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"title": "In ‘Nyad,’ Jodie Foster Swims Away With a Showcase for Annette Bening",
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"content": "\u003cp>In \u003cem>Nyad\u003c/em>, there are two feats of perseverance on display. First, there is the ceaseless determination of Diana Nyad (Annette Bening) to accomplish a marathon swim from Cuba to Florida across 103 miles of open, shark-infested waters. Then there is the mettle of Nyad’s support team to tolerate the singularly self-absorbed and stubborn Nyad. Both, in the film, are an endurance sport.\u003c/p>\n\u003cp>\u003cem>Nyad\u003c/em>, which opens in limited theaters Friday and streams Nov. 3 on Netflix, is in many ways a conventional sports drama, defined by long odds and personal triumph. But there is enough here to help the film, directed by the intrepid filmmakers Elizabeth Chai Vasarhelyi and Jimmy Chin, if not swim against the tide of sports-biopic convention then at least ride a swift current to the finish line.\u003c/p>\n\u003cp>[aside postid='arts_13936628']First and foremost there’s the fact that this is a sports drama led by two actresses in their 60s: Bening and Jodie Foster, who plays Diana’s best friend and personal trainer Bonnie Stoll. When \u003cem>Nyad\u003c/em> gets underway, the setting isn’t the 1970s, when Nyad’s record swims made her a headline-grabbing sensation. It’s Diana’s 60th birthday, which for her only marks her long distance from a real challenge. “Where’s the excellence?” she says.\u003c/p>\n\u003cp>Diana soon thereafter gets back in the pool, resolving to complete the Cuba-to-Florida swim, a route some moviegoers may associate more with the Go-Fast boats of Michael Mann’s \u003cem>Miami Vice\u003c/em> than athletic pursuit. For Diana, the 50-hour endeavor is a matter of completing a long-ago abandoned dream and a way to prove to herself (and everyone else) that age is no match for her will.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3anCgVSQb3Q\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s the rare role that could be said to be both shark and Oscar bait. Yet Bening’s performance has little vanity to it. Her Diana is obsessively single-minded to the point of unlikeable. When Diana hits the ocean, Bening turns into a ferociously forward-moving force who won’t let anything — not thunder storms, nor jelly fish stings — stop her in her quest. Just keep swimming? She’d leave Dory in the dust.\u003c/p>\n\u003cp>Diana also comes close to outswimming the people trying hardest to help her. Though the film is principally a showcase for Bening, it’s Foster’s supporting turn that lifts \u003cem>Nyad\u003c/em>. Foster is a rare screen presence these days, which only makes her warmth and ease all the more powerful here. \u003cem>Nyad\u003c/em> is balanced between Diana’s admirably insane ambition and Bonnie’s loyal (up to a point) support for her friend. In any case, it’s a reminder, like a pail of cold water, of just how good Foster can be.\u003c/p>\n\u003cp>[aside postid='arts_13936363']Other supporting characters are along for the ride, too, most notably Rhys Ifans’ crusty sea-dog navigator John Bartlett. He’s a cliche but a darn likable one. Nyad has, herself, often been a brash and savvy self-promoter less likely to share the spotlight. It’s to the movie’s credit that it pushes back against its prickly protagonist at the same time it exalts her.\u003c/p>\n\u003cp>But \u003cem>Nyad\u003c/em> does accept Nyad’s ultimate accomplishment, even if some have disputed it. Her 2013 swim to the Florida Keys was never ratified by the World Open Water Swimming Assn., and fellow marathon swimmers have cast doubts on it. Nyad has forcefully maintained she completed the swim, without assistance. At times, \u003cem>Nyad\u003c/em> bends over backwards to depict Nyad as conscientious of the rules.\u003c/p>\n\u003cfigure id=\"attachment_13936757\" class=\"wp-caption aligncenter\" style=\"max-width: 1544px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM.png\" alt=\"An athletic looking tanned woman wearing a scruffy grey t-shirt and holding a drink smiles at an older woman with very short blonde hair who is wearing a tracksuit.\" width=\"1544\" height=\"1018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM.png 1544w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-800x527.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-768x506.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-1536x1013.png 1536w\" sizes=\"(max-width: 1544px) 100vw, 1544px\">\u003cfigcaption class=\"wp-caption-text\">Jodie Foster and Annette Bening in a scene from ‘Nyad.’ \u003ccite>(Liz Parkinson/ Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vasarhelyi and Chin, in their narrative debut, mix in documentary footage throughout the film, smoothly transitioning from the non-fiction world they come from. They’re the filmmaking team behind documentary standouts like the Oscar-winning \u003cem>Free Solo\u003c/em> and the Thai cave chronicle \u003cem>The Rescue\u003c/em>.\u003c/p>\n\u003cp>Those films were excellent not just due to Vasarhelyi and Chin’s own filmmaking adventurousness but because of their firm grasp of the psychology of those who push themselves to physical extremes. \u003cem>Nyad\u003c/em> relies on flashbacks to Diana’s past — including an encounter with an unnamed swim coach Nyad said sexually assaulted her and others — to dig into what fuels her.\u003c/p>\n\u003cp>And just like Alex Honnold of \u003cem>Free Solo\u003c/em> and the British cave divers of \u003cem>The Rescue\u003c/em>, \u003cem>Nyad\u003c/em> convincingly argues that to accomplish something great — to really dream big — you may need a dose of delusion, 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>‘Nyad’ opens in limited theaters on Oct. 20 and begins streaming on Netflix on Nov. 3.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s the rare role that could be said to be both shark and Oscar bait. Yet Bening’s performance has little vanity to it. Her Diana is obsessively single-minded to the point of unlikeable. When Diana hits the ocean, Bening turns into a ferociously forward-moving force who won’t let anything — not thunder storms, nor jelly fish stings — stop her in her quest. Just keep swimming? She’d leave Dory in the dust.\u003c/p>\n\u003cp>Diana also comes close to outswimming the people trying hardest to help her. Though the film is principally a showcase for Bening, it’s Foster’s supporting turn that lifts \u003cem>Nyad\u003c/em>. Foster is a rare screen presence these days, which only makes her warmth and ease all the more powerful here. \u003cem>Nyad\u003c/em> is balanced between Diana’s admirably insane ambition and Bonnie’s loyal (up to a point) support for her friend. In any case, it’s a reminder, like a pail of cold water, of just how good Foster can be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other supporting characters are along for the ride, too, most notably Rhys Ifans’ crusty sea-dog navigator John Bartlett. He’s a cliche but a darn likable one. Nyad has, herself, often been a brash and savvy self-promoter less likely to share the spotlight. It’s to the movie’s credit that it pushes back against its prickly protagonist at the same time it exalts her.\u003c/p>\n\u003cp>But \u003cem>Nyad\u003c/em> does accept Nyad’s ultimate accomplishment, even if some have disputed it. Her 2013 swim to the Florida Keys was never ratified by the World Open Water Swimming Assn., and fellow marathon swimmers have cast doubts on it. Nyad has forcefully maintained she completed the swim, without assistance. At times, \u003cem>Nyad\u003c/em> bends over backwards to depict Nyad as conscientious of the rules.\u003c/p>\n\u003cfigure id=\"attachment_13936757\" class=\"wp-caption aligncenter\" style=\"max-width: 1544px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM.png\" alt=\"An athletic looking tanned woman wearing a scruffy grey t-shirt and holding a drink smiles at an older woman with very short blonde hair who is wearing a tracksuit.\" width=\"1544\" height=\"1018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM.png 1544w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-800x527.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-768x506.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-11.32.55-AM-1536x1013.png 1536w\" sizes=\"(max-width: 1544px) 100vw, 1544px\">\u003cfigcaption class=\"wp-caption-text\">Jodie Foster and Annette Bening in a scene from ‘Nyad.’ \u003ccite>(Liz Parkinson/ Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vasarhelyi and Chin, in their narrative debut, mix in documentary footage throughout the film, smoothly transitioning from the non-fiction world they come from. They’re the filmmaking team behind documentary standouts like the Oscar-winning \u003cem>Free Solo\u003c/em> and the Thai cave chronicle \u003cem>The Rescue\u003c/em>.\u003c/p>\n\u003cp>Those films were excellent not just due to Vasarhelyi and Chin’s own filmmaking adventurousness but because of their firm grasp of the psychology of those who push themselves to physical extremes. \u003cem>Nyad\u003c/em> relies on flashbacks to Diana’s past — including an encounter with an unnamed swim coach Nyad said sexually assaulted her and others — to dig into what fuels her.\u003c/p>\n\u003cp>And just like Alex Honnold of \u003cem>Free Solo\u003c/em> and the British cave divers of \u003cem>The Rescue\u003c/em>, \u003cem>Nyad\u003c/em> convincingly argues that to accomplish something great — to really dream big — you may need a dose of delusion, 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>‘Nyad’ opens in limited theaters on Oct. 20 and begins streaming on Netflix on Nov. 3.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Britney Spears’ highly anticipated memoir \u003cem>The Woman in Me\u003c/em> will be released Tuesday, revealing the pop superstar’s personal take on events that have played out publicly in her decades as one of the most scrutinized figures in American life, along with private moments that she previously kept under wraps.\u003c/p>\n\u003cp>The book details her childhood and rise to stardom, along with her marriages, her nearly-14-year court conservatorship and even a brief mention of a July incident where she was hit in the face by security for NBA player Victor Wembanyama.\u003c/p>\n\u003cp>[aside postid='pop_111253']Much of \u003cem>The Woman in Me\u003c/em> focuses on the father and sons, the husbands and boyfriends, who have dominated her life, for better and for worse. Several chapters are devoted to her relationship with Justin Timberlake, including deeply personal details about a pregnancy, abortion and painful breakup. In others she chronicles her custody fight with ex-husband Kevin Federline, and how it fueled what was viewed as a public meltdown.\u003c/p>\n\u003cp>Spears speaks much less of recent events, making no mention of her pending divorce from Sam Asghari, whom she describes as holding her hand while she addressed a judge during a key hearing that freed her from court control in 2021.\u003c/p>\n\u003cp>In the opening dedication, she writes simply, “For my boys, who are the loves of my life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here are some of the details revealed in\u003cem> The Woman in Me\u003c/em>:\u003c/p>\n\u003ch2>The Timberlake years\u003c/h2>\n\u003cfigure id=\"attachment_13936732\" class=\"wp-caption aligncenter\" style=\"max-width: 1728px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-76235990.jpg\" alt=\"A young white man with short curly hair and a diamond stud in his ear sits with a young, tan blonde woman. She is smiling and resting her head on his shoulder. He is wearing a white sweater, she is wearing a low cut black top and choker.\" width=\"1728\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990.jpg 1728w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-1536x1024.jpg 1536w\" sizes=\"(max-width: 1728px) 100vw, 1728px\">\u003cfigcaption class=\"wp-caption-text\">Britney Spears and Justin Timberlake at the MTV VMAs in 2000. \u003ccite>(Kevin Mazur/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a period at the turn of the millennium, Spears and Timberlake were America’s it couple. As Spears writes, they were in love — but purity was a facade. “There were a couple of times during our relationship when I knew Justin had cheated on me. Especially because I was so infatuated and so in love, I let it go, even though the tabloids seemed determined to rub my face in it,” she writes.\u003c/p>\n\u003cp>Although Spears was painted in the press as the unfaithful one, she says she only stepped out on the relationship once, to kiss choreographer Wade Robson, confirming a long-speculated rumor.\u003c/p>\n\u003cp>She also writes of her pregnancy and Timberlake’s dismay, first reported in excerpts published by \u003cem>People\u003c/em> earlier this week.\u003c/p>\n\u003cp>“I’m sure people will hate me for this, but I agreed not to have the baby. Abortion was something I never could have imagined choosing for myself, but given the circumstances, that is what we did,” she writes.\u003c/p>\n\u003cp>They decided she would not go to a doctor or hospital: “It was important that no one find out about the pregnancy or the abortion, which meant doing everything at home,” she writes, adding that they didn’t tell her family.\u003c/p>\n\u003cp>She describes the physical pain of the medication abortion as “excruciating.”\u003c/p>\n\u003cp>“I kept crying and sobbing until it was all over,” she writes. “It took hours, and I don’t remember how it ended, but I do, twenty years later, remember the pain of it, and the fear.”\u003c/p>\n\u003ch2>Magical musical moments\u003c/h2>\n\u003cp>The song that launched Spears’ solo career, “…Baby One More Time” was directly inspired by Soft Cell’s “Tainted Love.” Spears was listening to it the night before she was going in to record with famed Swedish producer Max Martin (who Spears describes simply as “magic.”) She wanted to mimic the English synthpop duo’s sound, so she stayed up late, giving her voice the fried, raspy tone that would become iconic.\u003c/p>\n\u003cp>The concept for the music video, too, was her idea. Jive Records wanted her to “play a futuristic astronaut,” she writes. “I told the executives at the label that I thought people would want to see my friends and me sitting at school, bored, and then as soon as the bell rang, boom — we’d start dancing.”\u003c/p>\n\u003ch2>Heartbreak\u003c/h2>\n\u003cp>Spears says Timberlake broke up with her via text message while making his 2002 solo debut album, \u003cem>Justified\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_33345']“He started being very standoffish with me. I think that was because he’d decided to use me as ammunition for his record, and so it made it awkward for him to be around me staring at him with all that affection and devotion,” she writes.\u003c/p>\n\u003cp>In the period following the breakup, Spears became isolated, writing that she experienced ‘serious social anxiety.’\u003c/p>\n\u003cp>She found herself living in an apartment alone in New York for a few months, rarely leaving. (One of her few visitors? Madonna, who dreamt up their 2003 kiss at the MTV Video Music Awards as a reclamation of personal autonomy.)\u003c/p>\n\u003cp>Not long after, Spears felt pressured by her father to do what would become an infamous interview with Diane Sawyer, in which the host pushed her to explain what she did to Justin Timberlake to cause him “so much pain.”\u003c/p>\n\u003cp>“I felt like I had been exploited,” she writes, “set up in front of the whole world.”\u003c/p>\n\u003cp>Representatives for Timberlake did not respond to messages seeking comment.\u003c/p>\n\u003ch2>Motherhood and mental health struggles\u003c/h2>\n\u003cfigure id=\"attachment_13936733\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848.jpg\" alt=\"A laughing young woman wearing a green sweater and an blue LA baseball cap embraces two young boys. The children are wearing LA Dodgers jerseys and baseball caps.\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Spears poses with sons Sean Preston Federline (L) and Jayden James Federline (R) at Dodger Stadium in 2013. \u003ccite>(Jon SooHoo/ LA Dodgers via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2004, Spears married dancer Kevin Federline and they had two sons together. After the children were born, she says she suffered from perinatal depression, displaying symptoms of sadness, anxiety and fatigue.\u003c/p>\n\u003cp>“Being a new mom is challenge enough without trying to do everything under a microscope,” she writes. “With Kevin away so much, no one was around to see me spiral—except every paparazzo in America.”\u003c/p>\n\u003cp>The couple divorced in 2007.\u003c/p>\n\u003ch2>A custody standoff\u003c/h2>\n\u003cp>Spears describes what she calls a “SWAT team” bursting into a bathroom where she was holding 16-month-old son Jayden, instead of returning him to Federline as required. The moment in January 2008 led to her being hospitalized on a 72-hour psychiatric hold and was a major factor in the establishment of a court conservatorship that took over her life.\u003c/p>\n\u003cp>[aside postid='arts_13903795']She said that amid a custody battle, she felt that Federline and his lawyers were keeping her kids from her for longer and longer stretches. She had already put 2-year-old Sean Preston in the car of a security guard who had come to get him when she became “terrified that I wouldn’t get the kids again if I gave them back.”\u003c/p>\n\u003cp>That’s when she fled to the bathroom.\u003c/p>\n\u003cp>“I just couldn’t let him go. I didn’t want anyone taking my baby,” she writes. “Before I knew what was happening, a SWAT team in black suits burst through the bathroom door as if I’d hurt someone.”\u003c/p>\n\u003cp>An attorney for Federline did not immediately respond to an email seeking comment.\u003c/p>\n\u003ch2>The shaved head\u003c/h2>\n\u003cp>Other moments in her slide toward the conservatorship were anything but private, and Spears gives her take with a degree of emotion previously kept in check by those surrounding her.\u003c/p>\n\u003cp>She says she shaved her own head at a Los Angeles salon as an act of rebellion against the media, the paparazzi, and her family, who expected her to behave like a pretty and proper pop star even though she was “out of my mind with grief” over the custody battle.\u003c/p>\n\u003cp>“Shaving my head was a way of saying to the world: F—- you,” she writes.”\u003c/p>\n\u003cp>A few days later at a gas station, she attacked the car of a photographer with an umbrella.\u003c/p>\n\u003cp>She writes the man would not stop taunting her and asking her “terrible” questions, including how it felt not seeing her kids, as he smirked, at “one of the worst moments in my whole life.” She says he was clearly trying to provoke a reaction, and to her regret she gave him one.\u003c/p>\n\u003cp>“You can’t even do any damage with an umbrella,” she says. “It was a desperate move by a desperate person.”\u003c/p>\n\u003ch2>Her father takes control\u003c/h2>\n\u003cp>When the court established the conservatorship in February of 2008, Spears said her father, with the power of law behind him, established absolute control over her life decisions and finances, at one point even telling her, “I’m Britney Spears now.”\u003c/p>\n\u003cp>[aside postid='arts_13901695']Spears says he forced her to break up with the photographer she had been dating, and subjected anyone else she wanted to date to extensive background checks. She said he persistently told her she looked fat, and put the staff that surrounded her on strict instructions not to allow her any unapproved food.\u003c/p>\n\u003cp>But she said she felt that from the start, the arrangement existed so that he could pay himself handsomely, while her allowance left her hardly able to buy dinner for her dancers.\u003c/p>\n\u003cp>“He’s always been all about the money,” she writes.\u003c/p>\n\u003cp>An attorney for Spears’ father declined comment. But James Spears has said in multiple court filings that he only ever acted in her best interest.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Woman in Me’ is released on Oct. 24, via Gallery Books.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13936731\" class=\"wp-caption aligncenter\" style=\"max-width: 692px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM.png\" alt=\"A book cover featuring a black and white photo of a young blonde woman standing in profile, topless, with her arms folded across her chest. Her face is pensive.\" width=\"692\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM.png 692w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM-160x251.png 160w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">‘The Woman in Me’ by Britney Spears. