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"title": "Matthew Perry, Emmy-Nominated ‘Friends’ Star, Has Died at 54, Reports Say",
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"content": "\u003cp>Matthew Perry, who starred as sarcastic-but-sweet Chandler Bing in the hit series \u003cem>Friends\u003c/em>, has died. He was 54.\u003c/p>\n\u003cp>The Emmy-nominated actor was found dead of an apparent drowning at his Los Angeles home Saturday, according to the \u003cem>Los Angeles Times\u003c/em> and celebrity website TMZ, which was the first to report the news. Both outlets cited unnamed sources confirming Perry’s death.\u003c/p>\n\u003cp>[aside postid='pop_108851']His publicists and other representatives did not immediately respond to messages from The Associated Press seeking comment. Asked to confirm police response to what was listed as Perry’s home address, LAPD Officer Drake Madison told AP that officers had gone to that block “for a death investigation of a male in his 50s.”\u003c/p>\n\u003cp>Perry’s 10 seasons on \u003cem>Friends\u003c/em> made him one of Hollywood’s most recognizable actors, starring opposite Jennifer Aniston, Courteney Cox, Matt LeBlanc, Lisa Kudrow and David Schwimmer as a friend group in New York.\u003c/p>\n\u003cp>As Chandler, he played the quick-witted, insecure and neurotic roommate of LeBlanc’s Joey and a close friend of Schwimmer’s Ross. During the show’s hijinks, he could be counted on to chime in with a line like, “Could this BE any more awkward?” or another well-timed quip.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the series’ end, Chandler is married to Cox’s Monica and they have a family, reflecting the journey of the core cast from single New Yorkers trying to figure their lives out to several of them married and starting families.\u003c/p>\n\u003cp>The series was one of television’s biggest hits and has taken on a new life — and found surprising popularity with younger fans — in recent years on streaming services.\u003c/p>\n\u003cfigure id=\"attachment_13937163\" class=\"wp-caption aligncenter\" style=\"max-width: 1476px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-51535873.jpg\" alt=\"A blonde white woman in a black gown clutches an award. Standing on one side of her is a white man in a tuxedo. To the left, another blonde woman and a man in a suit. All are smiling.\" width=\"1476\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873.jpg 1476w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-768x521.jpg 768w\" sizes=\"(max-width: 1476px) 100vw, 1476px\">\u003cfigcaption class=\"wp-caption-text\">Perry with his ‘Friends’ costars: Lisa Kudrow, Jennifer Aniston and David Schwimmer at the 26th People’s Choice Awards. \u003ccite>(LUCY NICHOLSON/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Friends\u003c/em> ran from 1994 until 2004, winning one best comedy series Emmy Award in 2002. The cast notably banded together for later seasons to obtain a salary of $1 million per episode for each.\u003c/p>\n\u003cp>Unknown at the time was the struggle Perry had with addiction and an intense desire to please audiences.\u003c/p>\n\u003cp>“\u003cem>Friends\u003c/em> was huge. I couldn’t jeopardize that. I loved my co-actors. I loved the scripts. I loved everything about the show but I was struggling with my addictions which only added to my sense of shame,” he wrote in his memoir, \u003cem>Friends, Lovers and the Big Terrible Thing\u003c/em>. “I had a secret and no one could know.”\u003c/p>\n\u003cp>“I felt like I was gonna die if the live audience didn’t laugh, and that’s not healthy for sure. But I could sometimes say a line and the audience wouldn’t laugh and I would sweat and sometimes go into convulsions,” Perry wrote. “If I didn’t get the laugh I was supposed to get I would freak out. I felt that every single night. This pressure left me in a bad place. I also knew of the six people making that show, only one of them was sick.”\u003c/p>\n\u003cp>He recalled in his memoir that Aniston confronted him about being inebriated while filming.\u003c/p>\n\u003cp>“I know you’re drinking,” he remembered her telling him once. “We can smell it,” she said, in what Perry called a “kind of weird but loving way, and the plural ‘we’ hit me like a sledgehammer.”\u003c/p>\n\u003cp>An\u003ca href=\"https://www.kqed.org/arts/13897888/friends-the-reunion-provides-plenty-of-laughs-actively-avoids-the-tough-stuff\"> HBO Max reunion special in 2021\u003c/a> was hosted by James Corden and fed into huge interest in seeing the cast together again, although the program consisted of the actors discussing the show and was not a continuation of their characters’ storylines.