenting style, and propensity for puking,” Toki said.\u003c/p>\n\u003cp>According to Forest & Bird, there are fewer than 3,000 of the birds across New Zealand and Australia, but that number was even lower a few decades ago and has been steadily increasing thanks in part to conservation efforts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The group noted that more than 80% of the native birds in New Zealand are on the threatened species list.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=With+a+boost+from+John+Oliver%2C+p%C5%ABteketeke+soars+to+first+in+New+Zealand+bird+contest&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>All five of Matthew Perry’s \u003cem>Friends\u003c/em> co-stars are sharing more remembrances of the star in their first personal social media posts since \u003ca href=\"https://www.kqed.org/arts/13937162/matthew-perry-emmy-nominated-friends-star-has-died-at-54-reports-say\">the actor’s death\u003c/a> last month.\u003c/p>\n\u003cp>Jennifer Aniston, Courteney Cox, Lisa Kudrow, Matt LeBlanc and David Schwimmer each posted heartfelt notes about Perry, who died Oct. 28, on Instagram. The posts on Tuesday and Wednesday were accompanied by photos from the \u003cem>Friends\u003c/em> set.\u003c/p>\n\u003cp>“In the last couple weeks, I’ve been pouring over our texts to one another. Laughing and crying then laughing again,” \u003ca href=\"https://www.instagram.com/p/Czq8K4DMOMQ/\">Aniston posted\u003c/a> Wednesday, sharing a text message where Perry sent her photo of a script reading session where Perry made her laugh.\u003c/p>\n\u003cp>https://www.instagram.com/p/Czq8K4DMOMQ/\u003c/p>\n\u003cp>“Oh boy this one has cut deep… Having to say goodbye to our Matty has been an insane wave of emotions that I’ve never experienced before,” Aniston’s post read.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kudrow became the fifth \u003cem>Friends\u003c/em> star to pay personal tribute to Perry amid the wave of mourning.\u003c/p>\n\u003cp>“Thank you for making me laugh so hard at something you said, that my muscles ached, and tears poured down my face EVERY DAY,” she said in an \u003ca href=\"https://www.instagram.com/p/CzrZeG5P0n6/\">Instagram post\u003c/a>. “Thank you for the best 10 years a person gets to have.”\u003c/p>\n\u003cp>https://www.instagram.com/p/CzrZeG5P0n6/\u003c/p>\n\u003cp>The stars issued \u003ca href=\"https://apnews.com/article/matthew-perry-friends-castmasts%20mourn-580686c8f9e5fb9031e4cf56ed7b00c2\">a joint statement\u003c/a> a few days after Perry’s death, saying they were “all so utterly devastated by the loss of Matthew. We were more than just cast mates. We are a family.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/Czq8sxqrU0c/\">Schwimmer posted a photo of him and Perry\u003c/a> dressed up in \u003cem>Miami Vice\u003c/em> attire, calling it “one of my favorite moments with you.”\u003c/p>\n\u003cp>“Now it makes me smile and grieve at the same time,” Schwimmer’s post said.\u003c/p>\n\u003cp>https://www.instagram.com/p/Czq8sxqrU0c/\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CzohLcIRk3Y/\">LeBlanc posted Tuesday\u003c/a>: “It was an honor to share the stage with you and to call you my friend. I will always smile when I think of you and I’ll never forget you. Never.” His post included one candid shot of the cast all hugging on set.\u003c/p>\n\u003cp>https://www.instagram.com/p/CzohLcIRk3Y/\u003c/p>\n\u003cp>Perry was found dead last month at his Los Angeles home. After an initial investigation, the Los Angeles County coroner deferred giving a cause of death, which may take weeks to determine.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/courteneycoxofficial/reel/Czo5_9PSZJ2/\">Cox shared a video clip of a \u003cem>Friends\u003c/em> scene\u003c/a> where her and Perry’s characters are in bed together for the first time, trying not to have their relationship discovered. It’s an iconic moment of the show, and Cox shared a bit of backstory about filming.\u003c/p>\n\u003cp>[aside postid='pop_108851']“In this scene, before we started rolling, he whispered a funny line for me to say,” Cox posted. “He often did things like that. He was funny and he was kind.”\u003c/p>\n\u003cp>“I am so grateful for every moment I had with you Matty and I miss you every day,” she wrote.\u003c/p>\n\u003cp>Most of the posts references how sweet, funny and thoughtful Perry was.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>LeBlanc ended his note with a bit of comedy, writing: “Spread your wings and fly brother you’re finally free. Much love. And I guess you’re keeping the 20 bucks you owe me.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All five of Matthew Perry’s \u003cem>Friends\u003c/em> co-stars are sharing more remembrances of the star in their first personal social media posts since \u003ca href=\"https://www.kqed.org/arts/13937162/matthew-perry-emmy-nominated-friends-star-has-died-at-54-reports-say\">the actor’s death\u003c/a> last month.\u003c/p>\n\u003cp>Jennifer Aniston, Courteney Cox, Lisa Kudrow, Matt LeBlanc and David Schwimmer each posted heartfelt notes about Perry, who died Oct. 28, on Instagram. The posts on Tuesday and Wednesday were accompanied by photos from the \u003cem>Friends\u003c/em> set.\u003c/p>\n\u003cp>“In the last couple weeks, I’ve been pouring over our texts to one another. Laughing and crying then laughing again,” \u003ca href=\"https://www.instagram.com/p/Czq8K4DMOMQ/\">Aniston posted\u003c/a> Wednesday, sharing a text message where Perry sent her photo of a script reading session where Perry made her laugh.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The stars issued \u003ca href=\"https://apnews.com/article/matthew-perry-friends-castmasts%20mourn-580686c8f9e5fb9031e4cf56ed7b00c2\">a joint statement\u003c/a> a few days after Perry’s death, saying they were “all so utterly devastated by the loss of Matthew. We were more than just cast mates. We are a family.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/Czq8sxqrU0c/\">Schwimmer posted a photo of him and Perry\u003c/a> dressed up in \u003cem>Miami Vice\u003c/em> attire, calling it “one of my favorite moments with you.”\u003c/p>\n\u003cp>“Now it makes me smile and grieve at the same time,” Schwimmer’s post said.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Perry was found dead last month at his Los Angeles home. After an initial investigation, the Los Angeles County coroner deferred giving a cause of death, which may take weeks to determine.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/courteneycoxofficial/reel/Czo5_9PSZJ2/\">Cox shared a video clip of a \u003cem>Friends\u003c/em> scene\u003c/a> where her and Perry’s characters are in bed together for the first time, trying not to have their relationship discovered. It’s an iconic moment of the show, and Cox shared a bit of backstory about filming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘The Ballad of Songbirds and Snakes’ Is Another Win for ‘The Hunger Games’",