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Britney Spears’ highly anticipated memoir \u003cem>The Woman in Me\u003c/em> will be released Tuesday, revealing the pop superstar’s personal take on events that have played out publicly in her decades as one of the most scrutinized figures in American life, along with private moments that she previously kept under wraps.\u003c/p>\n\u003cp>The book details her childhood and rise to stardom, along with her marriages, her nearly-14-year court conservatorship and even a brief mention of a July incident where she was hit in the face by security for NBA player Victor Wembanyama.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Much of \u003cem>The Woman in Me\u003c/em> focuses on the father and sons, the husbands and boyfriends, who have dominated her life, for better and for worse. Several chapters are devoted to her relationship with Justin Timberlake, including deeply personal details about a pregnancy, abortion and painful breakup. In others she chronicles her custody fight with ex-husband Kevin Federline, and how it fueled what was viewed as a public meltdown.\u003c/p>\n\u003cp>Spears speaks much less of recent events, making no mention of her pending divorce from Sam Asghari, whom she describes as holding her hand while she addressed a judge during a key hearing that freed her from court control in 2021.\u003c/p>\n\u003cp>In the opening dedication, she writes simply, “For my boys, who are the loves of my life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here are some of the details revealed in\u003cem> The Woman in Me\u003c/em>:\u003c/p>\n\u003ch2>The Timberlake years\u003c/h2>\n\u003cfigure id=\"attachment_13936732\" class=\"wp-caption aligncenter\" style=\"max-width: 1728px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-76235990.jpg\" alt=\"A young white man with short curly hair and a diamond stud in his ear sits with a young, tan blonde woman. She is smiling and resting her head on his shoulder. He is wearing a white sweater, she is wearing a low cut black top and choker.\" width=\"1728\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990.jpg 1728w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-1536x1024.jpg 1536w\" sizes=\"(max-width: 1728px) 100vw, 1728px\">\u003cfigcaption class=\"wp-caption-text\">Britney Spears and Justin Timberlake at the MTV VMAs in 2000. \u003ccite>(Kevin Mazur/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a period at the turn of the millennium, Spears and Timberlake were America’s it couple. As Spears writes, they were in love — but purity was a facade. “There were a couple of times during our relationship when I knew Justin had cheated on me. Especially because I was so infatuated and so in love, I let it go, even though the tabloids seemed determined to rub my face in it,” she writes.\u003c/p>\n\u003cp>Although Spears was painted in the press as the unfaithful one, she says she only stepped out on the relationship once, to kiss choreographer Wade Robson, confirming a long-speculated rumor.\u003c/p>\n\u003cp>She also writes of her pregnancy and Timberlake’s dismay, first reported in excerpts published by \u003cem>People\u003c/em> earlier this week.\u003c/p>\n\u003cp>“I’m sure people will hate me for this, but I agreed not to have the baby. Abortion was something I never could have imagined choosing for myself, but given the circumstances, that is what we did,” she writes.\u003c/p>\n\u003cp>They decided she would not go to a doctor or hospital: “It was important that no one find out about the pregnancy or the abortion, which meant doing everything at home,” she writes, adding that they didn’t tell her family.\u003c/p>\n\u003cp>She describes the physical pain of the medication abortion as “excruciating.”\u003c/p>\n\u003cp>“I kept crying and sobbing until it was all over,” she writes. “It took hours, and I don’t remember how it ended, but I do, twenty years later, remember the pain of it, and the fear.”\u003c/p>\n\u003ch2>Magical musical moments\u003c/h2>\n\u003cp>The song that launched Spears’ solo career, “…Baby One More Time” was directly inspired by Soft Cell’s “Tainted Love.” Spears was listening to it the night before she was going in to record with famed Swedish producer Max Martin (who Spears describes simply as “magic.”) She wanted to mimic the English synthpop duo’s sound, so she stayed up late, giving her voice the fried, raspy tone that would become iconic.\u003c/p>\n\u003cp>The concept for the music video, too, was her idea. Jive Records wanted her to “play a futuristic astronaut,” she writes. “I told the executives at the label that I thought people would want to see my friends and me sitting at school, bored, and then as soon as the bell rang, boom — we’d start dancing.”\u003c/p>\n\u003ch2>Heartbreak\u003c/h2>\n\u003cp>Spears says Timberlake broke up with her via text message while making his 2002 solo debut album, \u003cem>Justified\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“He started being very standoffish with me. I think that was because he’d decided to use me as ammunition for his record, and so it made it awkward for him to be around me staring at him with all that affection and devotion,” she writes.\u003c/p>\n\u003cp>In the period following the breakup, Spears became isolated, writing that she experienced ‘serious social anxiety.’\u003c/p>\n\u003cp>She found herself living in an apartment alone in New York for a few months, rarely leaving. (One of her few visitors? Madonna, who dreamt up their 2003 kiss at the MTV Video Music Awards as a reclamation of personal autonomy.)\u003c/p>\n\u003cp>Not long after, Spears felt pressured by her father to do what would become an infamous interview with Diane Sawyer, in which the host pushed her to explain what she did to Justin Timberlake to cause him “so much pain.”\u003c/p>\n\u003cp>“I felt like I had been exploited,” she writes, “set up in front of the whole world.”\u003c/p>\n\u003cp>Representatives for Timberlake did not respond to messages seeking comment.\u003c/p>\n\u003ch2>Motherhood and mental health struggles\u003c/h2>\n\u003cfigure id=\"attachment_13936733\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848.jpg\" alt=\"A laughing young woman wearing a green sweater and an blue LA baseball cap embraces two young boys. The children are wearing LA Dodgers jerseys and baseball caps.\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Spears poses with sons Sean Preston Federline (L) and Jayden James Federline (R) at Dodger Stadium in 2013. \u003ccite>(Jon SooHoo/ LA Dodgers via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2004, Spears married dancer Kevin Federline and they had two sons together. After the children were born, she says she suffered from perinatal depression, displaying symptoms of sadness, anxiety and fatigue.\u003c/p>\n\u003cp>“Being a new mom is challenge enough without trying to do everything under a microscope,” she writes. “With Kevin away so much, no one was around to see me spiral—except every paparazzo in America.”\u003c/p>\n\u003cp>The couple divorced in 2007.\u003c/p>\n\u003ch2>A custody standoff\u003c/h2>\n\u003cp>Spears describes what she calls a “SWAT team” bursting into a bathroom where she was holding 16-month-old son Jayden, instead of returning him to Federline as required. The moment in January 2008 led to her being hospitalized on a 72-hour psychiatric hold and was a major factor in the establishment of a court conservatorship that took over her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She said that amid a custody battle, she felt that Federline and his lawyers were keeping her kids from her for longer and longer stretches. She had already put 2-year-old Sean Preston in the car of a security guard who had come to get him when she became “terrified that I wouldn’t get the kids again if I gave them back.”\u003c/p>\n\u003cp>That’s when she fled to the bathroom.\u003c/p>\n\u003cp>“I just couldn’t let him go. I didn’t want anyone taking my baby,” she writes. “Before I knew what was happening, a SWAT team in black suits burst through the bathroom door as if I’d hurt someone.”\u003c/p>\n\u003cp>An attorney for Federline did not immediately respond to an email seeking comment.\u003c/p>\n\u003ch2>The shaved head\u003c/h2>\n\u003cp>Other moments in her slide toward the conservatorship were anything but private, and Spears gives her take with a degree of emotion previously kept in check by those surrounding her.\u003c/p>\n\u003cp>She says she shaved her own head at a Los Angeles salon as an act of rebellion against the media, the paparazzi, and her family, who expected her to behave like a pretty and proper pop star even though she was “out of my mind with grief” over the custody battle.\u003c/p>\n\u003cp>“Shaving my head was a way of saying to the world: F—- you,” she writes.”\u003c/p>\n\u003cp>A few days later at a gas station, she attacked the car of a photographer with an umbrella.\u003c/p>\n\u003cp>She writes the man would not stop taunting her and asking her “terrible” questions, including how it felt not seeing her kids, as he smirked, at “one of the worst moments in my whole life.” She says he was clearly trying to provoke a reaction, and to her regret she gave him one.\u003c/p>\n\u003cp>“You can’t even do any damage with an umbrella,” she says. “It was a desperate move by a desperate person.”\u003c/p>\n\u003ch2>Her father takes control\u003c/h2>\n\u003cp>When the court established the conservatorship in February of 2008, Spears said her father, with the power of law behind him, established absolute control over her life decisions and finances, at one point even telling her, “I’m Britney Spears now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Spears says he forced her to break up with the photographer she had been dating, and subjected anyone else she wanted to date to extensive background checks. She said he persistently told her she looked fat, and put the staff that surrounded her on strict instructions not to allow her any unapproved food.\u003c/p>\n\u003cp>But she said she felt that from the start, the arrangement existed so that he could pay himself handsomely, while her allowance left her hardly able to buy dinner for her dancers.\u003c/p>\n\u003cp>“He’s always been all about the money,” she writes.\u003c/p>\n\u003cp>An attorney for Spears’ father declined comment. But James Spears has said in multiple court filings that he only ever acted in her best interest.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Woman in Me’ is released on Oct. 24, via Gallery Books.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13936731\" class=\"wp-caption aligncenter\" style=\"max-width: 692px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM.png\" alt=\"A book cover featuring a black and white photo of a young blonde woman standing in profile, topless, with her arms folded across her chest. Her face is pensive.\" width=\"692\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM.png 692w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM-160x251.png 160w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">‘The Woman in Me’ by Britney Spears. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "‘Living for the Dead’ Is the LGBT Ghost-Hunting Show We Didn’t Know We Needed",
"headTitle": "‘Living for the Dead’ Is the LGBT Ghost-Hunting Show We Didn’t Know We Needed | KQED",
"content": "\u003cfigure id=\"attachment_13936651\" class=\"wp-caption aligncenter\" style=\"max-width: 1940px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936651\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/alex-lemay.png\" alt=\"A young white woman with long blonde hair, black cat-eye eyeliner and gold septum nose piercing looks over her shoulder towards the rear of the vehicle she's in.\" width=\"1940\" height=\"1248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay.png 1940w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay-800x515.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay-1536x988.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/alex-lemay-1920x1235.png 1920w\" sizes=\"(max-width: 1940px) 100vw, 1940px\">\u003cfigcaption class=\"wp-caption-text\">Paranormal investigator Alex LeMay. If this face doesn’t get you interested in talking to dead people, nothing will.\u003c/figcaption>\u003c/figure>\n\u003cp>I’ll admit it: Back when it first premiered on Syfy in 2004, I used to watch \u003cem>Ghost Hunters\u003c/em> quite religiously. I will also admit that the reason for that is because I grew up in what I would consider an extremely \u003ca href=\"https://www.kqed.org/arts/13881990/the-haunted-house-on-lombard-street-that-left-a-trail-of-tragedy\">haunted house\u003c/a>, with parents who steadfastly refused to admit anything paranormal was happening.\u003c/p>\n\u003cp>I get it. Most people feel embarrassed to admit such things exist. But it sucked to have to argue about it nonetheless.\u003c/p>\n\u003cp>[aside postid='arts_13904911']My initial interest in \u003cem>Ghost Hunters\u003c/em>, then, sprang from the idea that folks could gather tangible proof of the paranormal — be it video footage, photos, voice recordings, or light and sound interactions — and treat it like science instead of superstition. Where the series quickly lost me was in its inescapably bro-y tone. Much of the show’s crew had zero qualms about going into properties where people were experiencing spiritual disturbances and yelling obscenities until something — anything! — happened. (Why you trying to start a fight with dead guys, my dudes?) It did not help that the slew of copycat shows that followed in \u003cem>Ghost Hunters’\u003c/em> wake picked up that Angry Man Yelling cue and ran amok with it. (Exhibit A — *sigh* — \u003cem>Ghost Adventures\u003c/em>.)\u003c/p>\n\u003cp>Well, it’s taken almost 20 years, but some genius at Hulu just finally figured out that TV ghost hunting would be a lot more fun if a bunch of queer psychic people did it. And guess what? It is! The five castmates of new reality show \u003cem>Living for the Dead\u003c/em> use all of that specialty equipment the bro ghost hunters use, in combination with their own unique third-eye-related talents.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y15RhMymDxo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So, who’s on this team of glam, gay ghostbusters? Let’s start with delightful psychic medium Logan Taylor, who’s one-part Tyler Henry, one-part Long Island Medium. Quick-witted and wry Roz Hernandez researches locations, but her primary role here seems to be humor-relief. Then there’s witch and spiritual healer Juju Bae, who’s a much-needed calming presence, not to mention a reliable problem-solver. Finally, there’s tough-but-sweet tech expert and empath Alex LeMay and tarot reader Ken Boggle. Oh, and I should probably mention that voiceovers are provided at the open and close of each episode by (*checks notes*) executive producer Kristen Stewart. (You heard me! If the investigators are the angels, Stewart is the Charlie.)\u003c/p>\n\u003cp>[aside postid='arts_13936524']The intrepid team travels across the country in their trusty little camper van, exploring public and private locations, doing all the things regular ghost-hunting shows do, just with a little bit — OK, a lot — more flavor. (And also drinking. These clairvoyants love a cocktail.) Not only does their range of personalities make for a better-rounded ghost show, it also makes for a much funnier one. These investigations are awash with quips. (“I felt a tug at my tail… which normally I’d be for,” “I hear gay people,” and “I did say I wanted to feel something from a man in Vegas…” are pure joy within a ghost-hunting context.)\u003c/p>\n\u003cp>\u003cem>Living for the Dead\u003c/em> also benefits from a team that has a much more thoughtful approach to this work than the shows we’ve seen like it before. For example, when this crew gets messages from the other side asking them to leave a room, they simply acknowledge it, get up and leave. (Imagine that, \u003cem>Ghost Adventure\u003c/em> dudes!)\u003c/p>\n\u003cfigure id=\"attachment_13936652\" class=\"wp-caption aligncenter\" style=\"max-width: 2314px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/queer-seance.png\" alt=\"A group of five men and women sit around a wooden dining table lit only with many white candles.\" width=\"2314\" height=\"1406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance.png 2314w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-800x486.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-1020x620.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-768x467.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-1536x933.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-2048x1244.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-1920x1167.png 1920w\" sizes=\"(max-width: 2314px) 100vw, 2314px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Juju, Logan, Ken, Roz and Alex conducting a very gentle seance in an Arizona mansion. And yes, the chandelier is moving. \u003ccite>(Hulu/ ‘Living for the Dead’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003cem>Living for the Dead\u003c/em> team is mostly great, but not always perfect. Early on, many of them are far too willing to jump to “demon” and “non-human entity” as explanations for unpleasant activity at properties. Boggle, particularly in the first few episodes, seems a little too overwrought and dramatic for the work at hand. Thankfully, everyone calms down a bit and the team chemistry really comes together later in the series. The episode set in Las Vegas’ Palamino strip club is particular stellar.\u003c/p>\n\u003cp>[aside postid='arts_13935838']If the reasoning for assembling a specifically queer group of paranormal experts for this series seems flimsy, that’s because it is. Kristen Stewart says she based the idea for \u003cem>Living for the Dead\u003c/em> on nothing more than a goofy idea her friend and fellow producer CJ Romero came up with. It was the creators of \u003cem>Queer Eye\u003c/em> (oh, but of course!) who ultimately helped K-Stew bring it to life.\u003c/p>\n\u003cp>If you’re a skeptic, it’s unlikely that \u003cem>Living for the Dead\u003c/em> will make you a believer. The series is also not going to be to everyone’s taste. But consider this: One of the reasons \u003cem>Ghost Hunters\u003c/em> was so popular in the first place was because it had a bunch of regular, suburban Joes doing the investigations. For those of us who’ve longed to see the supernatural explored by folks that we could better relate to (queers, weirdos, hot goths and trans women who make chlamydia jokes when things get too dark), \u003cem>Living for the Dead\u003c/em> is a total winner.\u003c/p>\n\u003cp>And if I were a ghost? Well, I know for sure which cast I’d rather have wandering into my bedroom in the middle of the night.\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>Season 1 of ‘Living for the Dead’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So, who’s on this team of glam, gay ghostbusters? Let’s start with delightful psychic medium Logan Taylor, who’s one-part Tyler Henry, one-part Long Island Medium. Quick-witted and wry Roz Hernandez researches locations, but her primary role here seems to be humor-relief. Then there’s witch and spiritual healer Juju Bae, who’s a much-needed calming presence, not to mention a reliable problem-solver. Finally, there’s tough-but-sweet tech expert and empath Alex LeMay and tarot reader Ken Boggle. Oh, and I should probably mention that voiceovers are provided at the open and close of each episode by (*checks notes*) executive producer Kristen Stewart. (You heard me! If the investigators are the angels, Stewart is the Charlie.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The intrepid team travels across the country in their trusty little camper van, exploring public and private locations, doing all the things regular ghost-hunting shows do, just with a little bit — OK, a lot — more flavor. (And also drinking. These clairvoyants love a cocktail.) Not only does their range of personalities make for a better-rounded ghost show, it also makes for a much funnier one. These investigations are awash with quips. (“I felt a tug at my tail… which normally I’d be for,” “I hear gay people,” and “I did say I wanted to feel something from a man in Vegas…” are pure joy within a ghost-hunting context.)\u003c/p>\n\u003cp>\u003cem>Living for the Dead\u003c/em> also benefits from a team that has a much more thoughtful approach to this work than the shows we’ve seen like it before. For example, when this crew gets messages from the other side asking them to leave a room, they simply acknowledge it, get up and leave. (Imagine that, \u003cem>Ghost Adventure\u003c/em> dudes!)