\u003c/p>\n\u003cp>Perry received one Emmy nomination for his \u003cem>Friends\u003c/em> role and two more for appearances as an associate White House counsel on \u003cem>The West Wing.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13897888']Perry also had several notable film roles, starring opposite Salma Hayek in the rom-com \u003cem>Fools Rush In\u003c/em> and Bruce Willis in the the crime comedy\u003cem> The Whole Nine Yards\u003c/em>.\u003c/p>\n\u003cp>He worked consistently after \u003cem>Friends\u003c/em>, though never in a role that brought him as much attention or acclaim.\u003c/p>\n\u003cp>In 2015, he played Oscar for a CBS reboot of \u003cem>The Odd Couple\u003c/em> that aired for two seasons. He told AP that playing Oscar Madison, the character originally made famous in the 1960s series by Walter Matthau, was a “dream role.” He also said he was surprised how much he enjoyed being filmed again in front of a live audience.\u003c/p>\n\u003cp>“I didn’t realize I missed it really until it actually happened, til we actually shot the pilot and there was a studio audience there and I realized, ‘Wow, I really like this. This is nice,’” he said. “You kind of ham up for the people in the audience. My performance never got better than when there was an audience there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perry was born Aug. 19, 1969, in Williamstown, Massachusetts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>His publicists and other representatives did not immediately respond to messages from The Associated Press seeking comment. Asked to confirm police response to what was listed as Perry’s home address, LAPD Officer Drake Madison told AP that officers had gone to that block “for a death investigation of a male in his 50s.”\u003c/p>\n\u003cp>Perry’s 10 seasons on \u003cem>Friends\u003c/em> made him one of Hollywood’s most recognizable actors, starring opposite Jennifer Aniston, Courteney Cox, Matt LeBlanc, Lisa Kudrow and David Schwimmer as a friend group in New York.\u003c/p>\n\u003cp>As Chandler, he played the quick-witted, insecure and neurotic roommate of LeBlanc’s Joey and a close friend of Schwimmer’s Ross. During the show’s hijinks, he could be counted on to chime in with a line like, “Could this BE any more awkward?” or another well-timed quip.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the series’ end, Chandler is married to Cox’s Monica and they have a family, reflecting the journey of the core cast from single New Yorkers trying to figure their lives out to several of them married and starting families.\u003c/p>\n\u003cp>The series was one of television’s biggest hits and has taken on a new life — and found surprising popularity with younger fans — in recent years on streaming services.\u003c/p>\n\u003cfigure id=\"attachment_13937163\" class=\"wp-caption aligncenter\" style=\"max-width: 1476px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937163\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-51535873.jpg\" alt=\"A blonde white woman in a black gown clutches an award. Standing on one side of her is a white man in a tuxedo. To the left, another blonde woman and a man in a suit. All are smiling.\" width=\"1476\" height=\"1002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873.jpg 1476w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-51535873-768x521.jpg 768w\" sizes=\"(max-width: 1476px) 100vw, 1476px\">\u003cfigcaption class=\"wp-caption-text\">Perry with his ‘Friends’ costars: Lisa Kudrow, Jennifer Aniston and David Schwimmer at the 26th People’s Choice Awards. \u003ccite>(LUCY NICHOLSON/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Friends\u003c/em> ran from 1994 until 2004, winning one best comedy series Emmy Award in 2002. The cast notably banded together for later seasons to obtain a salary of $1 million per episode for each.\u003c/p>\n\u003cp>Unknown at the time was the struggle Perry had with addiction and an intense desire to please audiences.\u003c/p>\n\u003cp>“\u003cem>Friends\u003c/em> was huge. I couldn’t jeopardize that. I loved my co-actors. I loved the scripts. I loved everything about the show but I was struggling with my addictions which only added to my sense of shame,” he wrote in his memoir, \u003cem>Friends, Lovers and the Big Terrible Thing\u003c/em>. “I had a secret and no one could know.”\u003c/p>\n\u003cp>“I felt like I was gonna die if the live audience didn’t laugh, and that’s not healthy for sure. But I could sometimes say a line and the audience wouldn’t laugh and I would sweat and sometimes go into convulsions,” Perry wrote. “If I didn’t get the laugh I was supposed to get I would freak out. I felt that every single night. This pressure left me in a bad place. I also knew of the six people making that show, only one of them was sick.”