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"content": "\u003cp>Two hours and 37 minutes is pretty long for a “ballad,” but you can’t call it “The Hunger Games: The Three-Cycle Opera of Songbirds and Snakes” now, can you?\u003c/p>\n\u003cp>Concision was never much in favor in the four \u003cem>Hunger Games\u003c/em> films, which reached a seeming finale with 2015’s \u003cem>The Hunger Games: Mockingjay — Part 2\u003c/em>. The intervening years have done nothing to shrink the ambitions of this unapologetically gaudy dystopic series where the brutal deaths of kids are watched over by outrageously styled Capitol denizens with names like Effie Trinket.\u003c/p>\n\u003cp>[aside postid='pop_14149']That clash of YA allegory and color palette is just as pronounced, if not more so, in \u003cem>The Hunger Games: Ballad of Songbirds and Snakes\u003c/em>, a prequel set 64 years before the original books, adapted from Suzanne Collins’ 2020 book of the same name.\u003c/p>\n\u003cp>\u003cem>The Ballad of Songbirds and Snakes\u003c/em>, which opens in theaters Nov. 16, is an origin story of the Hunger Games, themselves, as well as numerous characters — primarily the devious President Coriolanus Snow, played by Donald Sutherland in the first four films. Here, Snow is an impoverished but opportunistic 18-year-old student played by Tom Blyth.\u003c/p>\n\u003cp>Just as in the \u003cem>Hunger Games\u003c/em> films led by Jennifer Lawrence’s Katniss Everdeen, the new one proves how much you can sacrifice in story when you’ve got a thrilling young performer commanding the screen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Francis Lawrence’s prequel often wobbles, especially in the early going. And yet, in the end, \u003cem>The Ballad of Songbirds and Snakes\u003c/em>, propelled by Blyth’s performance, manages to be the deepest expression yet of the series’ melodrama of adolescence. In Panem, the only thing more tragic than the suffering inflicted by adults on the young may be a bright kid warping wickedly into one of those elders, too.\u003c/p>\n\u003cfigure id=\"attachment_13938004\" class=\"wp-caption aligncenter\" style=\"max-width: 1722px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938004\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM.png\" alt=\"A Black woman with her hair a mass of grey and white curls stands with an unimpressed facial expression. She is wearing a purple and gold gown with a high pleated collar. Her left eye is white.\" width=\"1722\" height=\"1126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM.png 1722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-1536x1004.png 1536w\" sizes=\"(max-width: 1722px) 100vw, 1722px\">\u003cfigcaption class=\"wp-caption-text\">Viola Davis in ‘The Ballad of Songbirds and Snakes.’ \u003ccite>(Lionsgate via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That generational divide was always at the heart of the appeal of \u003cem>The Hunger Games\u003c/em>, a fantasy where no adult or institution can be trusted, and the normal pressures of teendom are amplified in a modern, televised Roman Coliseum — an \u003cem>American Idol\u003c/em> with murder — concocted by elders. It’s madness shrugged off as, “That’s just the way it is.”\u003c/p>\n\u003cp>[aside postid='pop_16694']In \u003cem>The Ballad of Songbirds and Snakes\u003c/em>, we see how it got to be that way. The 10th annual Hunger Games are approaching but it feels more like pre-Super Bowl times when the NFL and the AFL played in separate leagues. The broadcast is low rent, the ratings are poor and the games themselves are staged in a dilapidated stadium.\u003c/p>\n\u003cp>With little food in the fridge, Coriolanus is living with his cousin Tigris (Hunter Schafer) and grandmother (Fionnula Flanagan). Their family has fallen on hard times, in part because of a family rivalry with Casca Highbottom (Peter Dinklage), the dean of the academy who harbors hatred for the Snows. (Dinklage, whose wry presence adds a kick to the film, has managed to appear once again in an outlandish fantasy with a man named Snow. )\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NxW_X4kzeus\u003c/p>\n\u003cp>As the students gather amid Third Reich architectures (the production design by Uli Hanisch is stellar) and the games’ founder Volumnia Gaul (Viola Davis, majestic in blue, with a turquoise eye) gazes on, Coriolanus is assigned his tribute, Lucy Gray Baird, a bold young woman from District 12 (also the home of Katniss) who wears a rainbow skirt and sports a dubious Southern accent. During the reaping ceremony, she makes an immediate impression, putting a snake down the back of a rival and bursting into song for the cameras. (“See, now there’s concision,” I thought. “You get your songbird and snake, straight off.”)\u003c/p>\n\u003cp>[aside postid='arts_13937870']Lawrence’s Katniss was a thrilling female warrior whose seizing of center stage had reverberations off screen, paving the way for blockbuster female protagonists. Rachel Zegler’s Lucy Gray is inevitably a disappointment by comparison. Lawrence’s film, scripted by Michael Arndt and Michael Lesslie, for a while has the stale feeling of an unneeded retread. The tonal fluctuations, always a tricky balance in Panem, can be ridiculous. The stadium is abruptly bombed by unseen rebels. Once the games begin, one tribute contracts rabies.\u003c/p>\n\u003cp>The main thing holding our attention at this point is Jason Schwartzman’s Lucretius Flickerman, a TV host with a Salvador Dali mustache who wants the games wrapped up just so he can make his dinner reservations. (It’s been a very good year for Schwartzman, who transformed himself in Wes Anderson’s \u003cem>Asteroid City\u003c/em> and transmogrified in \u003cem>Spider-Man: Across the Spider-Verse\u003c/em>. )\u003c/p>\n\u003cfigure id=\"attachment_13938006\" class=\"wp-caption aligncenter\" style=\"max-width: 1684px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM.png\" alt=\"A middle-aged man with dwarfism stands in a grand hall wearing a black ceremonial outfit, almost like a priest. Behind him, lines of young people all wearing red uniforms line up in unison.\" width=\"1684\" height=\"1188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM.png 1684w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-800x564.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-1020x720.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-768x542.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-1536x1084.png 1536w\" sizes=\"(max-width: 1684px) 100vw, 1684px\">\u003cfigcaption class=\"wp-caption-text\">Peter Dinklage in ‘The Ballad of Songbirds and Snakes.’ \u003ccite>(Lionsgate via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But \u003cem>Songbirds and Snakes\u003c/em> sneakily begins making a case for itself. The relationship between Coriolanus and Lucy Gray is compellingly complex. He works desperately to help her survive the games because he believes in her, and maybe loves her, but also because her success benefits him, too. Whether Lucy Gray is as purehearted as her songs, too, is up for debate. Both, we sense, are cunningly playing the hands they’ve been delt, seeking an advantage where they can. When Coriolanus begins making suggestions for the games to Volumnia, he proves himself a natural-born marketer.\u003c/p>\n\u003cp>That there’s tension in Coriolanus’ character, considering we know how he ultimately ends up, is a tribute to just how good Blyth is. We’ve by now seen plenty of prequels that show us how some famous villain broke bad, but there’s nothing in Blyth’s performance that telegraphs his future. He’s a sincere striver — we root for him because of his poverty and his puck — who’s operating in the society he’s found himself. He’s a villain born entirely of circumstance.\u003c/p>\n\u003cp>[aside postid='arts_13304145']\u003cem>The Ballad of Songbirds and Snakes\u003c/em> extends the saga for a third act that takes place in District 12, an addition that another franchise might have saved for the next installment. But it’s also where that tragedy of \u003cem>The Hunger Games\u003c/em>, and Coriolanus’ fate, earns some of the Shakespearean touches that have liberally been sprinkled throughout. (Shakespeare’s \u003cem>Coriolanus\u003c/em> is likewise about an ambiguous warrior set amid times of famine and class struggle.)