\u003c/p>\n\u003cfigure id=\"attachment_13936652\" class=\"wp-caption aligncenter\" style=\"max-width: 2314px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/queer-seance.png\" alt=\"A group of five men and women sit around a wooden dining table lit only with many white candles.\" width=\"2314\" height=\"1406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance.png 2314w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-800x486.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-1020x620.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-768x467.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-1536x933.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-2048x1244.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/queer-seance-1920x1167.png 1920w\" sizes=\"(max-width: 2314px) 100vw, 2314px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Juju, Logan, Ken, Roz and Alex conducting a very gentle seance in an Arizona mansion. And yes, the chandelier is moving. \u003ccite>(Hulu/ ‘Living for the Dead’)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003cem>Living for the Dead\u003c/em> team is mostly great, but not always perfect. Early on, many of them are far too willing to jump to “demon” and “non-human entity” as explanations for unpleasant activity at properties. Boggle, particularly in the first few episodes, seems a little too overwrought and dramatic for the work at hand. Thankfully, everyone calms down a bit and the team chemistry really comes together later in the series. The episode set in Las Vegas’ Palamino strip club is particular stellar.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If the reasoning for assembling a specifically queer group of paranormal experts for this series seems flimsy, that’s because it is. Kristen Stewart says she based the idea for \u003cem>Living for the Dead\u003c/em> on nothing more than a goofy idea her friend and fellow producer CJ Romero came up with. It was the creators of \u003cem>Queer Eye\u003c/em> (oh, but of course!) who ultimately helped K-Stew bring it to life.\u003c/p>\n\u003cp>If you’re a skeptic, it’s unlikely that \u003cem>Living for the Dead\u003c/em> will make you a believer. The series is also not going to be to everyone’s taste. But consider this: One of the reasons \u003cem>Ghost Hunters\u003c/em> was so popular in the first place was because it had a bunch of regular, suburban Joes doing the investigations. For those of us who’ve longed to see the supernatural explored by folks that we could better relate to (queers, weirdos, hot goths and trans women who make chlamydia jokes when things get too dark), \u003cem>Living for the Dead\u003c/em> is a total winner.\u003c/p>\n\u003cp>And if I were a ghost? Well, I know for sure which cast I’d rather have wandering into my bedroom in the middle of the night.\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>Season 1 of ‘Living for the Dead’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Scorsese’s ‘Killers of the Flower Moon’ is a Sweeping Tale of Greed, Richly Told",
"headTitle": "Scorsese’s ‘Killers of the Flower Moon’ is a Sweeping Tale of Greed, Richly Told | KQED",
"content": "\u003cp>There tends to be lots of fast talking and fast moving in Martin Scorsese films, often from shifty types trying to get away with something. Or sometimes, simply because the master filmmaker has so much to pack in.\u003c/p>\n\u003cp>[aside postid='arts_13935897']But in \u003cem>Killers of the Flower Moon\u003c/em>, everything seems to slow down, and especially when the camera lands on Lily Gladstone. As Mollie, the Osage woman at the heart of this sprawling, real-life tale of greed and treachery on a scale both broad and intimate, Gladstone is the quiet, powerful center — taking her time, letting her eyes do the work, and unafraid of silence.\u003c/p>\n\u003cp>It’s a beautifully cadenced performance, all the more impressive because Gladstone’s sharing the screen with two of our most celebrated actors. Leonardo DiCaprio and Robert De Niro both turn in superb work for their legendary director, appearing together for the first time in 30 years. But Gladstone, in the rare Scorsese film that gives center stage to a female character, is the emotional core here, and it’s her face that stays etched in our memory.\u003c/p>\n\u003cfigure id=\"attachment_13936630\" class=\"wp-caption aligncenter\" style=\"max-width: 1362px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936630\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM.png\" alt=\"An Indigenous woman wearing traditional textiles sits next to a white man in a suit at a dining table. They are inside a dimly lit house.\" width=\"1362\" height=\"886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM.png 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-1020x664.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-768x500.png 768w\" sizes=\"(max-width: 1362px) 100vw, 1362px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone and Leonardo DiCaprio in a scene from ‘Killers of the Flower Moon.’ \u003ccite>(Melinda Sue Gordon/ Apple TV+ via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Based on David Grann’s gripping whodunit set among the Osage in 1920s Oklahoma, \u003cem>Killers\u003c/em> is a departure in other ways for the 80-year-old filmmaker. It’s his first Western, a genre he’s long wanted to explore — albeit a uniquely Scorsese Western, with an upended world of heroes and villains. And in telling this Osage story, he focuses on a people he’s never depicted before, deeply mindful of honoring their experience and their rituals, beliefs and customs.\u003c/p>\n\u003cp>It surely won’t surprise anyone that Scorsese brings his full wealth of artistic resources to this endeavor, along with his brilliant cinematographer, Rodrigo Prieto, and inspired production designer, Jack Fisk. Together, on location in Oklahoma, they’ve created an oil boomtown astonishing in its precision, detail and spirit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It may also not surprise anyone that Scorsese has taken three and a half hours (albeit three minutes less than \u003cem>The Irishman\u003c/em>) to tell his tale. This may be a source of debate, but it’s hard to argue that a story this hefty — a chronicle of a dark chapter in American history and a shocking true crime tale, all framed in a fraught love story — doesn’t deserve the length, considering the craft in every shot. And with some scenes — a boisterous prairie wedding, or a dance on a boomtown main drag — you feel you could have stayed longer still.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EP34Yoxs3FQ\u003c/p>\n\u003cp>We begin with a late 19th-century ceremony, one of many portrayals of Osage spiritual life. Then, in a memorable image, there’s a whoosh from underground: Oil, spurting from land that was supposed to be worthless.\u003c/p>\n\u003cp>[aside postid='arts_13936363']Thanks to this discovery, we learn in a terrific prologue using silent-movie title cards, the Osage become enormously wealthy. But they’re deemed “incompetent” and appointed white “guardians” who control their assets. This is how we meet Mollie, asking for her own money to pay medical bills.\u003c/p>\n\u003cp>Meanwhile, Ernest Burkhart (DiCaprio) steps off the train, a World War I vet with a taste for women and finer things, but no money, or talent to speak of. Perhaps his uncle can help. William Hale (De Niro) is a cattle rancher but more like a king around these parts — indeed, King’s his nickname — a white man who speaks the Osage language and calls himself their best friend.\u003c/p>\n\u003cp>But it’s clear from the get-go Hale has sinister motives, and De Niro’s just the guy to ooze sinister from every pore as this Godfather-like figure (he commits crimes, and they’re organized). Scorsese and co-writer Eric Roth depart here from Grann’s book, which holds us in suspense as to Hale’s motives. He wants Osage money, and tells Ernest that if he woos and marries Mollie — well, even less-than-brilliant Ernest can do the math.\u003c/p>\n\u003cfigure id=\"attachment_13936631\" class=\"wp-caption aligncenter\" style=\"max-width: 1388px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM.png\" alt=\"An older white man sitting in the passenger seat of a very early model of car taps the arm of a concerned looking younger white man wearing a cowboy hat and woven coat. \" width=\"1388\" height=\"926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM.png 1388w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-768x512.png 768w\" sizes=\"(max-width: 1388px) 100vw, 1388px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro and Leonardo DiCaprio in a scene from ‘Killers of the Flower Moon.’ \u003ccite>(Melinda Sue Gordon/ Apple TV+ via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So can Mollie. Trusting but hardly naive, she knows Ernest covets her wealth, but there’s growing affection between the two, and their marriage, gorgeously rendered, is a happy occasion.\u003c/p>\n\u003cp>But then the Osage start dying, one by one, in suspicious ways — including, eventually, Mollie’s sisters and mother. As for Ernest, he’s no angel, spending time robbing and gambling. But is he doing more? DiCaprio’s mouth settles into a tortured frown as he becomes increasingly torn between marital loyalty and fealty to his venal uncle.\u003c/p>\n\u003cp>Finally, federal agent Tom White (Jesse Plemons, perfectly cast) shows up, working for J. Edgar Hoover in what became the FBI. (It’s White who figured most prominently in Grann’s book, and indeed DiCaprio was once slated to play him.) This last act finds its way to a crackling courtroom scene perhaps only Scorsese could bring together: jittery DiCaprio and menacing De Niro, joined by a bombastic Brendan Fraser and a sputtering John Lithgow.\u003c/p>\n\u003cp>[aside postid='arts_13924870']Indeed, the vast supporting cast includes countless faces you may recognize, as well as cameos of a number of musicians, and dozens of Osage actors in key parts. Scorsese’s late friend Robbie Robertson wrote the memorable score.\u003c/p>\n\u003cp>We won’t spoil the ingenious epilogue in which Scorsese ties up the loose narrative ends — with another significant cameo. But the fact that this epilogue comes after, oh, 200 minutes of expertly sustained tension is just another sign that in the latter years of his career, Scorsese is upping the ante — in terms of scale, yes, but also ambition.\u003c/p>\n\u003cp>He has called his work an offering to the Osage, and to other Native peoples. It also feels like an offering to those who love cinema, allowing us to watch a master of the craft continue to force himself, unlikely as it seems, to stretch and learn. May he keep stretching — himself, and us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Killers of the Flower Moon’ is out nationwide on Oct. 20, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There tends to be lots of fast talking and fast moving in Martin Scorsese films, often from shifty types trying to get away with something. Or sometimes, simply because the master filmmaker has so much to pack in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But in \u003cem>Killers of the Flower Moon\u003c/em>, everything seems to slow down, and especially when the camera lands on Lily Gladstone. As Mollie, the Osage woman at the heart of this sprawling, real-life tale of greed and treachery on a scale both broad and intimate, Gladstone is the quiet, powerful center — taking her time, letting her eyes do the work, and unafraid of silence.\u003c/p>\n\u003cp>It’s a beautifully cadenced performance, all the more impressive because Gladstone’s sharing the screen with two of our most celebrated actors. Leonardo DiCaprio and Robert De Niro both turn in superb work for their legendary director, appearing together for the first time in 30 years. But Gladstone, in the rare Scorsese film that gives center stage to a female character, is the emotional core here, and it’s her face that stays etched in our memory.\u003c/p>\n\u003cfigure id=\"attachment_13936630\" class=\"wp-caption aligncenter\" style=\"max-width: 1362px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936630\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM.png\" alt=\"An Indigenous woman wearing traditional textiles sits next to a white man in a suit at a dining table. They are inside a dimly lit house.\" width=\"1362\" height=\"886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM.png 1362w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-1020x664.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-10.58.13-AM-768x500.png 768w\" sizes=\"(max-width: 1362px) 100vw, 1362px\">\u003cfigcaption class=\"wp-caption-text\">Lily Gladstone and Leonardo DiCaprio in a scene from ‘Killers of the Flower Moon.’ \u003ccite>(Melinda Sue Gordon/ Apple TV+ via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Based on David Grann’s gripping whodunit set among the Osage in 1920s Oklahoma, \u003cem>Killers\u003c/em> is a departure in other ways for the 80-year-old filmmaker. It’s his first Western, a genre he’s long wanted to explore — albeit a uniquely Scorsese Western, with an upended world of heroes and villains. And in telling this Osage story, he focuses on a people he’s never depicted before, deeply mindful of honoring their experience and their rituals, beliefs and customs.\u003c/p>\n\u003cp>It surely won’t surprise anyone that Scorsese brings his full wealth of artistic resources to this endeavor, along with his brilliant cinematographer, Rodrigo Prieto, and inspired production designer, Jack Fisk. Together, on location in Oklahoma, they’ve created an oil boomtown astonishing in its precision, detail and spirit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It may also not surprise anyone that Scorsese has taken three and a half hours (albeit three minutes less than \u003cem>The Irishman\u003c/em>) to tell his tale. This may be a source of debate, but it’s hard to argue that a story this hefty — a chronicle of a dark chapter in American history and a shocking true crime tale, all framed in a fraught love story — doesn’t deserve the length, considering the craft in every shot. And with some scenes — a boisterous prairie wedding, or a dance on a boomtown main drag — you feel you could have stayed longer still.\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/EP34Yoxs3FQ'\n title='//www.youtube.com/embed/EP34Yoxs3FQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We begin with a late 19th-century ceremony, one of many portrayals of Osage spiritual life. Then, in a memorable image, there’s a whoosh from underground: Oil, spurting from land that was supposed to be worthless.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Thanks to this discovery, we learn in a terrific prologue using silent-movie title cards, the Osage become enormously wealthy. But they’re deemed “incompetent” and appointed white “guardians” who control their assets. This is how we meet Mollie, asking for her own money to pay medical bills.\u003c/p>\n\u003cp>Meanwhile, Ernest Burkhart (DiCaprio) steps off the train, a World War I vet with a taste for women and finer things, but no money, or talent to speak of. Perhaps his uncle can help. William Hale (De Niro) is a cattle rancher but more like a king around these parts — indeed, King’s his nickname — a white man who speaks the Osage language and calls himself their best friend.\u003c/p>\n\u003cp>But it’s clear from the get-go Hale has sinister motives, and De Niro’s just the guy to ooze sinister from every pore as this Godfather-like figure (he commits crimes, and they’re organized). Scorsese and co-writer Eric Roth depart here from Grann’s book, which holds us in suspense as to Hale’s motives. He wants Osage money, and tells Ernest that if he woos and marries Mollie — well, even less-than-brilliant Ernest can do the math.\u003c/p>\n\u003cfigure id=\"attachment_13936631\" class=\"wp-caption aligncenter\" style=\"max-width: 1388px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM.png\" alt=\"An older white man sitting in the passenger seat of a very early model of car taps the arm of a concerned looking younger white man wearing a cowboy hat and woven coat. \" width=\"1388\" height=\"926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM.png 1388w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-18-at-11.04.08-AM-768x512.png 768w\" sizes=\"(max-width: 1388px) 100vw, 1388px\">\u003cfigcaption class=\"wp-caption-text\">Robert De Niro and Leonardo DiCaprio in a scene from ‘Killers of the Flower Moon.’ \u003ccite>(Melinda Sue Gordon/ Apple TV+ via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So can Mollie. Trusting but hardly naive, she knows Ernest covets her wealth, but there’s growing affection between the two, and their marriage, gorgeously rendered, is a happy occasion.\u003c/p>\n\u003cp>But then the Osage start dying, one by one, in suspicious ways — including, eventually, Mollie’s sisters and mother. As for Ernest, he’s no angel, spending time robbing and gambling. But is he doing more? DiCaprio’s mouth settles into a tortured frown as he becomes increasingly torn between marital loyalty and fealty to his venal uncle.\u003c/p>\n\u003cp>Finally, federal agent Tom White (Jesse Plemons, perfectly cast) shows up, working for J. Edgar Hoover in what became the FBI. (It’s White who figured most prominently in Grann’s book, and indeed DiCaprio was once slated to play him.) This last act finds its way to a crackling courtroom scene perhaps only Scorsese could bring together: jittery DiCaprio and menacing De Niro, joined by a bombastic Brendan Fraser and a sputtering John Lithgow.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Indeed, the vast supporting cast includes countless faces you may recognize, as well as cameos of a number of musicians, and dozens of Osage actors in key parts. Scorsese’s late friend Robbie Robertson wrote the memorable score.\u003c/p>\n\u003cp>We won’t spoil the ingenious epilogue in which Scorsese ties up the loose narrative ends — with another significant cameo. But the fact that this epilogue comes after, oh, 200 minutes of expertly sustained tension is just another sign that in the latter years of his career, Scorsese is upping the ante — in terms of scale, yes, but also ambition.\u003c/p>\n\u003cp>He has called his work an offering to the Osage, and to other Native peoples. It also feels like an offering to those who love cinema, allowing us to watch a master of the craft continue to force himself, unlikely as it seems, to stretch and learn. May he keep stretching — himself, and us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Killers of the Flower Moon’ is out nationwide on Oct. 20, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dolly Parton’s New Book Takes Us ‘Behind the Seams’ of Her Life in Rhinestones",