\u003c/p>\n\u003cp>He recalled in his memoir that Aniston confronted him about being inebriated while filming.\u003c/p>\n\u003cp>“I know you’re drinking,” he remembered her telling him once. “We can smell it,” she said, in what Perry called a “kind of weird but loving way, and the plural ‘we’ hit me like a sledgehammer.”\u003c/p>\n\u003cp>An\u003ca href=\"https://www.kqed.org/arts/13897888/friends-the-reunion-provides-plenty-of-laughs-actively-avoids-the-tough-stuff\"> HBO Max reunion special in 2021\u003c/a> was hosted by James Corden and fed into huge interest in seeing the cast together again, although the program consisted of the actors discussing the show and was not a continuation of their characters’ storylines.\u003c/p>\n\u003cp>Perry received one Emmy nomination for his \u003cem>Friends\u003c/em> role and two more for appearances as an associate White House counsel on \u003cem>The West Wing.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Perry also had several notable film roles, starring opposite Salma Hayek in the rom-com \u003cem>Fools Rush In\u003c/em> and Bruce Willis in the the crime comedy\u003cem> The Whole Nine Yards\u003c/em>.\u003c/p>\n\u003cp>He worked consistently after \u003cem>Friends\u003c/em>, though never in a role that brought him as much attention or acclaim.\u003c/p>\n\u003cp>In 2015, he played Oscar for a CBS reboot of \u003cem>The Odd Couple\u003c/em> that aired for two seasons. He told AP that playing Oscar Madison, the character originally made famous in the 1960s series by Walter Matthau, was a “dream role.” He also said he was surprised how much he enjoyed being filmed again in front of a live audience.\u003c/p>\n\u003cp>“I didn’t realize I missed it really until it actually happened, til we actually shot the pilot and there was a studio audience there and I realized, ‘Wow, I really like this. This is nice,’” he said. “You kind of ham up for the people in the audience. My performance never got better than when there was an audience there.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Perry was born Aug. 19, 1969, in Williamstown, Massachusetts.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Alexander Payne Keeps Real Emotion at Bay in the Coyly Comic ‘Holdovers’",
"headTitle": "Alexander Payne Keeps Real Emotion at Bay in the Coyly Comic ‘Holdovers’ | KQED",
"content": "\u003cp>Even as someone whose job is to complain about the state of contemporary filmmaking, I’ve never really bought into the idea that “They don’t make ’em like they used to” — something moviegoers have been saying since the silent era.\u003c/p>\n\u003cp>Still, I understand why some critics have been waxing so nostalgic in their praise of \u003cem>The Holdovers\u003c/em>. From the moment its scratched-up retro-style studio logo appears, \u003ca href=\"https://www.npr.org/2013/12/02/248185910/director-alexander-payne-on-mining-every-film-for-comic-potential\">Alexander Payne\u003c/a>‘s new film offers itself up as a throwback to a time when thoughtful, character-driven comedies for adults were more of a staple than they are now. The movie isn’t just set in 1970; it wants to look as though it were \u003cem>made\u003c/em> in 1970.\u003c/p>\n\u003cp>It’s also a reunion for Payne and actor \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1674650\">Paul Giamatti\u003c/a>, nearly 20 years after their superior wine-country comedy \u003ca href=\"https://www.npr.org/2004/10/15/4111467/sideways-paynes-latest-comic-antidote\">\u003cem>Sideways\u003c/em>\u003c/a>. In \u003cem>The Holdovers\u003c/em>, Giamatti again plays a hard-drinking, sharp-tongued curmudgeon with tragicomic verve. This time he’s Paul Hunham, a teacher of ancient history at a prestigious New England boarding school called Barton Academy.\u003c/p>\n\u003cp>Paul believes in showing tough love to his students, whom he openly refers to as “degenerates” and “reprobates.” On the last day of school before winter break, he hands the boys back their exams, which nearly all of them failed.\u003c/p>\n\u003cp>The only student to get a decent grade is Angus Tully, played by Dominic Sessa. He’s a sharp, smart kid with a rebellious streak, fueled in part by family problems back home. When he learns that his mom and new stepdad have decided to spend the holidays honeymooning in the Caribbean, Angus is forced to stay at Barton for two weeks under Paul’s supervision.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are four other young holdovers as well, but David Hemingson’s script conveniently gets them out of the way. Joining Paul and Angus is the school cafeteria manager, Mary Lamb, wonderfully played by \u003ca href=\"https://www.npr.org/2019/10/03/766927018/actress-davine-joy-randolph-on-her-role-in-dolemite-is-my-name\">Da’Vine Joy Randolph\u003c/a> from \u003ca href=\"https://www.npr.org/2019/10/29/774348252/dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a>. It’s Mary’s first Christmas since her son, a Barton grad, died serving in the Vietnam War.