\u003c/p>\n\u003cp>\u003cem>The Hunger Games\u003c/em> kicked off a YA craze in film that had its ups and downs but petered out several years ago. Whether \u003cem>The Ballad of Songbirds and Snakes\u003c/em> is enough to relight those embers remains to be seen, but it is a reminder how good a platform they offered young actors. It’s a ritual worth returning to.\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Hunger Games: The Ballad of Songbirds and Snakes’ hits theaters nationwide on Friday, Nov. 17.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two hours and 37 minutes is pretty long for a “ballad,” but you can’t call it “The Hunger Games: The Three-Cycle Opera of Songbirds and Snakes” now, can you?\u003c/p>\n\u003cp>Concision was never much in favor in the four \u003cem>Hunger Games\u003c/em> films, which reached a seeming finale with 2015’s \u003cem>The Hunger Games: Mockingjay — Part 2\u003c/em>. The intervening years have done nothing to shrink the ambitions of this unapologetically gaudy dystopic series where the brutal deaths of kids are watched over by outrageously styled Capitol denizens with names like Effie Trinket.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That clash of YA allegory and color palette is just as pronounced, if not more so, in \u003cem>The Hunger Games: Ballad of Songbirds and Snakes\u003c/em>, a prequel set 64 years before the original books, adapted from Suzanne Collins’ 2020 book of the same name.\u003c/p>\n\u003cp>\u003cem>The Ballad of Songbirds and Snakes\u003c/em>, which opens in theaters Nov. 16, is an origin story of the Hunger Games, themselves, as well as numerous characters — primarily the devious President Coriolanus Snow, played by Donald Sutherland in the first four films. Here, Snow is an impoverished but opportunistic 18-year-old student played by Tom Blyth.\u003c/p>\n\u003cp>Just as in the \u003cem>Hunger Games\u003c/em> films led by Jennifer Lawrence’s Katniss Everdeen, the new one proves how much you can sacrifice in story when you’ve got a thrilling young performer commanding the screen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Francis Lawrence’s prequel often wobbles, especially in the early going. And yet, in the end, \u003cem>The Ballad of Songbirds and Snakes\u003c/em>, propelled by Blyth’s performance, manages to be the deepest expression yet of the series’ melodrama of adolescence. In Panem, the only thing more tragic than the suffering inflicted by adults on the young may be a bright kid warping wickedly into one of those elders, too.\u003c/p>\n\u003cfigure id=\"attachment_13938004\" class=\"wp-caption aligncenter\" style=\"max-width: 1722px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938004\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM.png\" alt=\"A Black woman with her hair a mass of grey and white curls stands with an unimpressed facial expression. She is wearing a purple and gold gown with a high pleated collar. Her left eye is white.\" width=\"1722\" height=\"1126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM.png 1722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.45.17-AM-1536x1004.png 1536w\" sizes=\"(max-width: 1722px) 100vw, 1722px\">\u003cfigcaption class=\"wp-caption-text\">Viola Davis in ‘The Ballad of Songbirds and Snakes.’ \u003ccite>(Lionsgate via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That generational divide was always at the heart of the appeal of \u003cem>The Hunger Games\u003c/em>, a fantasy where no adult or institution can be trusted, and the normal pressures of teendom are amplified in a modern, televised Roman Coliseum — an \u003cem>American Idol\u003c/em> with murder — concocted by elders. It’s madness shrugged off as, “That’s just the way it is.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>The Ballad of Songbirds and Snakes\u003c/em>, we see how it got to be that way. The 10th annual Hunger Games are approaching but it feels more like pre-Super Bowl times when the NFL and the AFL played in separate leagues. The broadcast is low rent, the ratings are poor and the games themselves are staged in a dilapidated stadium.\u003c/p>\n\u003cp>With little food in the fridge, Coriolanus is living with his cousin Tigris (Hunter Schafer) and grandmother (Fionnula Flanagan). Their family has fallen on hard times, in part because of a family rivalry with Casca Highbottom (Peter Dinklage), the dean of the academy who harbors hatred for the Snows. (Dinklage, whose wry presence adds a kick to the film, has managed to appear once again in an outlandish fantasy with a man named Snow. )\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NxW_X4kzeus'\n title='//www.youtube.com/embed/NxW_X4kzeus'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the students gather amid Third Reich architectures (the production design by Uli Hanisch is stellar) and the games’ founder Volumnia Gaul (Viola Davis, majestic in blue, with a turquoise eye) gazes on, Coriolanus is assigned his tribute, Lucy Gray Baird, a bold young woman from District 12 (also the home of Katniss) who wears a rainbow skirt and sports a dubious Southern accent. During the reaping ceremony, she makes an immediate impression, putting a snake down the back of a rival and bursting into song for the cameras. (“See, now there’s concision,” I thought. “You get your songbird and snake, straight off.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lawrence’s Katniss was a thrilling female warrior whose seizing of center stage had reverberations off screen, paving the way for blockbuster female protagonists. Rachel Zegler’s Lucy Gray is inevitably a disappointment by comparison. Lawrence’s film, scripted by Michael Arndt and Michael Lesslie, for a while has the stale feeling of an unneeded retread. The tonal fluctuations, always a tricky balance in Panem, can be ridiculous. The stadium is abruptly bombed by unseen rebels. Once the games begin, one tribute contracts rabies.\u003c/p>\n\u003cp>The main thing holding our attention at this point is Jason Schwartzman’s Lucretius Flickerman, a TV host with a Salvador Dali mustache who wants the games wrapped up just so he can make his dinner reservations. (It’s been a very good year for Schwartzman, who transformed himself in Wes Anderson’s \u003cem>Asteroid City\u003c/em> and transmogrified in \u003cem>Spider-Man: Across the Spider-Verse\u003c/em>. )\u003c/p>\n\u003cfigure id=\"attachment_13938006\" class=\"wp-caption aligncenter\" style=\"max-width: 1684px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938006\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM.png\" alt=\"A middle-aged man with dwarfism stands in a grand hall wearing a black ceremonial outfit, almost like a priest. Behind him, lines of young people all wearing red uniforms line up in unison.\" width=\"1684\" height=\"1188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM.png 1684w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-800x564.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-1020x720.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-768x542.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-14-at-10.52.39-AM-1536x1084.png 1536w\" sizes=\"(max-width: 1684px) 100vw, 1684px\">\u003cfigcaption class=\"wp-caption-text\">Peter Dinklage in ‘The Ballad of Songbirds and Snakes.’ \u003ccite>(Lionsgate via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But \u003cem>Songbirds and Snakes\u003c/em> sneakily begins making a case for itself. The relationship between Coriolanus and Lucy Gray is compellingly complex. He works desperately to help her survive the games because he believes in her, and maybe loves her, but also because her success benefits him, too. Whether Lucy Gray is as purehearted as her songs, too, is up for debate. Both, we sense, are cunningly playing the hands they’ve been delt, seeking an advantage where they can. When Coriolanus begins making suggestions for the games to Volumnia, he proves himself a natural-born marketer.\u003c/p>\n\u003cp>That there’s tension in Coriolanus’ character, considering we know how he ultimately ends up, is a tribute to just how good Blyth is. We’ve by now seen plenty of prequels that show us how some famous villain broke bad, but there’s nothing in Blyth’s performance that telegraphs his future. He’s a sincere striver — we root for him because of his poverty and his puck — who’s operating in the society he’s found himself. He’s a villain born entirely of circumstance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Ballad of Songbirds and Snakes\u003c/em> extends the saga for a third act that takes place in District 12, an addition that another franchise might have saved for the next installment. But it’s also where that tragedy of \u003cem>The Hunger Games\u003c/em>, and Coriolanus’ fate, earns some of the Shakespearean touches that have liberally been sprinkled throughout. (Shakespeare’s \u003cem>Coriolanus\u003c/em> is likewise about an ambiguous warrior set amid times of famine and class struggle.)\u003c/p>\n\u003cp>\u003cem>The Hunger Games\u003c/em> kicked off a YA craze in film that had its ups and downs but petered out several years ago. Whether \u003cem>The Ballad of Songbirds and Snakes\u003c/em> is enough to relight those embers remains to be seen, but it is a reminder how good a platform they offered young actors. It’s a ritual worth returning to.\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Hunger Games: The Ballad of Songbirds and Snakes’ hits theaters nationwide on Friday, Nov. 17.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tracy Chapman Becomes First Black Person to Win CMAs’ Song of the Year",
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"content": "\u003cp>Tracy Chapman was honored with Song of the Year for her 1988 folk anthem “Fast Car” at the Country Music Awards on Wednesday, becoming the first Black songwriter to ever win the award.\u003c/p>\n\u003cp>[aside postid='arts_13937563']“Fast Car” peaked at No. 6 on the Billboard Hot 100 chart following its release more than 30 years ago. The song was nominated for three Grammys when it first came out, and Chapman won Best Female Pop Vocal Performance.\u003c/p>\n\u003cp>But it got a second wind in recent months after singer Luke Combs came out with a cover of the song in April. His version peaked at No. 2 on the Hot 100 chart and won Single of the Year at the CMAs in Nashville.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fr7oYjnt3bM\u003c/p>\n\u003cp>Chapman did not attend the ceremony, but she sent a written statement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m sorry I couldn’t join you all tonight,” she said. “It’s truly an honor for my song to be newly recognized after 35 years of its debut. Thank you to the CMAs and a special thanks to Luke and all of the fans of ‘Fast Car.’”\u003c/p>\n\u003cp>[aside postid='arts_13937489']Combs called “Fast Car” his “first favorite song” in his acceptance speech for Single of the Year.\u003c/p>\n\u003cp>“First and foremost, I want to thank Tracy Chapman for writing one of the best songs of all time,” he said. “Never intended for that — I just recorded it because I love this song so much. It’s meant so much to me throughout my entire life. It’s the first favorite song I ever had from the time I was four years old.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AIOAlaACuv4\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Chapman, originally from Cleveland, is additionally behind such hits as “Give Me One Reason,” “Baby Can I Hold You” and “Crossroads.” She has been nominated for 13 Grammys and won four.\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tracy+Chapman+becomes+the+first+Black+person+to+win+Song+of+the+Year+at+the+CMAs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>This year’s Country Music Awards ceremony will be available to watch on Nov. 9 at 5 p.m. via \u003ca href=\"https://www.abcinstantaccess.com/\">ABC Instant Access\u003c/a>. It begins streaming on \u003ca href=\"https://www.hulu.com/hub/home\">Hulu\u003c/a> on Nov. 10.\u003c/em>\u003c/div>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Fast Car” peaked at No. 6 on the Billboard Hot 100 chart following its release more than 30 years ago. The song was nominated for three Grammys when it first came out, and Chapman won Best Female Pop Vocal Performance.\u003c/p>\n\u003cp>But it got a second wind in recent months after singer Luke Combs came out with a cover of the song in April. His version peaked at No. 2 on the Hot 100 chart and won Single of the Year at the CMAs in Nashville.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Fr7oYjnt3bM'\n title='//www.youtube.com/embed/Fr7oYjnt3bM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Chapman did not attend the ceremony, but she sent a written statement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m sorry I couldn’t join you all tonight,” she said. “It’s truly an honor for my song to be newly recognized after 35 years of its debut. Thank you to the CMAs and a special thanks to Luke and all of the fans of ‘Fast Car.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Combs called “Fast Car” his “first favorite song” in his acceptance speech for Single of the Year.\u003c/p>\n\u003cp>“First and foremost, I want to thank Tracy Chapman for writing one of the best songs of all time,” he said. “Never intended for that — I just recorded it because I love this song so much. It’s meant so much to me throughout my entire life. It’s the first favorite song I ever had from the time I was four years old.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AIOAlaACuv4'\n title='//www.youtube.com/embed/AIOAlaACuv4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Chapman, originally from Cleveland, is additionally behind such hits as “Give Me One Reason,” “Baby Can I Hold You” and “Crossroads.” She has been nominated for 13 Grammys and won four.\u003c/p>\n\u003cdiv class=\"fullattribution\">\n\u003cp>\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tracy+Chapman+becomes+the+first+Black+person+to+win+Song+of+the+Year+at+the+CMAs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv>\u003cem>This year’s Country Music Awards ceremony will be available to watch on Nov. 9 at 5 p.m. via \u003ca href=\"https://www.abcinstantaccess.com/\">ABC Instant Access\u003c/a>. It begins streaming on \u003ca href=\"https://www.hulu.com/hub/home\">Hulu\u003c/a> on Nov. 10.\u003c/em>\u003c/div>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Nicolas Cage Finds Fame to Be Overrated in Chillingly Funny ‘Dream Scenario’",