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"content": "\u003cp>Dolly Parton’s iconic look — big hair, big heels and tight low-cut dresses covered in rhinestones or beads — is a big part of her lasting appeal, nearly as important as her vast catalogue of country ballads and bangers that made her a star.\u003c/p>\n\u003cp>[aside postid='arts_13889581']In \u003cem>Behind the Seams: My Life in Rhinestones\u003c/em>, Parton takes fans on a detailed tour through her closet, filled with 450 vivid photos of decades of sparkly dresses, jumpsuits, jeans and even wigs, which she started wearing early in her career.\u003c/p>\n\u003cp>She chronicles how she always knew she wanted a maximalist, flashy look, and stayed true to her personal style despite seemingly endless objections by her father, managers and others who always wanted her to “tone it down.”\u003c/p>\n\u003cfigure id=\"attachment_13936616\" class=\"wp-caption aligncenter\" style=\"max-width: 974px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936616\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-8.40.28-PM.png\" alt=\"A pink book cover with a flamboyant blonde woman wearing a white sparkly gown.\" width=\"974\" height=\"1344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-8.40.28-PM.png 974w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-8.40.28-PM-800x1104.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-8.40.28-PM-160x221.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-8.40.28-PM-768x1060.png 768w\" sizes=\"(max-width: 974px) 100vw, 974px\">\u003cfigcaption class=\"wp-caption-text\">‘Behind the Seams: My Life in Rhinestones’ by Dolly Parton with Holly George-Warren. \u003ccite>(Ten Speed Press via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“From early on I loved the big hair and makeup, the long nails, the high heels, the flashy clothes,” she writes. “But believe it or not, I had to fight for that look.”\u003c/p>\n\u003cp>[aside postid='arts_13922004']Starting with replicas of Dolly’s “Coat of Many Colors,” based on her famous song about a coat her mother made her, Dolly gives a tour of how her style evolved through the decades, from the country costumes she wore as the “girl singer” on \u003cem>The Porter Wagoner Show\u003c/em> in the late 1960s and early 1970s, to the jumpsuits she wore during her rising solo career and the flashy rhinestone-studded gowns and outfits she wore making it big in Hollywood movies like \u003cem>9 to 5\u003c/em> and \u003cem>Rhinestone\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book is a joint effort with her niece, Rebecca Seaver, and music journalist Holly George-Warren. It includes profiles and remembrances from her favorite designers, makeup artists and stylists and others that help put together Parton’s famous look. And fans can get a glimpse of some of Parton’s outfits at an accompanying exhibit at Lipscomb University in Nashville Oct. 31-Dec. 9.\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>‘Behind the Seams: My Life in Rhinestones’ by Dolly Parton with Holly George-Warren is out now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>Behind the Seams: My Life in Rhinestones\u003c/em>, Parton takes fans on a detailed tour through her closet, filled with 450 vivid photos of decades of sparkly dresses, jumpsuits, jeans and even wigs, which she started wearing early in her career.\u003c/p>\n\u003cp>She chronicles how she always knew she wanted a maximalist, flashy look, and stayed true to her personal style despite seemingly endless objections by her father, managers and others who always wanted her to “tone it down.”\u003c/p>\n\u003cfigure id=\"attachment_13936616\" class=\"wp-caption aligncenter\" style=\"max-width: 974px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936616\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-8.40.28-PM.png\" alt=\"A pink book cover with a flamboyant blonde woman wearing a white sparkly gown.\" width=\"974\" height=\"1344\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-8.40.28-PM.png 974w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-8.40.28-PM-800x1104.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-8.40.28-PM-160x221.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-8.40.28-PM-768x1060.png 768w\" sizes=\"(max-width: 974px) 100vw, 974px\">\u003cfigcaption class=\"wp-caption-text\">‘Behind the Seams: My Life in Rhinestones’ by Dolly Parton with Holly George-Warren. \u003ccite>(Ten Speed Press via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“From early on I loved the big hair and makeup, the long nails, the high heels, the flashy clothes,” she writes. “But believe it or not, I had to fight for that look.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book is a joint effort with her niece, Rebecca Seaver, and music journalist Holly George-Warren. It includes profiles and remembrances from her favorite designers, makeup artists and stylists and others that help put together Parton’s famous look. And fans can get a glimpse of some of Parton’s outfits at an accompanying exhibit at Lipscomb University in Nashville Oct. 31-Dec. 9.\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>‘Behind the Seams: My Life in Rhinestones’ by Dolly Parton with Holly George-Warren is out now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sly Stone’s Memoir Teems With Tales of Music, Drugs, Survival — and a Pet Baboon?",
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"content": "\u003cfigure id=\"attachment_13936552\" class=\"wp-caption aligncenter\" style=\"max-width: 890px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-12.14.51-PM.png\" alt=\"A book cover showing a shirtless Black man with an afro, wearing patchwork jeans and big ’70s-style sunglasses, kneeling on the ground and smiling.\" width=\"890\" height=\"1348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-12.14.51-PM.png 890w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-12.14.51-PM-800x1212.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-12.14.51-PM-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-17-at-12.14.51-PM-768x1163.png 768w\" sizes=\"(max-width: 890px) 100vw, 890px\">\u003cfigcaption class=\"wp-caption-text\">‘Thank You (Falettinme Be Mice Elf Agin)’ by Sly Stone and Ben Greenman. \u003ccite>(AUWA Books via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While summoning stories from his remarkable yet erratic life in music, Sly Stone admits he occasionally had to depend on the recollections of others because his own memory wasn’t always reliable.\u003c/p>\n\u003cp>At one point in his new memoir, Stone, now 80, remembers that during the hazy excesses of his 1970s rock stardom he briefly shared a Los Angeles mansion with a baboon that had the run of the place. He’s just not sure where the primate came from.\u003c/p>\n\u003cp>[aside postid='arts_13925408']“I forgot where I got him?” Stone muses. “Baboon store?”\u003c/p>\n\u003cp>His book, co-written with Ben Greenman, overflows with wit and wordplay befitting a maestro whose funkiest song with his band the Family Stone was “Thank You (Falettinme Be Mice Elf Agin)” — also the title of the book.\u003c/p>\n\u003cp>Born Sylvester Stewart in Texas and raised in Vallejo, he studied music composition at a junior college while working as a radio DJ, becoming known for his whimsical patter and eclectic playlists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Stone clearly recalls his early and evolving vision of a no-barriers style of music that would meld Motown pop-soul, James Brown’s funk, R&B, gospel and psychedelic rock. Shortly after forming in 1966, Sly and the Family Stone produced a string of sunny hits including “Everyday People,” “I Want To Take You Higher,” “Hot Fun in the Summertime” and “Stand!” that captured the hippy spirit of the times.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GY_5CUmvpdw\u003c/p>\n\u003cp>Stone’s band included Black and white musicians while featuring women not just singing but playing instruments — a rarity at the time. \u003ca href=\"https://www.youtube.com/watch?v=me-UKbXOFts\">A triumphant set at Woodstock\u003c/a> and a star turn in the subsequent film of the concert made him a household name.\u003c/p>\n\u003cp>“Rhythm, melody and lyrics carried inspiration to the people,” he writes. That inspiration became a lasting influence for generations of artists including The Jackson 5, Prince and countless hip-hop acts.\u003c/p>\n\u003cp>[aside postid='arts_13936226']Stone’s music took a darker and more cynical turn as drugs took hold and the dream of the ’60s devolved into political assassinations, racial strife and lingering war in Vietnam. He takes readers through the agonizing recording process of his 1971 classic “There’s a Riot Goin’ On,” on which he says he “sacrificed technique for feeling.” The album has an anguished tone, exemplified by the volatile funk of the single “Luv N’ Haight.”\u003c/p>\n\u003cp>Meanwhile at concerts, fans never knew whether they’d get one of his famously ecstatic performances, or if Stone would bother showing up at all.\u003c/p>\n\u003cp>He espoused Black Power, but not loudly enough for Black Panthers, who accused Stone of acquiescing to white America. Meanwhile, some white people thought he was too militant. While unafraid to be political, he remained defiantly nonviolent and never shook the notion that, yes, people can all get along. “We exist to coexist,” he writes.\u003c/p>\n\u003cp>That uplifting spirit returns, if only sporadically, for 1973’s \u003cem>Fresh\u003c/em>, his last great album. The band splintered soon after and Stone entered a decades-long cycle of addiction, middling solo offerings, doomed tours and tax troubles.\u003c/p>\n\u003cp>Predictably, the memoir contains no shortage of occasionally humorous — but mostly bleak — backstage tales of debauchery and drug abuse. While on tour in his glory days Stone carried a violin case filled with cocaine. Later he said he went on PCP binges because “it threw your perspective off, which I liked.” Eventually he was overtaken by a dependence on crack cocaine that drained his talents, ruined relationships and led to regular stints in jail and rehab.\u003c/p>\n\u003cp>[aside postid='arts_13924126']“Arrest records were the new records, and I was hitting the charts,” he writes. “Court dates were my new concerts, and I was still just as good at arriving on time.”\u003c/p>\n\u003cp>Hip-hop empresario Questlove, whose publishing imprint produced the book, writes in the introduction that “Sly has lived a hundred lives, and they are all here.” Fans will certainly appreciate the vivid accounts from recording studios, concert stages and star-studded parties. But readers looking for personal insights will come away disappointed. Stone is self-aware but not particularly self-reflective.\u003c/p>\n\u003cp>However, even during his gloomiest days, Stone said he relied on his compositions to keep the darkness out, always remaining true to “the larger idea of music as a spiritual force.”\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>‘Thank You (Falettinme Be Mice Elf Agin)’ by Sly Stone with Ben Greenman is out Oct. 17, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I forgot where I got him?” Stone muses. “Baboon store?”\u003c/p>\n\u003cp>His book, co-written with Ben Greenman, overflows with wit and wordplay befitting a maestro whose funkiest song with his band the Family Stone was “Thank You (Falettinme Be Mice Elf Agin)” — also the title of the book.\u003c/p>\n\u003cp>Born Sylvester Stewart in Texas and raised in Vallejo, he studied music composition at a junior college while working as a radio DJ, becoming known for his whimsical patter and eclectic playlists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Stone clearly recalls his early and evolving vision of a no-barriers style of music that would meld Motown pop-soul, James Brown’s funk, R&B, gospel and psychedelic rock. Shortly after forming in 1966, Sly and the Family Stone produced a string of sunny hits including “Everyday People,” “I Want To Take You Higher,” “Hot Fun in the Summertime” and “Stand!” that captured the hippy spirit of the times.\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/GY_5CUmvpdw'\n title='//www.youtube.com/embed/GY_5CUmvpdw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Stone’s band included Black and white musicians while featuring women not just singing but playing instruments — a rarity at the time. \u003ca href=\"https://www.youtube.com/watch?v=me-UKbXOFts\">A triumphant set at Woodstock\u003c/a> and a star turn in the subsequent film of the concert made him a household name.\u003c/p>\n\u003cp>“Rhythm, melody and lyrics carried inspiration to the people,” he writes. That inspiration became a lasting influence for generations of artists including The Jackson 5, Prince and countless hip-hop acts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Stone’s music took a darker and more cynical turn as drugs took hold and the dream of the ’60s devolved into political assassinations, racial strife and lingering war in Vietnam. He takes readers through the agonizing recording process of his 1971 classic “There’s a Riot Goin’ On,” on which he says he “sacrificed technique for feeling.” The album has an anguished tone, exemplified by the volatile funk of the single “Luv N’ Haight.”\u003c/p>\n\u003cp>Meanwhile at concerts, fans never knew whether they’d get one of his famously ecstatic performances, or if Stone would bother showing up at all.\u003c/p>\n\u003cp>He espoused Black Power, but not loudly enough for Black Panthers, who accused Stone of acquiescing to white America. Meanwhile, some white people thought he was too militant. While unafraid to be political, he remained defiantly nonviolent and never shook the notion that, yes, people can all get along. “We exist to coexist,” he writes.\u003c/p>\n\u003cp>That uplifting spirit returns, if only sporadically, for 1973’s \u003cem>Fresh\u003c/em>, his last great album. The band splintered soon after and Stone entered a decades-long cycle of addiction, middling solo offerings, doomed tours and tax troubles.\u003c/p>\n\u003cp>Predictably, the memoir contains no shortage of occasionally humorous — but mostly bleak — backstage tales of debauchery and drug abuse. While on tour in his glory days Stone carried a violin case filled with cocaine. Later he said he went on PCP binges because “it threw your perspective off, which I liked.” Eventually he was overtaken by a dependence on crack cocaine that drained his talents, ruined relationships and led to regular stints in jail and rehab.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Arrest records were the new records, and I was hitting the charts,” he writes. “Court dates were my new concerts, and I was still just as good at arriving on time.”\u003c/p>\n\u003cp>Hip-hop empresario Questlove, whose publishing imprint produced the book, writes in the introduction that “Sly has lived a hundred lives, and they are all here.” Fans will certainly appreciate the vivid accounts from recording studios, concert stages and star-studded parties. But readers looking for personal insights will come away disappointed. Stone is self-aware but not particularly self-reflective.\u003c/p>\n\u003cp>However, even during his gloomiest days, Stone said he relied on his compositions to keep the darkness out, always remaining true to “the larger idea of music as a spiritual force.”\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>‘Thank You (Falettinme Be Mice Elf Agin)’ by Sly Stone with Ben Greenman is out Oct. 17, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Moonlighting,’ a Weird, Wonderful ’80s Detective Romcom, Is Now Streaming on Hulu",
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"content": "\u003cp>For years, \u003cem>Moonlighting\u003c/em>, the late-’80s detective/romcom starring Bruce Willis and Cybill Shepherd, has been on a lot of people’s lists of shows that weren’t on streaming and should be on streaming. \u003ca href=\"https://www.hulu.com/series/moonlighting-5ad18eaf-f049-4fa8-8970-44d81773fba0\">Well, now it’s on streaming.\u003c/a> Specifically, it’s on Hulu. All five seasons are there, from the splashy TV movie that served as the pilot to the fourth and fifth rounds when the show was huffing and puffing and rarely delivering the way it did in the beginning. (Sometimes people say this is because they “got together” as a couple and it ruined the show; \u003ca href=\"https://www.npr.org/2009/09/17/112934505/what-really-happened-to-moonlighting\">this is factually incorrect\u003c/a>.)\u003c/p>\n\u003cp>But oh, those first three seasons. Even back in the 1980s, when network television is often too-simply remembered as having been formulaic and desperately in need of the reinvention cable would bring, \u003cem>Moonlighting \u003c/em>was sharp and strange and experimental.\u003c/p>\n\u003cp>[aside postid='arts_13935738']One reason was the stars. It’s immediately obvious why this show shot Bruce Willis, probably then best known as \u003ca href=\"https://www.youtube.com/watch?v=3D4U3W2d0LA\">the guy who sang in a commercial for Seagrams wine coolers\u003c/a> — \u003cem>speaking of the 1980s\u003c/em> — directly to superstar status. He plays David Addison as cocky but insecure, his fast-talking slickness both a method of survival and a lubricant that lets him slide through life without working too hard. Cybill Shepherd plays Maddie Hayes, a wealthy and cool-toned former model (like Shepherd herself) who is scammed out of all her money and discovers that she’s the owner of a ragtag detective agency that was being maintained as a tax writeoff. And so, Maddie and David become partners.\u003c/p>\n\u003cp>On the surface, it’s such a classic pairing that it borders on cliché: He’s a vulgar and wisecracking man-child, she’s a classy tough broad horrified by his shenanigans. But it turns out that he is quite soft-hearted, and that she is whip-smart and fearless, and \u003cem>this \u003c/em>part, you and I have both heard before.\u003c/p>\n\u003cp>But the execution, led by creator Glenn Gordon Caron, took an unfamiliar shape. The most obvious precursors to this show were probably \u003cem>Hart to Hart\u003c/em>, about a glamorous married couple who solve crimes, and \u003cem>Remington Steele\u003c/em>, which is about a woman who invents a fake male partner to lend her detective agency credibility. (The latter, by the way, did for Pierce Brosnan what \u003cem>Moonlighting \u003c/em>did for Bruce Willis.) The difference is that both of those, while certainly wryly funny, had a tone that remained largely tethered to reality.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8AhpAzYogOs\u003c/p>\n\u003cp>\u003cem>Moonlighting\u003c/em>, on the other hand, went fully farcical, particularly late in each episode when the climactic action sequences came along. They include \u003ca href=\"https://www.youtube.com/watch?v=GIJdCB0ulZ0&ab_channel=evagrubb\">four identically dressed people running through a hotel to the William Tell Overture\u003c/a>, a \u003ca href=\"https://www.youtube.com/watch?v=_pyb5dpnzig&ab_channel=Nazgul19\">pie-throwing scene\u003c/a>, and a \u003ca href=\"https://www.youtube.com/watch?v=KO42Q6kCQkw&ab_channel=HISTORYCHANNEL23\">chase in a hearse\u003c/a> where the whole funeral procession gets involved. (“David, we’re being followed. By a \u003cem>lot of people\u003c/em>.”) The dialogue was dense with jokes and wordplay; check out this \u003ca href=\"https://www.youtube.com/watch?v=20Mh3n6ffl4&ab_channel=o0Moonlighting0o\">rhyming sequence\u003c/a>, which is thrown in with no explanation at all, and which is only funnier when you \u003ca href=\"https://www.youtube.com/watch?v=mkIBGnzPVzo&ab_channel=o0Moonlighting0o\">watch the bloopers\u003c/a> of the poor actor in the scene with Shepherd and Willis trying to wrap his mouth around it.\u003c/p>\n\u003cp>And, too, there were the format-breakers. “\u003ca href=\"https://www.youtube.com/watch?v=7zz2POIN4ec\">The Dream Sequence Always Rings Twice\u003c/a>,” a black-and-white episode introduced by Orson Welles, was shot on real black-and-white film rather than being simply decolorized, and it’s absolutely gorgeous to look at. The Shakespeare riff \u003ca href=\"https://www.youtube.com/watch?v=blZMk5MklF4\">“Atomic Shakespeare”\u003c/a> is playful and silly, but also clever. Stanley Donen (who directed \u003cem>Singin’ in the Rain\u003c/em>) even choreographed a dream ballet to a Billy Joel song for the episode \u003ca href=\"https://www.youtube.com/watch?v=HXvki5MKPAI\">“Big Man on Mulberry Street.”\u003c/a>\u003c/p>\n\u003cp>[aside postid='arts_13935208']But for all the fast talk (this is the show that made me a fan of banter) and all the experimentation, and for all the production delays and rumored on-set drama, what surprises me when I look back at these episodes is how effectively Willis and Shepherd could turn on a dime and play true, touching, often very simple emotional scenes together that co-existed with that farce and that experimentation. They’re both great in \u003ca href=\"https://www.youtube.com/watch?v=U2XpgYGVjuk\">“Every Daughter’s Father Is a Virgin,” \u003c/a>a deeply bittersweet episode about a visit from Maddie’s parents, played by Robert Webber and Eva Marie Saint. They’re both great in “Big Man on Mulberry Street,” in which they deal with a previously un-discussed episode in David’s past. And they’re both great in \u003ca href=\"https://www.youtube.com/watch?v=75WZdSGubHE\">“Witness for the Execution,”\u003c/a> which is about a difficult case they can’t agree on (and which includes a milestone moment for their relationship).\u003c/p>\n\u003cp>Some things do not age well over a period of nearly 40 years; in particular, David’s unabashed horniness is played for laughs even though it happens at work and amounts to sexual harassment of his boss/partner. But the pleasures of this show that burned very brightly and very chaotically remain well worth revisiting.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Moonlighting%2C%27+a+weird%2C+wonderful+%2780s+detective+romcom%2C+is+now+streaming+on+Hulu&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For years, \u003cem>Moonlighting\u003c/em>, the late-’80s detective/romcom starring Bruce Willis and Cybill Shepherd, has been on a lot of people’s lists of shows that weren’t on streaming and should be on streaming. \u003ca href=\"https://www.hulu.com/series/moonlighting-5ad18eaf-f049-4fa8-8970-44d81773fba0\">Well, now it’s on streaming.