\u003c/p>\n\u003cp>A prickly teacher, an angry student and a grieving cook cooped up together for two frigid weeks without central heating sounds like a recipe for horror-movie disaster: \u003cem>The Catcher in the Rye \u003c/em>meets \u003cem>The Shining\u003c/em>. Thankfully, no one gets axed to death in \u003cem>The Holdovers\u003c/em>, though someone does end up in the hospital after a minor accident.\u003c/p>\n\u003cp>https://youtube.com/watch?v=AhKLpJmHhIg\u003c/p>\n\u003cp>Soon the three find better reasons to leave campus, attending a Christmas Eve party and taking an unexpected field trip to Boston. Road trips have been something of a Payne specialty in movies like \u003cem>Sideways\u003c/em> and \u003ca href=\"https://www.npr.org/2013/11/15/245395877/across-nebraska-on-a-journey-that-goes-beyond-the-trip\">\u003cem>Nebraska\u003c/em>\u003c/a>, a chance for rough-edged characters to travel together and bond over each other’s losses and disappointments.\u003c/p>\n\u003cp>That’s a lovely idea, and \u003cem>The Holdovers\u003c/em> sometimes lives up to it. Some of the best scenes find Paul and Mary watching TV, drinking whisky and joshing with each other well into the wee hours. These moments have a lived-in casual-hangout quality that’s missing elsewhere.\u003c/p>\n\u003cp>In their many arguments, Paul and Angus tend to spell out the obvious — how they’re feeling, why they’re mad at each other and all the awful things they’ve been through. Giamatti is a skilled enough actor to make this seem like part of Paul’s overbearing nature. But Sessa, an appealing newcomer, doesn’t fare as well; too often he’s made to talk about his teenage angst rather than embody it.\u003c/p>\n\u003cp>And then there’s Mary, whose name can’t help but smack of cheap symbolism given that she’s mourning a child at Christmastime. The script doesn’t know what to do with Mary besides sanctify her, turning her grief into a prop. That’s a shame, since Mary is easily the most interesting character here, which is due entirely to the terrific comic timing and deep emotion that Randolph brings to an underwritten role.\u003c/p>\n\u003cp>Watching Paul, Angus and Mary, we’re meant to reflect on the social turmoil of the past and how it dovetails with the present. Angus’ family drama touches on depression and mental illness. The death of Mary’s son in Vietnam raises issues like racism and classism. But these points are glossed over in a movie that skims the surface of its ’70s milieu without fully engaging with it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Payne isn’t really “making ’em like they used to”; beneath its old-school aesthetic, \u003cem>The Holdovers\u003c/em> faces a problem that’s all too familiar in this director’s work: a coyness about his characters and their circumstances that keeps real emotion and holiday spirit at bay.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Alexander+Payne+keeps+real+emotion+at+bay+in+the+coyly+comic+%27Holdovers%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even as someone whose job is to complain about the state of contemporary filmmaking, I’ve never really bought into the idea that “They don’t make ’em like they used to” — something moviegoers have been saying since the silent era.\u003c/p>\n\u003cp>Still, I understand why some critics have been waxing so nostalgic in their praise of \u003cem>The Holdovers\u003c/em>. From the moment its scratched-up retro-style studio logo appears, \u003ca href=\"https://www.npr.org/2013/12/02/248185910/director-alexander-payne-on-mining-every-film-for-comic-potential\">Alexander Payne\u003c/a>‘s new film offers itself up as a throwback to a time when thoughtful, character-driven comedies for adults were more of a staple than they are now. The movie isn’t just set in 1970; it wants to look as though it were \u003cem>made\u003c/em> in 1970.\u003c/p>\n\u003cp>It’s also a reunion for Payne and actor \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=1674650\">Paul Giamatti\u003c/a>, nearly 20 years after their superior wine-country comedy \u003ca href=\"https://www.npr.org/2004/10/15/4111467/sideways-paynes-latest-comic-antidote\">\u003cem>Sideways\u003c/em>\u003c/a>. In \u003cem>The Holdovers\u003c/em>, Giamatti again plays a hard-drinking, sharp-tongued curmudgeon with tragicomic verve. This time he’s Paul Hunham, a teacher of ancient history at a prestigious New England boarding school called Barton Academy.