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"content": "\u003cp>Quick: What’s a good adjective for Nicolas Cage’s screen presence? Mercurial, perhaps? Volcanic? Volatile?\u003c/p>\n\u003cp>How about mundane, schlubby, average? Not the page we’d think to turn to in our Roget’s Thesaurus.\u003c/p>\n\u003cp>[aside postid='arts_13937140']Yet here Cage is, channeling his inner drabness to chillingly comic effect in Kristoffer Borgli’s \u003cem>Dream Scenario\u003c/em>. As Paul Matthews (heck, even the name is drab), a college professor at nowhere famous, he performs his job with perfect mediocrity, and seems a fairly mediocre husband and dad, too. With his graying beard, wire-rimmed specs and shiny bald spot, Cage’s Paul is the guy in the room you ignore.\u003c/p>\n\u003cp>Until, suddenly, you can’t. Because something weird starts happening. Paul starts appearing in people’s dreams. Everyone’s dreams.\u003c/p>\n\u003cp>The premise is delicious — and precarious. It recalled for me the setup in a very different movie, \u003cem>Yesterday\u003c/em>, where only one guy on Earth remembers the Beatles. It makes for a fantastic beginning, but you immediately worry how they’ll manage to keep it going.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Borgli, the Norwegian writer-director making his English-language debut here (Ari Aster co-produces), is aiming for a broader statement about the nature of fame. And while the topic, which he’s broached before, may not be original, it’s ripe for exploration in the right hands — especially with an actor as inventive and unpredictable as Cage. Fame can be intoxicating, this film is saying, but it can and probably will turn on you in an instant, unless you’re Taylor Swift (OK, we added that last part).\u003c/p>\n\u003cp>We begin on an autumn day by a suburban swimming pool, where Paul is raking leaves near his teen daughter. Scary things start dropping from the heavens, and suddenly the girl is grabbed by an unknown force and lifted, screaming, into the sky. Dad? He does nothing to help.\u003c/p>\n\u003cp>It’s only the girl’s dream. But then there are more. Paul and his patient wife, Janet (Julianne Nicholson, reliably excellent) run into someone at the theater, and she too has dreamed about Paul. At a dinner party, several guests discover to their shock that they’ve been dreaming about the same person. Yep, Paul.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q3x9iUL-74w\u003c/p>\n\u003cp>What’s happening? On campus, Paul’s students, who mostly chat among themselves during his unremarkable lectures on evolutionary biology, start listening — they’re dreaming about him, too.\u003c/p>\n\u003cp>In many of these dreams, Paul stands by, inexplicably, as others experience peril — slithering alligators, for example. But in real life, for once, Paul has the floor — a man who until now seethed with frustration over his unrealized ambitions as others succeeded. Now, everyone is interested in him.\u003c/p>\n\u003cp>[aside postid='arts_13937708']Borgli never stops to analyze the science of this bizarre development, and frankly, Paul doesn’t either. He takes a meeting with a snarky group of branding experts (led by Michael Cera, perfectly cast) who want to market him up the wazoo. They can get him a Sprite commercial! Well, Paul doesn’t want that — he just wants a book deal for his biology research. But his ears perk up at the idea of an endorsement from Barack Obama. (“I know Malia,” one of these young professionals says.)\u003c/p>\n\u003cp>One young woman even lets on to Paul that in her dreams, the two have great sex. This is too stunning for the schlubby Paul to ignore, especially when she invites him home to recreate the dream. Needless to say, it doesn’t go as well in real life. In fact, the dénoument is utterly, agonizingly humiliating.\u003c/p>\n\u003cp>And then, everyone’s dreams change. Suddenly Paul is the one causing harm. His students, terrified, don’t want to see him anymore. He gets sent home from a dinner with friends. He can’t even sit in a coffee shop and read a book without a fellow diner spitting on his food.\u003c/p>\n\u003cp>As for the branding consultants, well, they inform Paul that Obama is off the table — but hey, they could get him time with Joe Rogan or maybe Tucker Carlson.\u003c/p>\n\u003cfigure id=\"attachment_13937880\" class=\"wp-caption aligncenter\" style=\"max-width: 1834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937880\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM.png\" alt=\"\" width=\"1834\" height=\"1102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM.png 1834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM-1020x613.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM-1536x923.png 1536w\" sizes=\"(max-width: 1834px) 100vw, 1834px\">\u003cfigcaption class=\"wp-caption-text\">Dylan Gelula, Michael Cera and Kate Berlant in ‘Dream Scenario.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside postid='arts_13937525']We won’t spoil the ending, but let’s just make the obvious point that Borgli is not making a rom-com — is there a word for “horror-com”? We walk away from this funny, sad, scary film acutely reminded that if fame has two sides, one of them is pretty darned horrible.\u003c/p>\n\u003cp>And perhaps, as you walk home from the multiplex this time, you might even revel in the fact that nobody’s paying attention. Obscurity can be underrated.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dream Scenario’ is released nationwide on Nov. 10.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet here Cage is, channeling his inner drabness to chillingly comic effect in Kristoffer Borgli’s \u003cem>Dream Scenario\u003c/em>. As Paul Matthews (heck, even the name is drab), a college professor at nowhere famous, he performs his job with perfect mediocrity, and seems a fairly mediocre husband and dad, too. With his graying beard, wire-rimmed specs and shiny bald spot, Cage’s Paul is the guy in the room you ignore.\u003c/p>\n\u003cp>Until, suddenly, you can’t. Because something weird starts happening. Paul starts appearing in people’s dreams. Everyone’s dreams.\u003c/p>\n\u003cp>The premise is delicious — and precarious. It recalled for me the setup in a very different movie, \u003cem>Yesterday\u003c/em>, where only one guy on Earth remembers the Beatles. It makes for a fantastic beginning, but you immediately worry how they’ll manage to keep it going.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Borgli, the Norwegian writer-director making his English-language debut here (Ari Aster co-produces), is aiming for a broader statement about the nature of fame. And while the topic, which he’s broached before, may not be original, it’s ripe for exploration in the right hands — especially with an actor as inventive and unpredictable as Cage. Fame can be intoxicating, this film is saying, but it can and probably will turn on you in an instant, unless you’re Taylor Swift (OK, we added that last part).\u003c/p>\n\u003cp>We begin on an autumn day by a suburban swimming pool, where Paul is raking leaves near his teen daughter. Scary things start dropping from the heavens, and suddenly the girl is grabbed by an unknown force and lifted, screaming, into the sky. Dad? He does nothing to help.\u003c/p>\n\u003cp>It’s only the girl’s dream. But then there are more. Paul and his patient wife, Janet (Julianne Nicholson, reliably excellent) run into someone at the theater, and she too has dreamed about Paul. At a dinner party, several guests discover to their shock that they’ve been dreaming about the same person. Yep, Paul.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/q3x9iUL-74w'\n title='//www.youtube.com/embed/q3x9iUL-74w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What’s happening? On campus, Paul’s students, who mostly chat among themselves during his unremarkable lectures on evolutionary biology, start listening — they’re dreaming about him, too.