\u003c/a> Specifically, it’s on Hulu. All five seasons are there, from the splashy TV movie that served as the pilot to the fourth and fifth rounds when the show was huffing and puffing and rarely delivering the way it did in the beginning. (Sometimes people say this is because they “got together” as a couple and it ruined the show; \u003ca href=\"https://www.npr.org/2009/09/17/112934505/what-really-happened-to-moonlighting\">this is factually incorrect\u003c/a>.)\u003c/p>\n\u003cp>But oh, those first three seasons. Even back in the 1980s, when network television is often too-simply remembered as having been formulaic and desperately in need of the reinvention cable would bring, \u003cem>Moonlighting \u003c/em>was sharp and strange and experimental.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One reason was the stars. It’s immediately obvious why this show shot Bruce Willis, probably then best known as \u003ca href=\"https://www.youtube.com/watch?v=3D4U3W2d0LA\">the guy who sang in a commercial for Seagrams wine coolers\u003c/a> — \u003cem>speaking of the 1980s\u003c/em> — directly to superstar status. He plays David Addison as cocky but insecure, his fast-talking slickness both a method of survival and a lubricant that lets him slide through life without working too hard. Cybill Shepherd plays Maddie Hayes, a wealthy and cool-toned former model (like Shepherd herself) who is scammed out of all her money and discovers that she’s the owner of a ragtag detective agency that was being maintained as a tax writeoff. And so, Maddie and David become partners.\u003c/p>\n\u003cp>On the surface, it’s such a classic pairing that it borders on cliché: He’s a vulgar and wisecracking man-child, she’s a classy tough broad horrified by his shenanigans. But it turns out that he is quite soft-hearted, and that she is whip-smart and fearless, and \u003cem>this \u003c/em>part, you and I have both heard before.\u003c/p>\n\u003cp>But the execution, led by creator Glenn Gordon Caron, took an unfamiliar shape. The most obvious precursors to this show were probably \u003cem>Hart to Hart\u003c/em>, about a glamorous married couple who solve crimes, and \u003cem>Remington Steele\u003c/em>, which is about a woman who invents a fake male partner to lend her detective agency credibility. (The latter, by the way, did for Pierce Brosnan what \u003cem>Moonlighting \u003c/em>did for Bruce Willis.) The difference is that both of those, while certainly wryly funny, had a tone that remained largely tethered to reality.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8AhpAzYogOs'\n title='//www.youtube.com/embed/8AhpAzYogOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Moonlighting\u003c/em>, on the other hand, went fully farcical, particularly late in each episode when the climactic action sequences came along. They include \u003ca href=\"https://www.youtube.com/watch?v=GIJdCB0ulZ0&ab_channel=evagrubb\">four identically dressed people running through a hotel to the William Tell Overture\u003c/a>, a \u003ca href=\"https://www.youtube.com/watch?v=_pyb5dpnzig&ab_channel=Nazgul19\">pie-throwing scene\u003c/a>, and a \u003ca href=\"https://www.youtube.com/watch?v=KO42Q6kCQkw&ab_channel=HISTORYCHANNEL23\">chase in a hearse\u003c/a> where the whole funeral procession gets involved. (“David, we’re being followed. By a \u003cem>lot of people\u003c/em>.”) The dialogue was dense with jokes and wordplay; check out this \u003ca href=\"https://www.youtube.com/watch?v=20Mh3n6ffl4&ab_channel=o0Moonlighting0o\">rhyming sequence\u003c/a>, which is thrown in with no explanation at all, and which is only funnier when you \u003ca href=\"https://www.youtube.com/watch?v=mkIBGnzPVzo&ab_channel=o0Moonlighting0o\">watch the bloopers\u003c/a> of the poor actor in the scene with Shepherd and Willis trying to wrap his mouth around it.\u003c/p>\n\u003cp>And, too, there were the format-breakers. “\u003ca href=\"https://www.youtube.com/watch?v=7zz2POIN4ec\">The Dream Sequence Always Rings Twice\u003c/a>,” a black-and-white episode introduced by Orson Welles, was shot on real black-and-white film rather than being simply decolorized, and it’s absolutely gorgeous to look at. The Shakespeare riff \u003ca href=\"https://www.youtube.com/watch?v=blZMk5MklF4\">“Atomic Shakespeare”\u003c/a> is playful and silly, but also clever. Stanley Donen (who directed \u003cem>Singin’ in the Rain\u003c/em>) even choreographed a dream ballet to a Billy Joel song for the episode \u003ca href=\"https://www.youtube.com/watch?v=HXvki5MKPAI\">“Big Man on Mulberry Street.”\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But for all the fast talk (this is the show that made me a fan of banter) and all the experimentation, and for all the production delays and rumored on-set drama, what surprises me when I look back at these episodes is how effectively Willis and Shepherd could turn on a dime and play true, touching, often very simple emotional scenes together that co-existed with that farce and that experimentation. They’re both great in \u003ca href=\"https://www.youtube.com/watch?v=U2XpgYGVjuk\">“Every Daughter’s Father Is a Virgin,” \u003c/a>a deeply bittersweet episode about a visit from Maddie’s parents, played by Robert Webber and Eva Marie Saint. They’re both great in “Big Man on Mulberry Street,” in which they deal with a previously un-discussed episode in David’s past. And they’re both great in \u003ca href=\"https://www.youtube.com/watch?v=75WZdSGubHE\">“Witness for the Execution,”\u003c/a> which is about a difficult case they can’t agree on (and which includes a milestone moment for their relationship).\u003c/p>\n\u003cp>Some things do not age well over a period of nearly 40 years; in particular, David’s unabashed horniness is played for laughs even though it happens at work and amounts to sexual harassment of his boss/partner. But the pleasures of this show that burned very brightly and very chaotically remain well worth revisiting.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Moonlighting%2C%27+a+weird%2C+wonderful+%2780s+detective+romcom%2C+is+now+streaming+on+Hulu&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Taylor Swift: The Eras Tour,’ Every Seat Is the Best Seat in the House",
"headTitle": "In ‘Taylor Swift: The Eras Tour,’ Every Seat Is the Best Seat in the House | KQED",
"content": "\u003cp>It opens with a clock counting down until show time — the dropped stomach, rollercoaster slowly encroaching its apex sensation — and then, a gentle fake out. Taylor Swift is heard before she is seen. “It’s been a long time…” her voice carries. Then the drop hits: an abridged performance of “Miss Americana & the Heartbreak Prince” into “Cruel Summer,” a track that TikTok breathed new life into four years after its initial release on her 2019 album \u003cem>Lover\u003c/em>.\u003c/p>\n\u003cp>This is the moment it should become clear: \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">\u003cem>Taylor Swift: The Eras Tour\u003c/em>\u003c/a> film is a near exact replica of her blockbuster concert performance, which recaps all 10 of her studio albums across 17 years of recorded work. There will be no narrative breaks, no behind-the-scenes footage, no additional ornamentation of the monolithic set (with the exception of a few CGI effects and album title cards to introduce each epoch.) The film delivers on the promise of its title: this is the Eras Tour in full — conveniently viewable at an AMC theater near you.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KudedLV0tP0\u003c/p>\n\u003cp>For those who’ve managed to snag tickets to the Eras Tour concert, it is the ability to relive the experience, likely with loved ones who weren’t as lucky. For those who didn’t attend, it’s a chance to test expectations versus reality. But for everyone, it is the opportunity to have every seat in the house transform into the best seat in the house. \u003cem>Taylor Swift: The Eras Tour\u003c/em> is all up close and personal footage from every vantage point, courtesy of Sam Wrench, who shot and directed it.\u003c/p>\n\u003cp>Where else but in this film can you be placed inches from Swift’s moss-covered \u003cem>evermore\u003c/em> album-era piano as she introduces “Champagne Problems” — so close as to examine phalanges as they press down on the final notes of the song’s coda? And where else does it sound this good, highlighting sonic details that might’ve been missed in the stadium setting? Like guitars placed high in the mix on “Look What You Made Me Do,” differing slightly from the recording, or emphasis placed on moments fans have transformed into opportunities from insider participation, like when everyone shouts, “\u003ca href=\"https://www.tiktok.com/@emilyvalencia94/video/6952948971996286213\">1, 2, 3, let’s go, bitch\u003c/a>!” in “Delicate,” as inspired by a viral video?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Edits to the three-and-a-half-hour concert production are few on screen. Costume changes are cut down. Some songs are snipped, like “The Archer,” “Cardigan,” “Wildest Dreams,” and “no body no crime.” The \u003cem>Speak Now\u003c/em> section is just one song long: “Enchanted,” with “Long Live” soundtracking the end credits alongside images of \u003cem>Eras Tour\u003c/em> bloopers and an endless exchange of friendship bracelets. Onstage banter, too, is limited, mostly reserved for humor and exposition.\u003c/p>\n\u003cp>[aside postid='arts_13874070']As previously reported, \u003ca href=\"https://kqed.org/arts/13936189/taylor-swift-the-eras-tour-might-just-shake-up-the-movie-business-now-too\">the concert film\u003c/a>, compiled from several Swift shows at SoFi Stadium in Inglewood, a suburb of Los Angeles, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>AMC announced that the concert film broke its record for highest ticket sales revenue in a single day. The theater chain Cinemark reported domestic pre-sale records are more than “10 times higher pre-sales than any other cinema engagement event.”\u003c/p>\n\u003cfigure id=\"attachment_13936372\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg\" alt=\"A beautiful young white woman with short blonde hair strikes a pose, hand on hip, on a red carpet outside a movie theater. She is wearing a pale blue gown.\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift attends the ‘Eras Tour’ movie premiere in Los Angeles on Oct. 11, 2023.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s too early to tell, but all signs point to her usurping 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> as the biggest concert film, ever. And for the premiere Wednesday night in Los Angeles, Swift shut down The Grove, a bustling mall just south of Hollywood, and watched her performance in an auditorium alongside a star-studded audience of Adam Sandler, Mariska Hargitay, actor Julia Garner, \u003cem>Queer Eye\u003c/em> co-host Karamo Brown, country star Maren Morris, singer Hayley Kiyoko and Bachelor Nation’s Becca Tilley.\u003c/p>\n\u003cp>[aside postid='arts_13936189']It is massive, but nothing could exactly recreate the decibel-bursting exhilaration of a live music performance, particularly one at this scale. But in this format, Swift gets as close as possible — and for her, being an exception to the rule is par for the course. In a fractured, algorithmic music industry, Swift is a final exemplar of monoculture, a figure recognizable by most. And because of that fact, she’s able to fully communicate her power in a concert film with little to no dialogue.\u003c/p>\n\u003cp>(That, admittedly, is something available to only her and Beyoncé, a superstar Swift has learned from and mirrored, in some ways. For example: Beyoncé limits traditional press appearances to instead present her own story in her own terms; Swift has begun to do the same. Relatedly, \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">Bey will release a documentary chronicling her Renaissance World Tour\u003c/a>, premiering at AMC theaters in North America on Dec. 1 in a similar agreement to Swift.)\u003c/p>\n\u003cp>The success of Swift’s concert film, too, has something to do with the setting of a theater. Her revealing 2020 documentary, \u003ca href=\"https://www.kqed.org/arts/13874070/in-new-documentary-miss-americana-taylor-swift-shows-girls-how-to-break-free\">\u003cem>Miss Americana\u003c/em>\u003c/a>, was released to Netflix and meant to be absorbed with a kind of intimacy. The viewer is with her in the backseat of car, listening to her incredible candor about the pressures of being Swift, and in a particularly memorable moment, disordered eating.\u003c/p>\n\u003cp>A very different viewing experience, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is meant to be enjoyed communally — a shout-along affair where fans in bespoke cosplay can dance and sing and film the screen on their smartphones, breaking the rules of the traditional movie-going experience. Strangers become friends. And all the while, feeling closer to Swift than ever before.\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>‘Taylor Swift: The Eras Tour’ is out nationwide now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It opens with a clock counting down until show time — the dropped stomach, rollercoaster slowly encroaching its apex sensation — and then, a gentle fake out. Taylor Swift is heard before she is seen. “It’s been a long time…” her voice carries. Then the drop hits: an abridged performance of “Miss Americana & the Heartbreak Prince” into “Cruel Summer,” a track that TikTok breathed new life into four years after its initial release on her 2019 album \u003cem>Lover\u003c/em>.\u003c/p>\n\u003cp>This is the moment it should become clear: \u003ca href=\"https://www.kqed.org/arts/13931892/dear-city-leaders-stop-with-the-taylor-swift-pandering-already\">\u003cem>Taylor Swift: The Eras Tour\u003c/em>\u003c/a> film is a near exact replica of her blockbuster concert performance, which recaps all 10 of her studio albums across 17 years of recorded work. There will be no narrative breaks, no behind-the-scenes footage, no additional ornamentation of the monolithic set (with the exception of a few CGI effects and album title cards to introduce each epoch.) The film delivers on the promise of its title: this is the Eras Tour in full — conveniently viewable at an AMC theater near you.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KudedLV0tP0'\n title='//www.youtube.com/embed/KudedLV0tP0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For those who’ve managed to snag tickets to the Eras Tour concert, it is the ability to relive the experience, likely with loved ones who weren’t as lucky. For those who didn’t attend, it’s a chance to test expectations versus reality. But for everyone, it is the opportunity to have every seat in the house transform into the best seat in the house. \u003cem>Taylor Swift: The Eras Tour\u003c/em> is all up close and personal footage from every vantage point, courtesy of Sam Wrench, who shot and directed it.\u003c/p>\n\u003cp>Where else but in this film can you be placed inches from Swift’s moss-covered \u003cem>evermore\u003c/em> album-era piano as she introduces “Champagne Problems” — so close as to examine phalanges as they press down on the final notes of the song’s coda? And where else does it sound this good, highlighting sonic details that might’ve been missed in the stadium setting? Like guitars placed high in the mix on “Look What You Made Me Do,” differing slightly from the recording, or emphasis placed on moments fans have transformed into opportunities from insider participation, like when everyone shouts, “\u003ca href=\"https://www.tiktok.com/@emilyvalencia94/video/6952948971996286213\">1, 2, 3, let’s go, bitch\u003c/a>!” in “Delicate,” as inspired by a viral video?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Edits to the three-and-a-half-hour concert production are few on screen. Costume changes are cut down. Some songs are snipped, like “The Archer,” “Cardigan,” “Wildest Dreams,” and “no body no crime.” The \u003cem>Speak Now\u003c/em> section is just one song long: “Enchanted,” with “Long Live” soundtracking the end credits alongside images of \u003cem>Eras Tour\u003c/em> bloopers and an endless exchange of friendship bracelets. Onstage banter, too, is limited, mostly reserved for humor and exposition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As previously reported, \u003ca href=\"https://kqed.org/arts/13936189/taylor-swift-the-eras-tour-might-just-shake-up-the-movie-business-now-too\">the concert film\u003c/a>, compiled from several Swift shows at SoFi Stadium in Inglewood, a suburb of Los Angeles, is expected to launch with $100 million, or possibly more. Advance ticket sales worldwide have already surpassed $100 million.\u003c/p>\n\u003cp>AMC announced that the concert film broke its record for highest ticket sales revenue in a single day. The theater chain Cinemark reported domestic pre-sale records are more than “10 times higher pre-sales than any other cinema engagement event.”\u003c/p>\n\u003cfigure id=\"attachment_13936372\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg\" alt=\"A beautiful young white woman with short blonde hair strikes a pose, hand on hip, on a red carpet outside a movie theater. She is wearing a pale blue gown.\" width=\"2560\" height=\"1708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1730875941-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift attends the ‘Eras Tour’ movie premiere in Los Angeles on Oct. 11, 2023.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s too early to tell, but all signs point to her usurping 2011’s \u003cem>Justin Bieber: Never Say Never\u003c/em> as the biggest concert film, ever. And for the premiere Wednesday night in Los Angeles, Swift shut down The Grove, a bustling mall just south of Hollywood, and watched her performance in an auditorium alongside a star-studded audience of Adam Sandler, Mariska Hargitay, actor Julia Garner, \u003cem>Queer Eye\u003c/em> co-host Karamo Brown, country star Maren Morris, singer Hayley Kiyoko and Bachelor Nation’s Becca Tilley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is massive, but nothing could exactly recreate the decibel-bursting exhilaration of a live music performance, particularly one at this scale. But in this format, Swift gets as close as possible — and for her, being an exception to the rule is par for the course. In a fractured, algorithmic music industry, Swift is a final exemplar of monoculture, a figure recognizable by most. And because of that fact, she’s able to fully communicate her power in a concert film with little to no dialogue.\u003c/p>\n\u003cp>(That, admittedly, is something available to only her and Beyoncé, a superstar Swift has learned from and mirrored, in some ways. For example: Beyoncé limits traditional press appearances to instead present her own story in her own terms; Swift has begun to do the same. Relatedly, \u003ca href=\"https://www.kqed.org/arts/13935703/beyonce-renaissance-world-tour-movie-amc-documentary-december-1\">Bey will release a documentary chronicling her Renaissance World Tour\u003c/a>, premiering at AMC theaters in North America on Dec. 1 in a similar agreement to Swift.)\u003c/p>\n\u003cp>The success of Swift’s concert film, too, has something to do with the setting of a theater. Her revealing 2020 documentary, \u003ca href=\"https://www.kqed.org/arts/13874070/in-new-documentary-miss-americana-taylor-swift-shows-girls-how-to-break-free\">\u003cem>Miss Americana\u003c/em>\u003c/a>, was released to Netflix and meant to be absorbed with a kind of intimacy. The viewer is with her in the backseat of car, listening to her incredible candor about the pressures of being Swift, and in a particularly memorable moment, disordered eating.\u003c/p>\n\u003cp>A very different viewing experience, \u003cem>Taylor Swift: The Eras Tour\u003c/em> is meant to be enjoyed communally — a shout-along affair where fans in bespoke cosplay can dance and sing and film the screen on their smartphones, breaking the rules of the traditional movie-going experience. Strangers become friends. And all the while, feeling closer to Swift than ever before.\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>‘Taylor Swift: The Eras Tour’ is out nationwide now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Anatomy of a Fall’ Dissects a Marriage and, Maybe, a Murder",