\u003c/p>\n\u003cp>Paul believes in showing tough love to his students, whom he openly refers to as “degenerates” and “reprobates.” On the last day of school before winter break, he hands the boys back their exams, which nearly all of them failed.\u003c/p>\n\u003cp>The only student to get a decent grade is Angus Tully, played by Dominic Sessa. He’s a sharp, smart kid with a rebellious streak, fueled in part by family problems back home. When he learns that his mom and new stepdad have decided to spend the holidays honeymooning in the Caribbean, Angus is forced to stay at Barton for two weeks under Paul’s supervision.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are four other young holdovers as well, but David Hemingson’s script conveniently gets them out of the way. Joining Paul and Angus is the school cafeteria manager, Mary Lamb, wonderfully played by \u003ca href=\"https://www.npr.org/2019/10/03/766927018/actress-davine-joy-randolph-on-her-role-in-dolemite-is-my-name\">Da’Vine Joy Randolph\u003c/a> from \u003ca href=\"https://www.npr.org/2019/10/29/774348252/dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a>. It’s Mary’s first Christmas since her son, a Barton grad, died serving in the Vietnam War.\u003c/p>\n\u003cp>A prickly teacher, an angry student and a grieving cook cooped up together for two frigid weeks without central heating sounds like a recipe for horror-movie disaster: \u003cem>The Catcher in the Rye \u003c/em>meets \u003cem>The Shining\u003c/em>. Thankfully, no one gets axed to death in \u003cem>The Holdovers\u003c/em>, though someone does end up in the hospital after a minor accident.\u003c/p>\n\u003cp>https://youtube.com/watch?v=AhKLpJmHhIg\u003c/p>\n\u003cp>Soon the three find better reasons to leave campus, attending a Christmas Eve party and taking an unexpected field trip to Boston. Road trips have been something of a Payne specialty in movies like \u003cem>Sideways\u003c/em> and \u003ca href=\"https://www.npr.org/2013/11/15/245395877/across-nebraska-on-a-journey-that-goes-beyond-the-trip\">\u003cem>Nebraska\u003c/em>\u003c/a>, a chance for rough-edged characters to travel together and bond over each other’s losses and disappointments.\u003c/p>\n\u003cp>That’s a lovely idea, and \u003cem>The Holdovers\u003c/em> sometimes lives up to it. Some of the best scenes find Paul and Mary watching TV, drinking whisky and joshing with each other well into the wee hours. These moments have a lived-in casual-hangout quality that’s missing elsewhere.\u003c/p>\n\u003cp>In their many arguments, Paul and Angus tend to spell out the obvious — how they’re feeling, why they’re mad at each other and all the awful things they’ve been through. Giamatti is a skilled enough actor to make this seem like part of Paul’s overbearing nature. But Sessa, an appealing newcomer, doesn’t fare as well; too often he’s made to talk about his teenage angst rather than embody it.\u003c/p>\n\u003cp>And then there’s Mary, whose name can’t help but smack of cheap symbolism given that she’s mourning a child at Christmastime. The script doesn’t know what to do with Mary besides sanctify her, turning her grief into a prop. That’s a shame, since Mary is easily the most interesting character here, which is due entirely to the terrific comic timing and deep emotion that Randolph brings to an underwritten role.\u003c/p>\n\u003cp>Watching Paul, Angus and Mary, we’re meant to reflect on the social turmoil of the past and how it dovetails with the present. Angus’ family drama touches on depression and mental illness. The death of Mary’s son in Vietnam raises issues like racism and classism. But these points are glossed over in a movie that skims the surface of its ’70s milieu without fully engaging with it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Payne isn’t really “making ’em like they used to”; beneath its old-school aesthetic, \u003cem>The Holdovers\u003c/em> faces a problem that’s all too familiar in this director’s work: a coyness about his characters and their circumstances that keeps real emotion and holiday spirit at bay.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Alexander+Payne+keeps+real+emotion+at+bay+in+the+coyly+comic+%27Holdovers%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Teen Dreams and Adult Nightmares in Sofia Coppola’s ‘Priscilla’",