\u003c/p>\n\u003cp>In many of these dreams, Paul stands by, inexplicably, as others experience peril — slithering alligators, for example. But in real life, for once, Paul has the floor — a man who until now seethed with frustration over his unrealized ambitions as others succeeded. Now, everyone is interested in him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Borgli never stops to analyze the science of this bizarre development, and frankly, Paul doesn’t either. He takes a meeting with a snarky group of branding experts (led by Michael Cera, perfectly cast) who want to market him up the wazoo. They can get him a Sprite commercial! Well, Paul doesn’t want that — he just wants a book deal for his biology research. But his ears perk up at the idea of an endorsement from Barack Obama. (“I know Malia,” one of these young professionals says.)\u003c/p>\n\u003cp>One young woman even lets on to Paul that in her dreams, the two have great sex. This is too stunning for the schlubby Paul to ignore, especially when she invites him home to recreate the dream. Needless to say, it doesn’t go as well in real life. In fact, the dénoument is utterly, agonizingly humiliating.\u003c/p>\n\u003cp>And then, everyone’s dreams change. Suddenly Paul is the one causing harm. His students, terrified, don’t want to see him anymore. He gets sent home from a dinner with friends. He can’t even sit in a coffee shop and read a book without a fellow diner spitting on his food.\u003c/p>\n\u003cp>As for the branding consultants, well, they inform Paul that Obama is off the table — but hey, they could get him time with Joe Rogan or maybe Tucker Carlson.\u003c/p>\n\u003cfigure id=\"attachment_13937880\" class=\"wp-caption aligncenter\" style=\"max-width: 1834px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937880\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM.png\" alt=\"\" width=\"1834\" height=\"1102\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM.png 1834w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM-800x481.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM-1020x613.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-09-at-11.07.05-AM-1536x923.png 1536w\" sizes=\"(max-width: 1834px) 100vw, 1834px\">\u003cfigcaption class=\"wp-caption-text\">Dylan Gelula, Michael Cera and Kate Berlant in ‘Dream Scenario.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We won’t spoil the ending, but let’s just make the obvious point that Borgli is not making a rom-com — is there a word for “horror-com”? We walk away from this funny, sad, scary film acutely reminded that if fame has two sides, one of them is pretty darned horrible.\u003c/p>\n\u003cp>And perhaps, as you walk home from the multiplex this time, you might even revel in the fact that nobody’s paying attention. Obscurity can be underrated.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dream Scenario’ is released nationwide on Nov. 10.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Donna and Ally’ Is a Heartwarming Ode to Friends, Hustling and Oakland Itself",
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"content": "\u003cp>Let’s get this out of the way: \u003cem>Donna and Ally\u003c/em> is not a polished movie. Hell, it’s not even a movie that always entirely makes sense. But it is a movie that — over the course of 83 minutes — will win you over with heart and humor. Most importantly, it has two lead characters with whom you might just fall head-over-heels in love.\u003c/p>\n\u003cp>[aside postid='arts_13832451']Set in Oakland, the story is about Ally (played by rapper \u003ca href=\"https://www.kqed.org/arts/13845940/after-a-high-speed-police-chase-a-female-rapper-endures-raps-double-standard\">Qing Qi\u003c/a>) and Donna (Cousin Shy, who also wrote and executive produced the movie) who’ve been best friends since the teen years they spent in a group home together. Since running away from the home at 16 years old, the duo has been hustling to survive and dreaming of a day when they wouldn’t just be scraping by anymore. A major hindrance to their success: Donna’s temper. When facing any kind of criticism or threat, Donna launches herself at the problem with both fists first, and leaves it to Ally to worry about the consequences later.\u003c/p>\n\u003cp>After losing their jobs at a local strip club, Donna and Ally must get extra creative to make rent. When a guy Donna punched at the club tracks her down and asks for more of the same, the duo set up a dominatrix dungeon in their studio apartment. It’s there that Donna finally figures out how to turn her inner rage into cold, hard cash — whipping, beating and humiliating people who actually enjoy it — and Ally turns into the boss she always knew she could be.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YPfD7y0vuH0\u003c/p>\n\u003cp>Often absurd, and awash with winks and nods to the audience, \u003cem>Donna and Ally\u003c/em> is held together by the realistic and endearing friendship at its center. Shy and Qi both shine in their roles, even when faced with some decidedly clunky acting from a couple of the side characters. Both women also have a delightful knack for delivering dry humor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shy is radiant and memorable on screen, but it’s Qi’s consistently unselfconscious performance that ultimately steals the show. (The sight of her lying spreadeagled on a giant inflatable swan inside a tiny inflatable pool belongs on a line of T-shirts.) Qi’s music also offers the perfect soundtrack to this story, with “\u003ca href=\"https://www.youtube.com/watch?v=EGc-GzV1NK4\">IDWIW\u003c/a>” an outstanding anthem for these rebellious entrepreneurs. (The twosome’s ridiculous dance routine to “\u003ca href=\"https://www.youtube.com/watch?v=-GMMKS125kA\">Talking on the Phone Is Cancerous\u003c/a>” is also a high point.)\u003c/p>\n\u003cp>[aside postid='arts_13937068']When the credits roll, \u003cem>Donna and Ally\u003c/em> isn’t quite the “Oakland Cinderella Story” it proclaims to be. Not because there isn’t true love at the center of it — there’s plenty of that — but because the love doesn’t come from some fantasy prince. Rather, at its core, this is a tale about women supporting other women and the enduring value of female friendships. By the end of it, you’ll wish Donna and Ally, messy as they are, were your best friends too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.donnaandally.com/\">Donna and Ally\u003c/a>’ premieres at Oakland’s New Parkway Theater (474 24th St.) on Nov. 11 at 7 p.m. \u003ca href=\"https://www.donnaandally.com/premiere-ticket/p/red-carpet-premiere\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s get this out of the way: \u003cem>Donna and Ally\u003c/em> is not a polished movie. Hell, it’s not even a movie that always entirely makes sense. But it is a movie that — over the course of 83 minutes — will win you over with heart and humor. Most importantly, it has two lead characters with whom you might just fall head-over-heels in love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Set in Oakland, the story is about Ally (played by rapper \u003ca href=\"https://www.kqed.org/arts/13845940/after-a-high-speed-police-chase-a-female-rapper-endures-raps-double-standard\">Qing Qi\u003c/a>) and Donna (Cousin Shy, who also wrote and executive produced the movie) who’ve been best friends since the teen years they spent in a group home together. Since running away from the home at 16 years old, the duo has been hustling to survive and dreaming of a day when they wouldn’t just be scraping by anymore. A major hindrance to their success: Donna’s temper. When facing any kind of criticism or threat, Donna launches herself at the problem with both fists first, and leaves it to Ally to worry about the consequences later.