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"content": "\u003cp>One reason Sandra Hüller is one of the best actors working today, is that unlike many performers, she doesn’t seem to care if you like her characters or not. Whether she’s playing a tightly wound corporate climber in the brilliant comedy \u003ca href=\"https://www.npr.org/2016/12/28/507227395/toni-erdmann-a-practical-joking-dad-and-his-too-practical-daughter\">\u003cem>Toni Erdmann \u003c/em>\u003c/a>or a Nazi commandant’s wife in the upcoming drama \u003cem>The Zone of Interest, \u003c/em>you never once catch her pleading for the audience’s sympathy.\u003c/p>\n\u003cp>[aside postid='arts_13935857']That fearlessness is partly what makes her so compelling to watch in \u003cem>Anatomy of a Fall\u003c/em>, the absorbingly intricate psychological thriller that won the Palme d’Or at Cannes this year. Hüller plays a successful German-born writer, also named Sandra, who finds herself on trial for her husband’s murder.\u003c/p>\n\u003cp>The movie begins at a chalet in the French Alps, where Sandra and her French husband, Samuel, live with their 11-year-old son, Daniel. Things are tense between Sandra and Samuel, as we can sense from the way he blasts his music while she’s being interviewed by a journalist. The interview gets cut short and the journalist leaves; sometime later, Samuel is found dead outside in the snow, bleeding heavily from a head wound.\u003c/p>\n\u003cp>Did he fall or jump from one of the chalet’s upper stories? Or was he pushed? The director Justine Triet, who wrote the script with Arthur Harari, never reveals the answer. The story is full of intriguing forensic details; Samuel’s fatal fall is diagrammed from every possible angle, and every spatter of blood is analyzed obsessively. But ultimately, Triet is less interested in explaining whodunit — or if anyone dun it — than in conducting an autopsy on Sandra and Samuel’s marriage.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MJlpGZuE4R4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Sandra is tried for Samuel’s murder, the history of their troubled relationship comes to light. We learn that Samuel never forgave himself for his role in the accident years ago that left Daniel severely visually impaired. That took an obvious toll on the couple.\u003c/p>\n\u003cp>At one point, Samuel’s therapist takes the stand and testifies that Samuel had described his wife as cold and controlling. But Sandra pushes back against this assessment, saying, “If I’d been seeing a therapist, he could stand here, too, and say very ugly things about Samuel. But would those things be true?”\u003c/p>\n\u003cp>[aside postid='arts_13935897']I don’t know how accurate \u003cem>Anatomy of a Fall\u003c/em> is in its portrayal of the French legal system. But here, as in last year’s excellent courtroom drama \u003ca href=\"https://www.npr.org/2023/01/18/1149654068/saint-omer-movie-review-alice-diop\">\u003cem>Saint Omer\u003c/em>\u003c/a>, it appears to be an extremely different system from ours, more tolerant of extended discussion. At one point, in a scene that even the movie seems to find hilarious, the overly aggressive prosecutor starts mining Sandra’s own books for evidence, briefly turning a criminal trial into a literary debate. Still, Sandra’s career is hardly incidental to the case. Samuel was also a writer, but a much less accomplished one than Sandra, which may have made him jealous.\u003c/p>\n\u003cp>Could Samuel have killed himself in despair? That’s the possibility put forth to the court by Sandra’s attorney — well played by Swann Arlaud — who doesn’t seem entirely convinced of his client’s innocence. Daniel, piercingly played by Milo Machado Graner, also doesn’t know what to believe, as he’s torn apart by the loss of his dad and possibly the loss of his mom.\u003c/p>\n\u003cp>The movie’s emotional centerpiece is a stunningly written and acted flashback to a furious marital argument that took place shortly before Samuel’s death — one of those knock-down, drag-out fights where every source of tension and resentment gets dragged to the surface. They clash over their finances, their differing approaches to parenting, their unsatisfying sex life and Sandra’s past infidelity. Sandra expresses her frustration at the many sacrifices she’s quietly made, including agreeing to live in France.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Anatomy of a Fall\u003c/em> persuasively suggests that every marriage is ultimately something of a mystery. The fact that Samuel is no longer alive to defend himself makes it even harder to determine who here is telling the truth. Even so, I couldn’t help but gravitate toward Sandra’s side. There’s something refreshing about the cool pragmatism she shows in the face of Samuel’s insecurity, the way she refuses to short-change her career or coddle her husband for his failures. I left admiring Sandra’s steely resolve, while still wondering if that resolve might have led her to do the unthinkable.\u003c/p>\n\u003cdiv class=\"fullattribution\">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=%27Anatomy+of+a+Fall%27+dissects+a+marriage+and%2C+maybe%2C+a+murder&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That fearlessness is partly what makes her so compelling to watch in \u003cem>Anatomy of a Fall\u003c/em>, the absorbingly intricate psychological thriller that won the Palme d’Or at Cannes this year. Hüller plays a successful German-born writer, also named Sandra, who finds herself on trial for her husband’s murder.\u003c/p>\n\u003cp>The movie begins at a chalet in the French Alps, where Sandra and her French husband, Samuel, live with their 11-year-old son, Daniel. Things are tense between Sandra and Samuel, as we can sense from the way he blasts his music while she’s being interviewed by a journalist. The interview gets cut short and the journalist leaves; sometime later, Samuel is found dead outside in the snow, bleeding heavily from a head wound.\u003c/p>\n\u003cp>Did he fall or jump from one of the chalet’s upper stories? Or was he pushed? The director Justine Triet, who wrote the script with Arthur Harari, never reveals the answer. The story is full of intriguing forensic details; Samuel’s fatal fall is diagrammed from every possible angle, and every spatter of blood is analyzed obsessively. But ultimately, Triet is less interested in explaining whodunit — or if anyone dun it — than in conducting an autopsy on Sandra and Samuel’s marriage.\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/MJlpGZuE4R4'\n title='//www.youtube.com/embed/MJlpGZuE4R4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Sandra is tried for Samuel’s murder, the history of their troubled relationship comes to light. We learn that Samuel never forgave himself for his role in the accident years ago that left Daniel severely visually impaired. That took an obvious toll on the couple.\u003c/p>\n\u003cp>At one point, Samuel’s therapist takes the stand and testifies that Samuel had described his wife as cold and controlling. But Sandra pushes back against this assessment, saying, “If I’d been seeing a therapist, he could stand here, too, and say very ugly things about Samuel. But would those things be true?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I don’t know how accurate \u003cem>Anatomy of a Fall\u003c/em> is in its portrayal of the French legal system. But here, as in last year’s excellent courtroom drama \u003ca href=\"https://www.npr.org/2023/01/18/1149654068/saint-omer-movie-review-alice-diop\">\u003cem>Saint Omer\u003c/em>\u003c/a>, it appears to be an extremely different system from ours, more tolerant of extended discussion. At one point, in a scene that even the movie seems to find hilarious, the overly aggressive prosecutor starts mining Sandra’s own books for evidence, briefly turning a criminal trial into a literary debate. Still, Sandra’s career is hardly incidental to the case. Samuel was also a writer, but a much less accomplished one than Sandra, which may have made him jealous.\u003c/p>\n\u003cp>Could Samuel have killed himself in despair? That’s the possibility put forth to the court by Sandra’s attorney — well played by Swann Arlaud — who doesn’t seem entirely convinced of his client’s innocence. Daniel, piercingly played by Milo Machado Graner, also doesn’t know what to believe, as he’s torn apart by the loss of his dad and possibly the loss of his mom.\u003c/p>\n\u003cp>The movie’s emotional centerpiece is a stunningly written and acted flashback to a furious marital argument that took place shortly before Samuel’s death — one of those knock-down, drag-out fights where every source of tension and resentment gets dragged to the surface. They clash over their finances, their differing approaches to parenting, their unsatisfying sex life and Sandra’s past infidelity. Sandra expresses her frustration at the many sacrifices she’s quietly made, including agreeing to live in France.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Anatomy of a Fall\u003c/em> persuasively suggests that every marriage is ultimately something of a mystery. The fact that Samuel is no longer alive to defend himself makes it even harder to determine who here is telling the truth. Even so, I couldn’t help but gravitate toward Sandra’s side. There’s something refreshing about the cool pragmatism she shows in the face of Samuel’s insecurity, the way she refuses to short-change her career or coddle her husband for his failures. I left admiring Sandra’s steely resolve, while still wondering if that resolve might have led her to do the unthinkable.\u003c/p>\n\u003cdiv class=\"fullattribution\">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=%27Anatomy+of+a+Fall%27+dissects+a+marriage+and%2C+maybe%2C+a+murder&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "3 Witchy Books for Fall That Offer Fright and Delight",
"headTitle": "3 Witchy Books for Fall That Offer Fright and Delight | KQED",
"content": "\u003cp>Witches have become ubiquitous in fiction these days, whether they’re being unjustly persecuted in a historical setting, selling love potions in some charming seaside town, or enchanting unsuspecting princesses in a fairytale forest.\u003c/p>\n\u003cp>Whether the witches are good, misunderstood, or just plain wicked doesn’t even matter — there are lots of great options coming out this fall. Here are few:\u003c/p>\n\u003ch3>\u003cem>The Witches of Bone Hill\u003c/em>\u003c/h3>\n\u003cfigure id=\"attachment_13936318\" class=\"wp-caption aligncenter\" style=\"max-width: 818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936318\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.50.12-AM.png\" alt=\"A dark blue book cover featuring autumnal vines, a creepy house and a flying fox.\" width=\"818\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.50.12-AM.png 818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.50.12-AM-800x1185.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.50.12-AM-160x237.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.50.12-AM-768x1138.png 768w\" sizes=\"(max-width: 818px) 100vw, 818px\">\u003cfigcaption class=\"wp-caption-text\">‘The Witches of Bone Hill’ by Ava Morgyn.\u003c/figcaption>\u003c/figure>\n\u003cp>Cordelia Bone is dead broke and drowning in the debts her ex-husband left behind when he skipped town, so it seems like a miracle when she finds out that she and her sister have inherited a massive Victorian house and the estate of a great aunt they didn’t even know they had. Upon arriving at Bone Hill, the sisters discover that the inheritance may be more trouble than it’s worth. From crazed bats to mysteriously sexy groundskeepers to creepy family crypts, everything seems to be telling Cordelia to run in the opposite direction. But in order to claim the fortune she so desperately needs, she must follow her great aunt’s wishes and remain at the ancestral seat of the Bone family.\u003c/p>\n\u003cp>[aside postid='arts_13883118']The longer Cordelia stays in the house, the worse her chronic headaches get, and the more she begins to sense that there is some sinister presence seeking to do her harm. But perhaps, if she can get to the bottom of the mystery of why her mother fled Bone Hill and was subsequently murdered years before, she can finally right the wrongs that are haunting her family.\u003c/p>\n\u003cp>Part family epic, part supernatural thriller, and part gothic romance, Ava Morgyn’s \u003cem>The Witches of Bone Hill\u003c/em> is a haunted house book with a witchy twist. Cordelia is an interesting character, because initially she comes across as very distant and self-absorbed, but as she opens herself to her family history and her magical abilities, she also opens up to the reader and becomes someone compelling to root for. The Bone’s magic itself is not warm and fuzzy either, often manifesting in a rather grisly fashion. It reminds me of \u003cem>Practical Magic —\u003c/em> the novel, not the movie — as there is a bite and a bitterness to this family magic and a strength and coldness to the characters that creates a vivid, if sometimes uncomfortable, world where witches commune with the dead and untangle generations of disfunction.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s worth noting that this book does have some pretty gruesome moments, and the animals in it do not fare well. This is definitely a gothy, edgy witch book, not a cozy one!\u003c/p>\n\u003ch3>\u003cem>After the Forest\u003c/em>\u003c/h3>\n\u003cfigure id=\"attachment_13936319\" class=\"wp-caption aligncenter\" style=\"max-width: 784px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936319\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.55.34-AM.png\" alt=\"A dark green book cover featuring a woman in a long gown walking down a path into a forest. Gold vines decorate the edges of the image.\" width=\"784\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.55.34-AM.png 784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.55.34-AM-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.55.34-AM-768x1172.png 768w\" sizes=\"(max-width: 784px) 100vw, 784px\">\u003cfigcaption class=\"wp-caption-text\">‘After the Forest’ by Kell Woods.\u003c/figcaption>\u003c/figure>\n\u003cp>Greta and her brother Hans survived being abandoned by their father and almost eaten by a wicked witch, but the village has never forgotten that there is something a bit uncanny about them. People whisper that Greta herself is a witch — and the truth is, they aren’t wrong. Greta took a book of spells from the witch when they fled, and now she uses it to bake enchanted gingerbread that even the most suspicious of villagers can’t resist buying.\u003c/p>\n\u003cp>When people begin to disappear and end up torn to pieces, the village blames a rogue bear that Greta encountered in the forest. Greta protects the bear, at first because she feels sorry for it, and then because she realizes that it is not a simple beast at all. Soon the villagers turn on her, and she’ll need all the witchery she can conjure to survive.\u003c/p>\n\u003cp>[aside postid='arts_13872372']Fairytale enthusiasts will find many familiar stories woven throughout this book. While it might seem at first like a retelling of Hansel and Gretel, it quickly departs from that origin and hints at other tales, from the sisters of Snow White and Rose Red to the bear husband of East of the Sun, West of the Moon. It’s very easy to get lost in the whimsy, romance, and transformative magic as Greta navigates the different ways of being a witch and determines which choices might make her wicked.\u003c/p>\n\u003cp>The various tropes of fairytales are retold here more than they are subverted, and in some instances, that feels a bit uncomfortable. Specifically, there is an evil dwarf character in the book, which feels notable because he is the only dwarf character. While I understand that the inclusion of this character type is in keeping with the source material, I think it would have been more interesting to examine (and perhaps subvert) this trope and its origins rather than reinforcing it.\u003c/p>\n\u003cp>That said, the love for and understanding of fairytales runs deep in Kell Woods’ book, and it’s sure to interest anyone who has an appreciation for dark forests, enchanted princes, and clever witches.\u003c/p>\n\u003ch3>\u003cem>Night of the Witch\u003c/em>\u003c/h3>\n\u003cfigure id=\"attachment_13936320\" class=\"wp-caption aligncenter\" style=\"max-width: 824px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936320\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.58.34-AM.png\" alt=\"A dark green book cover featuring the phases of the moon in lime green.\" width=\"824\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.58.34-AM.png 824w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.58.34-AM-800x1179.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.58.34-AM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.58.34-AM-768x1131.png 768w\" sizes=\"(max-width: 824px) 100vw, 824px\">\u003cfigcaption class=\"wp-caption-text\">‘Night of the Witch’ by Sara Raasch and Beth Revis.\u003c/figcaption>\u003c/figure>\n\u003cp>When Fritzi’s village is destroyed by witch hunters and her cousin is taken, she follows after them, intent on saving her only surviving family and bringing justice for the dead. When she accidentally catches up with the wrong group of witch hunters, she disappears a witch they’ve captured with her magic, but is then arrested herself by the group’s captain, Otto.\u003c/p>\n\u003cp>[aside postid='arts_13935438']Otto is deep undercover. After his mother was burned by witch hunters, he joined their ranks and became a captain to break them from the inside. He and his sister Hilde have been working on a complex plan to free over 100 people doomed for the pyres. But when he goes to arrest Hilde and put their plan into action, Hilde vanishes, leaving Fritzi in her place, threatening their plans — unless Otto is able to convince Fritizi to help him.\u003c/p>\n\u003cp>Together, they may just be strong enough to take down the witch hunters and their evil commander for good. But first, they’re going to have to learn to trust each other.\u003c/p>\n\u003cp>This historical fantasy, by Sara Raasch and Beth Revis, is technically YA, but it works as a crossover into adult fantasy romance. The main focus is definitely on the relationship that builds between Fritzi and Otto, and they have some very charming moments that makes the romantic plotline feel earnest and satisfying. The connections to actual history and Germanic folk beliefs feel fairly tenuous, and there’s no attempt to make the characters think or talk like anything other than modern teens so, at times, reference to actual historical elements feels a bit jarring. But as long as I kept it in my head that this was full-on fantasy, it clipped along very satisfyingly, delivering on the witch vs. witch hunter trope that is the reason to read it in the first place.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Caitlyn Paxson is a writer and performer. She is a regular reviewer for NPR Books and \u003ca href=\"http://www.quillandquire.com/\">Quill & Quire\u003c/a>.\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=3+witchy+books+for+fall+that+offer+fright+and+delight&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Witches have become ubiquitous in fiction these days, whether they’re being unjustly persecuted in a historical setting, selling love potions in some charming seaside town, or enchanting unsuspecting princesses in a fairytale forest.\u003c/p>\n\u003cp>Whether the witches are good, misunderstood, or just plain wicked doesn’t even matter — there are lots of great options coming out this fall. Here are few:\u003c/p>\n\u003ch3>\u003cem>The Witches of Bone Hill\u003c/em>\u003c/h3>\n\u003cfigure id=\"attachment_13936318\" class=\"wp-caption aligncenter\" style=\"max-width: 818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936318\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.50.12-AM.png\" alt=\"A dark blue book cover featuring autumnal vines, a creepy house and a flying fox.\" width=\"818\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.50.12-AM.png 818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.50.12-AM-800x1185.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.50.12-AM-160x237.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.50.12-AM-768x1138.png 768w\" sizes=\"(max-width: 818px) 100vw, 818px\">\u003cfigcaption class=\"wp-caption-text\">‘The Witches of Bone Hill’ by Ava Morgyn.\u003c/figcaption>\u003c/figure>\n\u003cp>Cordelia Bone is dead broke and drowning in the debts her ex-husband left behind when he skipped town, so it seems like a miracle when she finds out that she and her sister have inherited a massive Victorian house and the estate of a great aunt they didn’t even know they had. Upon arriving at Bone Hill, the sisters discover that the inheritance may be more trouble than it’s worth. From crazed bats to mysteriously sexy groundskeepers to creepy family crypts, everything seems to be telling Cordelia to run in the opposite direction. But in order to claim the fortune she so desperately needs, she must follow her great aunt’s wishes and remain at the ancestral seat of the Bone family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The longer Cordelia stays in the house, the worse her chronic headaches get, and the more she begins to sense that there is some sinister presence seeking to do her harm. But perhaps, if she can get to the bottom of the mystery of why her mother fled Bone Hill and was subsequently murdered years before, she can finally right the wrongs that are haunting her family.\u003c/p>\n\u003cp>Part family epic, part supernatural thriller, and part gothic romance, Ava Morgyn’s \u003cem>The Witches of Bone Hill\u003c/em> is a haunted house book with a witchy twist. Cordelia is an interesting character, because initially she comes across as very distant and self-absorbed, but as she opens herself to her family history and her magical abilities, she also opens up to the reader and becomes someone compelling to root for. The Bone’s magic itself is not warm and fuzzy either, often manifesting in a rather grisly fashion. It reminds me of \u003cem>Practical Magic —\u003c/em> the novel, not the movie — as there is a bite and a bitterness to this family magic and a strength and coldness to the characters that creates a vivid, if sometimes uncomfortable, world where witches commune with the dead and untangle generations of disfunction.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s worth noting that this book does have some pretty gruesome moments, and the animals in it do not fare well. This is definitely a gothy, edgy witch book, not a cozy one!\u003c/p>\n\u003ch3>\u003cem>After the Forest\u003c/em>\u003c/h3>\n\u003cfigure id=\"attachment_13936319\" class=\"wp-caption aligncenter\" style=\"max-width: 784px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936319\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.55.34-AM.png\" alt=\"A dark green book cover featuring a woman in a long gown walking down a path into a forest. Gold vines decorate the edges of the image.\" width=\"784\" height=\"1196\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.55.34-AM.png 784w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.55.34-AM-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.55.34-AM-768x1172.png 768w\" sizes=\"(max-width: 784px) 100vw, 784px\">\u003cfigcaption class=\"wp-caption-text\">‘After the Forest’ by Kell Woods.\u003c/figcaption>\u003c/figure>\n\u003cp>Greta and her brother Hans survived being abandoned by their father and almost eaten by a wicked witch, but the village has never forgotten that there is something a bit uncanny about them. People whisper that Greta herself is a witch — and the truth is, they aren’t wrong. Greta took a book of spells from the witch when they fled, and now she uses it to bake enchanted gingerbread that even the most suspicious of villagers can’t resist buying.\u003c/p>\n\u003cp>When people begin to disappear and end up torn to pieces, the village blames a rogue bear that Greta encountered in the forest. Greta protects the bear, at first because she feels sorry for it, and then because she realizes that it is not a simple beast at all. Soon the villagers turn on her, and she’ll need all the witchery she can conjure to survive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Fairytale enthusiasts will find many familiar stories woven throughout this book. While it might seem at first like a retelling of Hansel and Gretel, it quickly departs from that origin and hints at other tales, from the sisters of Snow White and Rose Red to the bear husband of East of the Sun, West of the Moon. It’s very easy to get lost in the whimsy, romance, and transformative magic as Greta navigates the different ways of being a witch and determines which choices might make her wicked.\u003c/p>\n\u003cp>The various tropes of fairytales are retold here more than they are subverted, and in some instances, that feels a bit uncomfortable. Specifically, there is an evil dwarf character in the book, which feels notable because he is the only dwarf character. While I understand that the inclusion of this character type is in keeping with the source material, I think it would have been more interesting to examine (and perhaps subvert) this trope and its origins rather than reinforcing it.\u003c/p>\n\u003cp>That said, the love for and understanding of fairytales runs deep in Kell Woods’ book, and it’s sure to interest anyone who has an appreciation for dark forests, enchanted princes, and clever witches.\u003c/p>\n\u003ch3>\u003cem>Night of the Witch\u003c/em>\u003c/h3>\n\u003cfigure id=\"attachment_13936320\" class=\"wp-caption aligncenter\" style=\"max-width: 824px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936320\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.58.34-AM.png\" alt=\"A dark green book cover featuring the phases of the moon in lime green.\" width=\"824\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.58.34-AM.png 824w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.58.34-AM-800x1179.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.58.34-AM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-12-at-1.58.34-AM-768x1131.png 768w\" sizes=\"(max-width: 824px) 100vw, 824px\">\u003cfigcaption class=\"wp-caption-text\">‘Night of the Witch’ by Sara Raasch and Beth Revis.\u003c/figcaption>\u003c/figure>\n\u003cp>When Fritzi’s village is destroyed by witch hunters and her cousin is taken, she follows after them, intent on saving her only surviving family and bringing justice for the dead. When she accidentally catches up with the wrong group of witch hunters, she disappears a witch they’ve captured with her magic, but is then arrested herself by the group’s captain, Otto.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Otto is deep undercover. After his mother was burned by witch hunters, he joined their ranks and became a captain to break them from the inside. He and his sister Hilde have been working on a complex plan to free over 100 people doomed for the pyres. But when he goes to arrest Hilde and put their plan into action, Hilde vanishes, leaving Fritzi in her place, threatening their plans — unless Otto is able to convince Fritizi to help him.\u003c/p>\n\u003cp>Together, they may just be strong enough to take down the witch hunters and their evil commander for good. But first, they’re going to have to learn to trust each other.\u003c/p>\n\u003cp>This historical fantasy, by Sara Raasch and Beth Revis, is technically YA, but it works as a crossover into adult fantasy romance. The main focus is definitely on the relationship that builds between Fritzi and Otto, and they have some very charming moments that makes the romantic plotline feel earnest and satisfying. The connections to actual history and Germanic folk beliefs feel fairly tenuous, and there’s no attempt to make the characters think or talk like anything other than modern teens so, at times, reference to actual historical elements feels a bit jarring. But as long as I kept it in my head that this was full-on fantasy, it clipped along very satisfyingly, delivering on the witch vs. witch hunter trope that is the reason to read it in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Caitlyn Paxson is a writer and performer. She is a regular reviewer for NPR Books and \u003ca href=\"http://www.quillandquire.com/\">Quill & Quire\u003c/a>.\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=3+witchy+books+for+fall+that+offer+fright+and+delight&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Descriptions of the Tenderloin have long been seeped in negativity. This was happening long before the past couple years, when Fox News has reported streets full of “zombies roaming” and the \u003cem>Daily Mail\u003c/em> blamed the TL and Civic Center for making San Francisco “a byword for \u003ca href=\"https://www.kqed.org/news/11952285/from-the-vault-when-the-tenderloins-addiction-crisis-goes-viral\">drug taking\u003c/a> … and associated crime.” Even back in 1977, San Francisco’s own\u003cem> Examiner \u003c/em>newspaper had an entire series that described the Tenderloin as “hell at your doorstep.” That same publication referred to the neighborhood as “the shady part of town” all the way back in 1897.\u003c/p>\n\u003cp>[aside postid='arts_13935330']For the people that regularly frequent, live in and/or still love the Tenderloin and mid-Market neighborhoods, these widely distributed, one-note perceptions of the area are frustrating and frequently worthy of an eye-roll. Outsiders are all too often willing to focus on the worst rather than appreciate the Tenderloin’s small businesses, \u003ca href=\"https://www.kqed.org/arts/13916794/azalina-malaysian-restaurant-reopening-tenderloin\">tasty restaurants\u003c/a>, fun bars, \u003ca href=\"https://www.kqed.org/pop/103422/rebel-girls-from-bay-area-history-ruth-brinker-aids-activist\">long-standing charitable organizations\u003c/a> and interesting \u003ca href=\"https://www.kqed.org/arts/13935933/counterpulse-vivvyanne-forevermore-drag-the-show\">local characters\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13936209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936209\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg\" alt=\"A senior man with white hair and receding hairline pours a drink from behind a small, old-fashioned bar. He is wearing a white short-sleeved shirt and black pants. The bar is full of Christmas lights and lined with mirrors. There are three or four patrons seated at the bar.\" width=\"1920\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1536x1053.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Aunt Charlie’s Lounge, Turk Street, Tenderloin District, San Francisco 2016’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter photographic hero \u003ca href=\"https://www.flickr.com/photos/daveglass/albums\">Dave Glass.\u003c/a> He’s a San Francisco local that has long documented neighborhoods — and, crucially, the mix of people within them — across the city. Glass had the good sense to spend decades documenting the Tenderloin and Civic Center, and his new exhibition, \u003cem>Central City 1960-2016, \u003c/em>reflects an appreciation for those neighborhoods right when it’s needed most. Right when, let’s be frank, so many people have nothing good to say about the area at all.\u003c/p>\n\u003cp>In the exhibition, on view at the \u003ca href=\"http://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a> through the end of the year, Glass only has 14 images on display — nine in black and white, five in color. But each is potent, and the collection is carefully curated to reflect the broad swath of life that has always existed in the neighborhood. Cool kids on street corners, anti-war protesters, a smiling baby in a Volvo driver’s seat, a stoic Polk Street watch repairman. They all exist alongside old neighborhood bars and their patrons, liquor store foot traffic, and cops lined up on Market near Sixth.\u003c/p>\n\u003cfigure id=\"attachment_13936208\" class=\"wp-caption aligncenter\" style=\"max-width: 1842px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png\" alt=\"A line of motorcycle cops block off the entire street. Barricades hold back crowds on the sidewalk behind them. A cinema promises LIVE NUDE GIRLS from its marquee.\" width=\"1842\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png 1842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1536x1024.png 1536w\" sizes=\"(max-width: 1842px) 100vw, 1842px\">\u003cfigcaption class=\"wp-caption-text\">‘Market Street Cinema 1985’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though small, \u003cem>Central City\u003c/em> is a fuller — and fairer — picture of the Tenderloin and mid-Market than most of the country is afforded right now. Glass’ black and white images are the most striking, too, in part because, at a glance, they all appear to be from the same era — despite them spanning 45 years of street life.\u003c/p>\n\u003cp>Through Glass’ lens, the Tenderloin and its surrounding streets become timeless. There is something undeniably beautiful about that — especially while so much of the country is still talking smack about them.\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>\u003cem>‘\u003ca href=\"https://www.tenderloinmuseum.org/dave-glass-central-city-1970-2016\">Dave Glass: Central City 1970-2016\u003c/a>’ is on view at the Tenderloin Museum (398 Eddy St.) until Dec. 30, 2023. Glass will appear in conversation at the museum with \u003ca href=\"http://www.adrianmrtnz.com/\">Adrian Martinez\u003c/a> and \u003ca href=\"https://www.austinleong.com/\">Austin Leong\u003c/a> on at 5:30 p.m. on Dec. 7 .\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "A small but mighty exhibition from Dave Glass captures a broad swath of life in the oft-misunderstood neighborhood.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Descriptions of the Tenderloin have long been seeped in negativity. This was happening long before the past couple years, when Fox News has reported streets full of “zombies roaming” and the \u003cem>Daily Mail\u003c/em> blamed the TL and Civic Center for making San Francisco “a byword for \u003ca href=\"https://www.kqed.org/news/11952285/from-the-vault-when-the-tenderloins-addiction-crisis-goes-viral\">drug taking\u003c/a> … and associated crime.” Even back in 1977, San Francisco’s own\u003cem> Examiner \u003c/em>newspaper had an entire series that described the Tenderloin as “hell at your doorstep.” That same publication referred to the neighborhood as “the shady part of town” all the way back in 1897.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For the people that regularly frequent, live in and/or still love the Tenderloin and mid-Market neighborhoods, these widely distributed, one-note perceptions of the area are frustrating and frequently worthy of an eye-roll. Outsiders are all too often willing to focus on the worst rather than appreciate the Tenderloin’s small businesses, \u003ca href=\"https://www.kqed.org/arts/13916794/azalina-malaysian-restaurant-reopening-tenderloin\">tasty restaurants\u003c/a>, fun bars, \u003ca href=\"https://www.kqed.org/pop/103422/rebel-girls-from-bay-area-history-ruth-brinker-aids-activist\">long-standing charitable organizations\u003c/a> and interesting \u003ca href=\"https://www.kqed.org/arts/13935933/counterpulse-vivvyanne-forevermore-drag-the-show\">local characters\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13936209\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936209\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg\" alt=\"A senior man with white hair and receding hairline pours a drink from behind a small, old-fashioned bar. He is wearing a white short-sleeved shirt and black pants. The bar is full of Christmas lights and lined with mirrors. There are three or four patrons seated at the bar.\" width=\"1920\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-768x526.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Aunt-Charlies-Tenderloin-SF-2016--scaled-e1697003424447-1536x1053.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">‘Aunt Charlie’s Lounge, Turk Street, Tenderloin District, San Francisco 2016’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Enter photographic hero \u003ca href=\"https://www.flickr.com/photos/daveglass/albums\">Dave Glass.\u003c/a> He’s a San Francisco local that has long documented neighborhoods — and, crucially, the mix of people within them — across the city. Glass had the good sense to spend decades documenting the Tenderloin and Civic Center, and his new exhibition, \u003cem>Central City 1960-2016, \u003c/em>reflects an appreciation for those neighborhoods right when it’s needed most. Right when, let’s be frank, so many people have nothing good to say about the area at all.\u003c/p>\n\u003cp>In the exhibition, on view at the \u003ca href=\"http://www.tenderloinmuseum.org/\">Tenderloin Museum\u003c/a> through the end of the year, Glass only has 14 images on display — nine in black and white, five in color. But each is potent, and the collection is carefully curated to reflect the broad swath of life that has always existed in the neighborhood. Cool kids on street corners, anti-war protesters, a smiling baby in a Volvo driver’s seat, a stoic Polk Street watch repairman. They all exist alongside old neighborhood bars and their patrons, liquor store foot traffic, and cops lined up on Market near Sixth.\u003c/p>\n\u003cfigure id=\"attachment_13936208\" class=\"wp-caption aligncenter\" style=\"max-width: 1842px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936208\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png\" alt=\"A line of motorcycle cops block off the entire street. Barricades hold back crowds on the sidewalk behind them. A cinema promises LIVE NUDE GIRLS from its marquee.\" width=\"1842\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM.png 1842w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-10-at-5.22.47-PM-1536x1024.png 1536w\" sizes=\"(max-width: 1842px) 100vw, 1842px\">\u003cfigcaption class=\"wp-caption-text\">‘Market Street Cinema 1985’ by Dave Glass. \u003ccite>(Courtesy of the Tenderloin Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though small, \u003cem>Central City\u003c/em> is a fuller — and fairer — picture of the Tenderloin and mid-Market than most of the country is afforded right now. Glass’ black and white images are the most striking, too, in part because, at a glance, they all appear to be from the same era — despite them spanning 45 years of street life.\u003c/p>\n\u003cp>Through Glass’ lens, the Tenderloin and its surrounding streets become timeless. There is something undeniably beautiful about that — especially while so much of the country is still talking smack about them.\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>\u003cem>‘\u003ca href=\"https://www.tenderloinmuseum.org/dave-glass-central-city-1970-2016\">Dave Glass: Central City 1970-2016\u003c/a>’ is on view at the Tenderloin Museum (398 Eddy St.) until Dec. 30, 2023. Glass will appear in conversation at the museum with \u003ca href=\"http://www.adrianmrtnz.com/\">Adrian Martinez\u003c/a> and \u003ca href=\"https://www.austinleong.com/\">Austin Leong\u003c/a> on at 5:30 p.m. on Dec. 7 .\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "sacramento-mothman-tahoe-tessie-antioch-bigfoot-kooki-davis-vampire-halloween",
"title": "5 Real-Life Monsters That Have (Allegedly) Stalked Northern California",
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"headTitle": "5 Real-Life Monsters That Have (Allegedly) Stalked Northern California | KQED",