\u003c/p>\n\u003cp>After losing their jobs at a local strip club, Donna and Ally must get extra creative to make rent. When a guy Donna punched at the club tracks her down and asks for more of the same, the duo set up a dominatrix dungeon in their studio apartment. It’s there that Donna finally figures out how to turn her inner rage into cold, hard cash — whipping, beating and humiliating people who actually enjoy it — and Ally turns into the boss she always knew she could be.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YPfD7y0vuH0'\n title='//www.youtube.com/embed/YPfD7y0vuH0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Often absurd, and awash with winks and nods to the audience, \u003cem>Donna and Ally\u003c/em> is held together by the realistic and endearing friendship at its center. Shy and Qi both shine in their roles, even when faced with some decidedly clunky acting from a couple of the side characters. Both women also have a delightful knack for delivering dry humor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shy is radiant and memorable on screen, but it’s Qi’s consistently unselfconscious performance that ultimately steals the show. (The sight of her lying spreadeagled on a giant inflatable swan inside a tiny inflatable pool belongs on a line of T-shirts.) Qi’s music also offers the perfect soundtrack to this story, with “\u003ca href=\"https://www.youtube.com/watch?v=EGc-GzV1NK4\">IDWIW\u003c/a>” an outstanding anthem for these rebellious entrepreneurs. (The twosome’s ridiculous dance routine to “\u003ca href=\"https://www.youtube.com/watch?v=-GMMKS125kA\">Talking on the Phone Is Cancerous\u003c/a>” is also a high point.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When the credits roll, \u003cem>Donna and Ally\u003c/em> isn’t quite the “Oakland Cinderella Story” it proclaims to be. Not because there isn’t true love at the center of it — there’s plenty of that — but because the love doesn’t come from some fantasy prince. Rather, at its core, this is a tale about women supporting other women and the enduring value of female friendships. By the end of it, you’ll wish Donna and Ally, messy as they are, were your best friends too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.donnaandally.com/\">Donna and Ally\u003c/a>’ premieres at Oakland’s New Parkway Theater (474 24th St.) on Nov. 11 at 7 p.m. \u003ca href=\"https://www.donnaandally.com/premiere-ticket/p/red-carpet-premiere\">Tickets here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In David Fincher’s ‘The Killer,’ an Assassin Hides in Plain Sight",
"headTitle": "In David Fincher’s ‘The Killer,’ an Assassin Hides in Plain Sight | KQED",
"content": "\u003cp>It’s a noir staple to open with a bit of narration, but once the nameless hit-man protagonist of David Fincher’s \u003cem>The Killer\u003c/em> starts gabbing, he doesn’t stop.\u003c/p>\n\u003cp>[aside postid='arts_34570']As Fincher’s assassin (Michael Fassbender) awaits his target from a high, unfinished floor in a Paris building that looks out on the home of his mark, his inner monologue runs with a smooth, affectless monotone. His musings are a mix of professional tips (“Anticipate, don’t improvise”), nihilistic existential observations (“Most people refuse to believe that the great beyond is anything more than a cold, infinite void”) and sincere self-reflections (“I’m not exceptional, I’m just apart”).\u003c/p>\n\u003cp>That last line is the most telling one. \u003cem>The Killer\u003c/em> is a terse, minimalist thriller in the cool, cold-hearted tradition of Jean Pierre Melville’s \u003cem>Le Samouraï\u003c/em>. But while its methodical and solitary assassin acts and moves like cunning killers we’ve seen before, he blends into a modern background. He doesn’t wear a trench coat or fedora; he dresses like a German tourist, with a dopey bucket hat. He shops for tools on Amazon. He picks up supplies at Home Depot. His position in Paris is an unused WeWork space.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vs1epO_zLG8\u003c/p>\n\u003cp>In \u003cem>The Killer\u003c/em>, an agent of death is hiding in plain sight. He’s an assassin for our homogeneous, corporate world operating in the same spaces we all do. He eats McDonalds. He drives a white Avis rental van that’s the exact same as a dozen others in the rental car parking lot. Sameness is his superpower.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That also means that his nihilism is ours, too. \u003cem>The Killer\u003c/em>, which begins streaming Friday on Netflix, is a thriller where pointlessness isn’t just lurking in the shadows. It’s everywhere, even in a movie plot that grows increasingly resistant to offering the usual genre satisfactions. Fassbender’s hitman, a background actor supreme, is a lethal manifestation of our soulless environment.\u003c/p>\n\u003cp>[aside postid='arts_13937525']In that opening scene, he boasts of having a batting average (1.000, he brags) ‘better than Ted Williams.’ Yet the job goes badly. In the ensuing turmoil, he races to erase his footsteps but not before a dissatisfied client has his girlfriend (Sophie Charlotte) nearly beaten to death at their clandestine Dominican Republic home.\u003c/p>\n\u003cp>He embarks on a location-hopping mission to eliminate those responsible, an odd twist for an assassin who, at length, preaches disaffection. Much doesn’t quite fit in \u003cem>The Killer\u003c/em>. That he even has a live-in girlfriend — we barely see her and his thoughts never again turn back to her — seems unlikely. A revenge plot also doesn’t quite suit such a dispassionate protagonist. “Forbid empathy,” he says. And the movie, too, can be withholding of anything like emotion. The most distinct thing about Fassbender’s killer is that, like Patrick Bateman bopped to Huey Lewis and the News, he listens exclusively to the Smiths.\u003c/p>\n\u003cp>There’s much pleasure to be found in the unnamed hit man’s proficiency, just as there is in Fincher’s cool finesse. Here, the director — long known for his own meticulous rigor — is working with some regular collaborators, among them screenwriter Andrew Kevin Walker (\u003cem>Se7en\u003c/em>), composers Trent Reznor and Atticus Ross (\u003cem>The Social Network\u003c/em>) and cinematographer Erik Messerschmidt (\u003cem>Mank\u003c/em>). And there’s a kinetic thrill to seeing Fincher back in B-movie territory. (The script is based on a French graphic novel by Alexis “Matz” Nolent.)\u003c/p>\n\u003cp>Especially good is a nighttime sequence set in Florida that begins and ends with a bloodthirsty dog and in between features violent hand-to-hand combat that careens through glass and walls. The scene, like several others in \u003cem>The Killer\u003c/em>, is a filmmaking feat of control. Fassbender, a natural at playing a loner (see \u003cem>Shame\u003c/em>), is captivating throughout because he so possesses the movie’s chief traits of guile and a deadpan sense of humor.