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"content": "\u003cp>Ask Northern Californians what local monsters they think about the most, and invariably you will hear a list of very bad people. \u003ca href=\"https://www.kqed.org/pop/17396/are-you-a-gentrifier-this-quiz-can-tell-you\">Gentrifiers\u003c/a>! The people who spread lies about San Francisco being \u003cem>The Purge\u003c/em> now! That one guy who hoses down homeless people! Folks who move in next door to music venues, then make noise complaints! Erratic \u003ca href=\"https://www.kqed.org/news/11959303/sf-activists-protest-immobilize-driverless-cars-with-traffic-cones\">ghost cars\u003c/a>! You get the gist.\u003c/p>\n\u003cp>It’s Halloween season at the moment, though, so it’s the perfect time to think beyond the usual suspects and venture into our region’s very real history of dealing with \u003cem>actual\u003c/em> monsters. The mysterious kind. The kind that people laugh at witnesses for reporting in the first place.\u003c/p>\n\u003cp>Here are five major ones you might not have realized were ever in our midst.\u003c/p>\n\u003cfigure id=\"attachment_13935927\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104.jpg\" alt=\"A mysterious bigfoot figure, walking through a foggy forest and silhouetted against trees.\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bigfoot, doing his thing. \u003ccite>(David Wall/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bigfoot in Antioch\u003c/h2>\n\u003cp>Back in 1869, an unsuspecting hunter wandered back to his campsite in Antioch one evening to find his belongings in disarray. As he tried to make sense of the scene, he noticed something else — enormous footprints that closely resembled the shape of a man’s foot, rather than an animal’s.\u003c/p>\n\u003cp>The hunter was so confounded that, rather than clean up the mess, he opted to hide out in some bushes 20 yards away and stake out whatever had paid the camp an earlier visit. After two hours, the mysterious beast did indeed come back and the hunter was able to observe a bonafide Bigfoot for about 20 minutes. The hunter later reported that the creature was:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“5 feet high and disproportionately broad and square at the shoulders with arms of great length. The legs were very short and the body long. The head was small compared to the rest of the creature and appeared to be set upon his shoulders without a neck. The whole was covered with dark brown and cinnamon-colored hair.”\u003c/p>\n\u003cp>So… a tall Ewok then? (Sign me up!)\u003c/p>\n\u003cp>[aside postid='arts_13904911']The hunter hung around long enough to see Overgrown Wicket meet up with another Bigfoot that was “unmistakenly female.” (That means boobs, probably?) To his surprise, after telling other hunters in the area what he had witnessed, the Bigfoot-spotter found that almost no one was surprised. Most other folks reported seeing the signature giant footprints and at least one other man had seen the furry fam as well.\u003c/p>\n\u003cp>Rupert Matthews, author of \u003cem>Bigfoot: True-Life Encounters With Legendary Ape-Men\u003c/em> notes that: “This acceptance of the reality of the creatures by those who spent a lot time in the forested hills is a feature of early cases [of Bigfoot sightings] that surfaces again and again. ”\u003c/p>\n\u003cfigure id=\"attachment_13935928\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253.jpg\" alt=\"A gorgeous blue lake surrounded by green pine trees. A small green island sits in the center of the water.\" width=\"1920\" height=\"1253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-1536x1002.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emerald Bay, Lake Tahoe: May or may not be home to a giant serpent monster. \u003ccite>(Anjelika Gretskaia/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tahoe Tessie\u003c/h2>\n\u003cp>It sounds like a bad joke set-up: Two nuns, a couple of cops, one optometrist and 10 USPS workers walk into the countryside… yadda-yadda-yadda… punchline about a sea serpent.\u003c/p>\n\u003cp>Except, that is the actual list of people who reported seeing some kind of aquatic monster in the waters of Lake Tahoe in the mid-1980s. One of the cops, Reno’s Kris Beebe, said the creature — nicknamed “Tahoe Tessie” for funsies — was “dark gray or black” and “a minimum of 10 feet long.” The other witnesses described a featureless body that was “fast-moving and undulating, but strangely devoid of identifying attributes.”\u003c/p>\n\u003cp>Noting that nothing of that size had ever been proven to live in the 1,590-foot-deep lake, fishing guide Mickey Daniels told the \u003cem>San Francisco Examiner:\u003c/em> “I think there’s something there. I’ve talked to about a hundred people who’ve seen it. What do I do — call them liars?”\u003c/p>\n\u003cfigure id=\"attachment_13935929\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-491791494-scaled.jpg\" alt=\"Female, red vampire lips with dripping blood, viewed in close-up.\" width=\"2560\" height=\"1491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1536x894.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-2048x1193.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1920x1118.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In 1978, a Daly City resident named Kooki Davis claimed publicly to be a full-fledged vampire. \u003ccite>(Remains/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Vampires in Daly City\u003c/h2>\n\u003cp>In 1978, the \u003cem>San Francisco Examiner\u003c/em> dedicated a story to Kooki Davis, a Daly City-dwelling hair stylist from Trinidad, who was living full-time as a vampire. “She has long fangs, razor-sharp fingernails and blood dripping from her lips,” the paper reported, like that was perfectly normal. “She speaks with a Transylvania twang and her ‘come hither’ stare sends icy fingers up and down your spine.”\u003c/p>\n\u003cp>[aside postid='arts_13904118']In the story, Davis explained that she’d become a “certified” vampire five years ago. And if you’re wondering what \u003cem>that\u003c/em> exam involves, she elaborated: “To become a vampire, you have to be bitten by a vampire. Once bitten, you become a victim. Victims have to serve an apprenticeship to learn the ropes … There’s a lot of activity in San Francisco, so you can earn your merit badges pretty fast — as opposed to Dubuque or Wichita.”\u003c/p>\n\u003cp>(This is the value of newspapers, friends. Movies never tell anyone that in order to rid oneself of a vampire problem, moving to Iowa or Kansas will solve it, but here we are.)\u003c/p>\n\u003cp>Of her interactions with the general public, Davis noted that at work, at the end of each haircut, her “trademark” was to give each of her customers a “gentle bite” on the neck.\u003c/p>\n\u003cp>Man, that salon must have had amazing insurance.\u003c/p>\n\u003cfigure id=\"attachment_13935930\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935930\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911.jpg\" alt=\"A man looks up at a flying mothman figure in the sky that's silhouetted against the moon at night.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Someone spotted this guy on top of Sacramento’s Tower Bridge. Not cool, Mothman. Not cool. \u003ccite>(David Wall/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Sacramento Mothman\u003c/h2>\n\u003cp>As all good cryptid nerds know, Mothman primarily enjoys hanging out in West Virginia. (Probably because 80% of the state is forested, and also because approximately 80% of people who don’t live in West Virginia assume that everyone who does is crazy.) For decades there, witnesses have been describing a 7-foot-tall man with red eyes and wings, with a wingspan between 10 and 15 feet wide, who can fly at speeds too fast to catch on camera.\u003c/p>\n\u003cp>Well, Mothman must have had himself a little Californian vacation in 2009, because a photographer named Lamont Greer claims to have seen the humanoid hanging around on top of Sacramento’s Tower Bridge one night. Greer had been taking photos of the bridge at the time and was stunned by what he saw.\u003c/p>\n\u003cp>[aside postid='arts_13933318']“I had just finished filming the back side of the bridge so I was bent down putting my camera back in my camera bag,” Greer told The History Channel’s \u003cem>MonsterQuest\u003c/em>, “and I kind of felt something looking at me. When I first saw it, I didn’t know what it was … but then my eyes kind of focused on it a bit better. It spread wings and then started flying off. It wasn’t a man, it wasn’t a bird. It was absolutely strange and unique. If it wanted to come down and hurt someone — attack — it absolutely could cause damage.”\u003c/p>\n\u003cp>The Sacramento sighting is not the only time Mothman has showed up in a city. In 2017, a bunch of people reported seeing him hanging around Chicago — including at the airport. A moth’s gotta vacation, you guys. A moth’s gotta vacation.\u003c/p>\n\u003cfigure id=\"attachment_13935936\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935936\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739.jpg\" alt=\"Two slender sea monsters with long tails and small fins make turns in the ocean as light streams through from the sky.\" width=\"1920\" height=\"1382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-1536x1106.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Multiple fishermen in Santa Cruz and Monterey used to report a sea serpent lurking in the water. They nicknamed it ‘The Old Man of Monterey Bay’ and also, for some reason, ‘Bobo.’ \u003ccite>( Victor Habbick Visions/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Old Man of Monterey Bay\u003c/h2>\n\u003cp>About a hundred years ago, the fishermen of Monterey Bay and the Santa Cruz waterfront started reporting seeing an alarming dragon-like creature circling their boats. Some witnesses said the strange beast had a very large head, extremely long tail and a series of pointed spines along its back. A Monterey man named Dominic Costanza said the creature was about four feet in width and had “what looked like the face of a very old man or a monkey … with two eyes the size of breakfast buns.”\u003c/p>\n\u003cp>(Never mind the creature — what the hell is a breakfast bun?)\u003c/p>\n\u003cp>By March 1940, the creature had two nicknames — “The Old Man of Monterey Bay” or “Bobo,” depending on your preference — and it had prompted around 30 fishing captains to make reports to the \u003cem>Santa Cruz Sentinel\u003c/em>.\u003c/p>\n\u003cp>Years later, Geoffrey Dunn — a man whose family had been in Santa Cruz for generations — wrote in \u003cem>Santa Cruz Style\u003c/em> that:\u003c/p>\n\u003cblockquote>\u003cp>Several of my uncles and cousins reportedly encountered the monster while fishing in their small, double-ended fishing vessels … My late uncle Mario Stagnaro once recounted for me the afternoon that a badly shaken fisherman, Bill Totten, returned to the docks following a day of fishing in June of 1941. ‘I saw that serpent or monster out there!’ he screamed. ‘Get me out of here!’\u003c/p>\u003c/blockquote>\n\u003cp>Totten apparently did not return to the wharf for some time. Play nice, Bobo!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Be careful out there, folks — and have a happy Halloween.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask Northern Californians what local monsters they think about the most, and invariably you will hear a list of very bad people. \u003ca href=\"https://www.kqed.org/pop/17396/are-you-a-gentrifier-this-quiz-can-tell-you\">Gentrifiers\u003c/a>! The people who spread lies about San Francisco being \u003cem>The Purge\u003c/em> now! That one guy who hoses down homeless people! Folks who move in next door to music venues, then make noise complaints! Erratic \u003ca href=\"https://www.kqed.org/news/11959303/sf-activists-protest-immobilize-driverless-cars-with-traffic-cones\">ghost cars\u003c/a>! You get the gist.\u003c/p>\n\u003cp>It’s Halloween season at the moment, though, so it’s the perfect time to think beyond the usual suspects and venture into our region’s very real history of dealing with \u003cem>actual\u003c/em> monsters. The mysterious kind. The kind that people laugh at witnesses for reporting in the first place.\u003c/p>\n\u003cp>Here are five major ones you might not have realized were ever in our midst.\u003c/p>\n\u003cfigure id=\"attachment_13935927\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104.jpg\" alt=\"A mysterious bigfoot figure, walking through a foggy forest and silhouetted against trees.\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bigfoot, doing his thing. \u003ccite>(David Wall/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bigfoot in Antioch\u003c/h2>\n\u003cp>Back in 1869, an unsuspecting hunter wandered back to his campsite in Antioch one evening to find his belongings in disarray. As he tried to make sense of the scene, he noticed something else — enormous footprints that closely resembled the shape of a man’s foot, rather than an animal’s.\u003c/p>\n\u003cp>The hunter was so confounded that, rather than clean up the mess, he opted to hide out in some bushes 20 yards away and stake out whatever had paid the camp an earlier visit. After two hours, the mysterious beast did indeed come back and the hunter was able to observe a bonafide Bigfoot for about 20 minutes. The hunter later reported that the creature was:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“5 feet high and disproportionately broad and square at the shoulders with arms of great length. The legs were very short and the body long. The head was small compared to the rest of the creature and appeared to be set upon his shoulders without a neck. The whole was covered with dark brown and cinnamon-colored hair.”\u003c/p>\n\u003cp>So… a tall Ewok then? (Sign me up!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The hunter hung around long enough to see Overgrown Wicket meet up with another Bigfoot that was “unmistakenly female.” (That means boobs, probably?) To his surprise, after telling other hunters in the area what he had witnessed, the Bigfoot-spotter found that almost no one was surprised. Most other folks reported seeing the signature giant footprints and at least one other man had seen the furry fam as well.\u003c/p>\n\u003cp>Rupert Matthews, author of \u003cem>Bigfoot: True-Life Encounters With Legendary Ape-Men\u003c/em> notes that: “This acceptance of the reality of the creatures by those who spent a lot time in the forested hills is a feature of early cases [of Bigfoot sightings] that surfaces again and again. ”\u003c/p>\n\u003cfigure id=\"attachment_13935928\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253.jpg\" alt=\"A gorgeous blue lake surrounded by green pine trees. A small green island sits in the center of the water.\" width=\"1920\" height=\"1253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-1536x1002.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emerald Bay, Lake Tahoe: May or may not be home to a giant serpent monster. \u003ccite>(Anjelika Gretskaia/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tahoe Tessie\u003c/h2>\n\u003cp>It sounds like a bad joke set-up: Two nuns, a couple of cops, one optometrist and 10 USPS workers walk into the countryside… yadda-yadda-yadda… punchline about a sea serpent.\u003c/p>\n\u003cp>Except, that is the actual list of people who reported seeing some kind of aquatic monster in the waters of Lake Tahoe in the mid-1980s. One of the cops, Reno’s Kris Beebe, said the creature — nicknamed “Tahoe Tessie” for funsies — was “dark gray or black” and “a minimum of 10 feet long.” The other witnesses described a featureless body that was “fast-moving and undulating, but strangely devoid of identifying attributes.”\u003c/p>\n\u003cp>Noting that nothing of that size had ever been proven to live in the 1,590-foot-deep lake, fishing guide Mickey Daniels told the \u003cem>San Francisco Examiner:\u003c/em> “I think there’s something there. I’ve talked to about a hundred people who’ve seen it. What do I do — call them liars?”\u003c/p>\n\u003cfigure id=\"attachment_13935929\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-491791494-scaled.jpg\" alt=\"Female, red vampire lips with dripping blood, viewed in close-up.\" width=\"2560\" height=\"1491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1536x894.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-2048x1193.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1920x1118.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In 1978, a Daly City resident named Kooki Davis claimed publicly to be a full-fledged vampire. \u003ccite>(Remains/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Vampires in Daly City\u003c/h2>\n\u003cp>In 1978, the \u003cem>San Francisco Examiner\u003c/em> dedicated a story to Kooki Davis, a Daly City-dwelling hair stylist from Trinidad, who was living full-time as a vampire. “She has long fangs, razor-sharp fingernails and blood dripping from her lips,” the paper reported, like that was perfectly normal. “She speaks with a Transylvania twang and her ‘come hither’ stare sends icy fingers up and down your spine.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the story, Davis explained that she’d become a “certified” vampire five years ago. And if you’re wondering what \u003cem>that\u003c/em> exam involves, she elaborated: “To become a vampire, you have to be bitten by a vampire. Once bitten, you become a victim. Victims have to serve an apprenticeship to learn the ropes … There’s a lot of activity in San Francisco, so you can earn your merit badges pretty fast — as opposed to Dubuque or Wichita.”\u003c/p>\n\u003cp>(This is the value of newspapers, friends. Movies never tell anyone that in order to rid oneself of a vampire problem, moving to Iowa or Kansas will solve it, but here we are.)\u003c/p>\n\u003cp>Of her interactions with the general public, Davis noted that at work, at the end of each haircut, her “trademark” was to give each of her customers a “gentle bite” on the neck.\u003c/p>\n\u003cp>Man, that salon must have had amazing insurance.\u003c/p>\n\u003cfigure id=\"attachment_13935930\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935930\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911.jpg\" alt=\"A man looks up at a flying mothman figure in the sky that's silhouetted against the moon at night.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Someone spotted this guy on top of Sacramento’s Tower Bridge. Not cool, Mothman. Not cool. \u003ccite>(David Wall/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Sacramento Mothman\u003c/h2>\n\u003cp>As all good cryptid nerds know, Mothman primarily enjoys hanging out in West Virginia. (Probably because 80% of the state is forested, and also because approximately 80% of people who don’t live in West Virginia assume that everyone who does is crazy.) For decades there, witnesses have been describing a 7-foot-tall man with red eyes and wings, with a wingspan between 10 and 15 feet wide, who can fly at speeds too fast to catch on camera.\u003c/p>\n\u003cp>Well, Mothman must have had himself a little Californian vacation in 2009, because a photographer named Lamont Greer claims to have seen the humanoid hanging around on top of Sacramento’s Tower Bridge one night. Greer had been taking photos of the bridge at the time and was stunned by what he saw.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I had just finished filming the back side of the bridge so I was bent down putting my camera back in my camera bag,” Greer told The History Channel’s \u003cem>MonsterQuest\u003c/em>, “and I kind of felt something looking at me. When I first saw it, I didn’t know what it was … but then my eyes kind of focused on it a bit better. It spread wings and then started flying off. It wasn’t a man, it wasn’t a bird. It was absolutely strange and unique. If it wanted to come down and hurt someone — attack — it absolutely could cause damage.”\u003c/p>\n\u003cp>The Sacramento sighting is not the only time Mothman has showed up in a city. In 2017, a bunch of people reported seeing him hanging around Chicago — including at the airport. A moth’s gotta vacation, you guys. A moth’s gotta vacation.\u003c/p>\n\u003cfigure id=\"attachment_13935936\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935936\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739.jpg\" alt=\"Two slender sea monsters with long tails and small fins make turns in the ocean as light streams through from the sky.\" width=\"1920\" height=\"1382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-1536x1106.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Multiple fishermen in Santa Cruz and Monterey used to report a sea serpent lurking in the water. They nicknamed it ‘The Old Man of Monterey Bay’ and also, for some reason, ‘Bobo.’ \u003ccite>( Victor Habbick Visions/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Old Man of Monterey Bay\u003c/h2>\n\u003cp>About a hundred years ago, the fishermen of Monterey Bay and the Santa Cruz waterfront started reporting seeing an alarming dragon-like creature circling their boats. Some witnesses said the strange beast had a very large head, extremely long tail and a series of pointed spines along its back. A Monterey man named Dominic Costanza said the creature was about four feet in width and had “what looked like the face of a very old man or a monkey … with two eyes the size of breakfast buns.”\u003c/p>\n\u003cp>(Never mind the creature — what the hell is a breakfast bun?)\u003c/p>\n\u003cp>By March 1940, the creature had two nicknames — “The Old Man of Monterey Bay” or “Bobo,” depending on your preference — and it had prompted around 30 fishing captains to make reports to the \u003cem>Santa Cruz Sentinel\u003c/em>.\u003c/p>\n\u003cp>Years later, Geoffrey Dunn — a man whose family had been in Santa Cruz for generations — wrote in \u003cem>Santa Cruz Style\u003c/em> that:\u003c/p>\n\u003cblockquote>\u003cp>Several of my uncles and cousins reportedly encountered the monster while fishing in their small, double-ended fishing vessels … My late uncle Mario Stagnaro once recounted for me the afternoon that a badly shaken fisherman, Bill Totten, returned to the docks following a day of fishing in June of 1941. ‘I saw that serpent or monster out there!’ he screamed. ‘Get me out of here!’\u003c/p>\u003c/blockquote>\n\u003cp>Totten apparently did not return to the wharf for some time. Play nice, Bobo!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Be careful out there, folks — and have a happy Halloween.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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