\u003c/p>\n\u003cp>[aside postid='arts_13937499']Everything here is tantalizingly close to calculated perfection that it comes almost as a surprise how \u003cem>The Killer\u003c/em> ends up missing its mark. You could call it a feature of the film’s existentialism, but \u003cem>The Killer\u003c/em> increasingly is working, albeit proficiently, in a vacuum. Our hitman travels from place to place — always with fake passports with the names of TV characters like Felix Unger, Lou Grant or Sam Malone — but we don’t get anywhere deeper with him or anything else. Meaningless may be the point in \u003cem>The Killer\u003c/em>, but at a certain point in this stylishly composed but empty vessel, you feel like pleading as another Fincher protagonist once did: What’s in the box?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Killer’ begins streaming on Netflix on Nov. 10.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The new Michael Fassbender movie is a terse, minimalist thriller in the cool, cold-hearted tradition of ‘Le Samouraï.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a noir staple to open with a bit of narration, but once the nameless hit-man protagonist of David Fincher’s \u003cem>The Killer\u003c/em> starts gabbing, he doesn’t stop.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As Fincher’s assassin (Michael Fassbender) awaits his target from a high, unfinished floor in a Paris building that looks out on the home of his mark, his inner monologue runs with a smooth, affectless monotone. His musings are a mix of professional tips (“Anticipate, don’t improvise”), nihilistic existential observations (“Most people refuse to believe that the great beyond is anything more than a cold, infinite void”) and sincere self-reflections (“I’m not exceptional, I’m just apart”).\u003c/p>\n\u003cp>That last line is the most telling one. \u003cem>The Killer\u003c/em> is a terse, minimalist thriller in the cool, cold-hearted tradition of Jean Pierre Melville’s \u003cem>Le Samouraï\u003c/em>. But while its methodical and solitary assassin acts and moves like cunning killers we’ve seen before, he blends into a modern background. He doesn’t wear a trench coat or fedora; he dresses like a German tourist, with a dopey bucket hat. He shops for tools on Amazon. He picks up supplies at Home Depot. His position in Paris is an unused WeWork space.\u003c/p>\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/vs1epO_zLG8'\n title='//www.youtube.com/embed/vs1epO_zLG8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003cem>The Killer\u003c/em>, an agent of death is hiding in plain sight. He’s an assassin for our homogeneous, corporate world operating in the same spaces we all do. He eats McDonalds. He drives a white Avis rental van that’s the exact same as a dozen others in the rental car parking lot. Sameness is his superpower.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That also means that his nihilism is ours, too. \u003cem>The Killer\u003c/em>, which begins streaming Friday on Netflix, is a thriller where pointlessness isn’t just lurking in the shadows. It’s everywhere, even in a movie plot that grows increasingly resistant to offering the usual genre satisfactions. Fassbender’s hitman, a background actor supreme, is a lethal manifestation of our soulless environment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In that opening scene, he boasts of having a batting average (1.000, he brags) ‘better than Ted Williams.’ Yet the job goes badly. In the ensuing turmoil, he races to erase his footsteps but not before a dissatisfied client has his girlfriend (Sophie Charlotte) nearly beaten to death at their clandestine Dominican Republic home.\u003c/p>\n\u003cp>He embarks on a location-hopping mission to eliminate those responsible, an odd twist for an assassin who, at length, preaches disaffection. Much doesn’t quite fit in \u003cem>The Killer\u003c/em>. That he even has a live-in girlfriend — we barely see her and his thoughts never again turn back to her — seems unlikely. A revenge plot also doesn’t quite suit such a dispassionate protagonist. “Forbid empathy,” he says. And the movie, too, can be withholding of anything like emotion. The most distinct thing about Fassbender’s killer is that, like Patrick Bateman bopped to Huey Lewis and the News, he listens exclusively to the Smiths.\u003c/p>\n\u003cp>There’s much pleasure to be found in the unnamed hit man’s proficiency, just as there is in Fincher’s cool finesse. Here, the director — long known for his own meticulous rigor — is working with some regular collaborators, among them screenwriter Andrew Kevin Walker (\u003cem>Se7en\u003c/em>), composers Trent Reznor and Atticus Ross (\u003cem>The Social Network\u003c/em>) and cinematographer Erik Messerschmidt (\u003cem>Mank\u003c/em>). And there’s a kinetic thrill to seeing Fincher back in B-movie territory. (The script is based on a French graphic novel by Alexis “Matz” Nolent.)\u003c/p>\n\u003cp>Especially good is a nighttime sequence set in Florida that begins and ends with a bloodthirsty dog and in between features violent hand-to-hand combat that careens through glass and walls. The scene, like several others in \u003cem>The Killer\u003c/em>, is a filmmaking feat of control. Fassbender, a natural at playing a loner (see \u003cem>Shame\u003c/em>), is captivating throughout because he so possesses the movie’s chief traits of guile and a deadpan sense of humor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Everything here is tantalizingly close to calculated perfection that it comes almost as a surprise how \u003cem>The Killer\u003c/em> ends up missing its mark. You could call it a feature of the film’s existentialism, but \u003cem>The Killer\u003c/em> increasingly is working, albeit proficiently, in a vacuum. Our hitman travels from place to place — always with fake passports with the names of TV characters like Felix Unger, Lou Grant or Sam Malone — but we don’t get anywhere deeper with him or anything else. Meaningless may be the point in \u003cem>The Killer\u003c/em>, but at a certain point in this stylishly composed but empty vessel, you feel like pleading as another Fincher protagonist once did: What’s in the box?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Killer’ begins streaming on Netflix on Nov. 10.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bass Reeves Deserves Better – ‘Lawmen’ Doesn’t Do Justice to the Black US Marshal",
"headTitle": "Bass Reeves Deserves Better – ‘Lawmen’ Doesn’t Do Justice to the Black US Marshal | KQED",
"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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"excerpt": "As a Black critic who loves Westerns, Eric Deggans really wanted to like this show. Instead, he found historical inaccuracies.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I really, \u003cem>really \u003c/em>wanted to love Paramount+’s new series \u003cem>Lawmen: Bass Reeves\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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": "\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>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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"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>\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",
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"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>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>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": "\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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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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