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"content": "\u003cp>Dreamily gazing at the album covers of Elvis Presley was not, statistically speaking, a rare habit among American teen girls in the late 1950s and early ’60s.\u003c/p>\n\u003cp>[aside postid='arts_13936873']But for Priscilla Beaulieu, teenage fantasy became a strange and surreal reality. Sofia Coppola’s \u003cem>Priscilla\u003c/em>, starring Cailee Spaeny, captures all the dreaminess, the absurdity and, finally, the nightmare of falling in love with Elvis.\u003c/p>\n\u003cp>Priscilla was just 14 years-old — a 9th grader — when she first met him. It was 1959. She was living in West Germany, where her Air Force officer stepfather was stationed. The swoony early scenes of Coppola’s film find a solitary Priscilla sipping soda in a Navy base diner while Frankie Avalon’s “Venus” (“Venus, make her fair / A lovely girl with sunlight in her hair”) plays around her, as covered by the band Phoenix.\u003c/p>\n\u003cfigure id=\"attachment_13936976\" class=\"wp-caption aligncenter\" style=\"max-width: 1932px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM.png\" alt=\"A teenage girl in 1950s-style pink short-sleeved sweater and black cigarette pants lies on her belly, feet in the air, with schoolbooks laid out in front of her.\" width=\"1932\" height=\"1230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM.png 1932w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1020x649.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-768x489.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1536x978.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1920x1222.png 1920w\" sizes=\"(max-width: 1932px) 100vw, 1932px\">\u003cfigcaption class=\"wp-caption-text\">Cailee Spaeny in ‘Priscilla.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A man approaches and asks if she likes Elvis. Of course she does. Would she like to meet him? Um, what? After some negotiations with her parents, Priscilla is sitting there on the sofa at a small party when the King of Rock ‘n’ Roll, himself (Jacob Elordi), strolls down the stairs. Big, big sigh.\u003c/p>\n\u003cp>Coppola, the writer-director of \u003cem>The Virgin Suicides\u003c/em>, \u003cem>Lost in Translation\u003c/em> and \u003cem>Somewhere\u003c/em>, has always been innately attuned to the forming identities, swelling desires and intimate revelations of young women. In the story of Priscilla Presley (the film is based on her 1985 memoir, \u003cem>Elvis and Me\u003c/em>), Coppola has found a tale tailor-made for her delicately perceptive style of filmmaking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a movie, \u003cem>Priscilla\u003c/em> is the diametric opposite of Baz Luhrmann’s \u003cem>Elvis\u003c/em>. Where Luhrmann’s film was lurid and careening, Coppola’s is muted and textured. Her film is a kind of fairy tale that turns claustrophobic and cautionary.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DBWk6BohVXk\u003c/p>\n\u003cp>\u003cem>Priscilla\u003c/em> is, at least at first, quite funny. After Priscilla initially catches Elvis’ eye at that party, she’s back at school learning about the food groups. How could anyone possibly stomach that? Or when, after Elvis hasn’t called following his stint in the military, Priscilla’s mother asks her if there aren’t any boys in school she might be interested in, instead. Priscilla doesn’t need to say anything; just the image of lining up your average 9th grade boy against Elvis Presley is enough.\u003c/p>\n\u003cp>[aside postid='arts_13936628']Yet their courtship continues in somewhat traditional fashion. Elvis, played with relaxed magnetism by Elordi (\u003cem>The Kissing Booth\u003c/em>, \u003cem>Saltburn\u003c/em>), is drawn to Priscilla because she reminds him of home; it’s clear her purity is part of her appeal to him. It’s a long time before they have sex, though her youth remains tacitly problematic. “Wow, she’s young,” says one woman watching Elvis lead Priscilla upstairs. “Like a little girl.”\u003c/p>\n\u003cp>Their life together is initially sweet if deranged. Priscilla drifts through a dream world even if Elvis’ extremes are glaring to us. His bedroom in Graceland is comically gaudy. “I got this for you,” we hear Elvis say kindly, before a handgun is handed over.\u003c/p>\n\u003cfigure id=\"attachment_13936977\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936977\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM.png\" alt=\"A handsome young white man with dark hair sits in a chair playing guitar with his feet up on a desk. A window with brown drapes is behind him.\" width=\"1896\" height=\"1172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM.png 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-1020x631.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-768x475.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-1536x949.png 1536w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Elordi in ‘Priscilla.’ \u003ccite>(Sabrina Lantos/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No Presley songs play in \u003cem>Priscilla\u003c/em>. (While Priscilla Presley is an executive producer, the Elvis estate didn’t participate in the film.) But it does share a telling track ( Carl Orff’s “Gassenhauer” ) with Terence Malick’s \u003cem>Badlands\u003c/em>, another movie about an underage teen girl (Sissy Spacek) who throws her life in with a charismatic drifter with matinee-idol looks (Martin Sheen).\u003c/p>\n\u003cp>And like they do for Holly in \u003cem>Badlands\u003c/em>, things turn increasingly dark for Priscilla. Elvis treats her like a doll he keeps at home while he goes in and out. “It’s either me or a career, baby,” he tells her. Coppola, who dedicates the movie to her mother, Eleanor Coppola, has long specialized in gilded cages (\u003cem>Marie Antoinette\u003c/em>, \u003cem>The Bling Ring\u003c/em>). Graceland turns out to be a prison to Priscilla.\u003c/p>\n\u003cp>[aside postid='arts_13936929']There aren’t many false notes in Coppola’s richly layered film, handsomely shot by Philippe Le Sourd, with sumptuous production design from Tamara Deverell and fine, toned-down costumes by Stacey Battat.\u003c/p>\n\u003cp>But \u003cem>Priscilla\u003c/em> fades where \u003cem>Elvis\u003c/em> found its footing. When Presley’s downturn accelerates in Las Vegas, Luhrmann’s movie swelled with tragedy. In the same time period here, Priscilla awakens. Yet it feels underdeveloped, coming too quickly, in a sudden rush — albeit a terrific rush, with Dolly Parton playing.\u003c/p>\n\u003cp>A constant throughout, though, is Spaeny. This is a deft breakthrough performance perfectly poised between youthful fantasy and adult reality.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Priscilla’ is released nationwide on Nov. 3, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But for Priscilla Beaulieu, teenage fantasy became a strange and surreal reality. Sofia Coppola’s \u003cem>Priscilla\u003c/em>, starring Cailee Spaeny, captures all the dreaminess, the absurdity and, finally, the nightmare of falling in love with Elvis.\u003c/p>\n\u003cp>Priscilla was just 14 years-old — a 9th grader — when she first met him. It was 1959. She was living in West Germany, where her Air Force officer stepfather was stationed. The swoony early scenes of Coppola’s film find a solitary Priscilla sipping soda in a Navy base diner while Frankie Avalon’s “Venus” (“Venus, make her fair / A lovely girl with sunlight in her hair”) plays around her, as covered by the band Phoenix.\u003c/p>\n\u003cfigure id=\"attachment_13936976\" class=\"wp-caption aligncenter\" style=\"max-width: 1932px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936976\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM.png\" alt=\"A teenage girl in 1950s-style pink short-sleeved sweater and black cigarette pants lies on her belly, feet in the air, with schoolbooks laid out in front of her.\" width=\"1932\" height=\"1230\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM.png 1932w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-800x509.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1020x649.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-768x489.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1536x978.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-10.59.21-AM-1920x1222.png 1920w\" sizes=\"(max-width: 1932px) 100vw, 1932px\">\u003cfigcaption class=\"wp-caption-text\">Cailee Spaeny in ‘Priscilla.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A man approaches and asks if she likes Elvis. Of course she does. Would she like to meet him? Um, what? After some negotiations with her parents, Priscilla is sitting there on the sofa at a small party when the King of Rock ‘n’ Roll, himself (Jacob Elordi), strolls down the stairs. Big, big sigh.\u003c/p>\n\u003cp>Coppola, the writer-director of \u003cem>The Virgin Suicides\u003c/em>, \u003cem>Lost in Translation\u003c/em> and \u003cem>Somewhere\u003c/em>, has always been innately attuned to the forming identities, swelling desires and intimate revelations of young women. In the story of Priscilla Presley (the film is based on her 1985 memoir, \u003cem>Elvis and Me\u003c/em>), Coppola has found a tale tailor-made for her delicately perceptive style of filmmaking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a movie, \u003cem>Priscilla\u003c/em> is the diametric opposite of Baz Luhrmann’s \u003cem>Elvis\u003c/em>. Where Luhrmann’s film was lurid and careening, Coppola’s is muted and textured. Her film is a kind of fairy tale that turns claustrophobic and cautionary.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DBWk6BohVXk'\n title='//www.youtube.com/embed/DBWk6BohVXk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Priscilla\u003c/em> is, at least at first, quite funny. After Priscilla initially catches Elvis’ eye at that party, she’s back at school learning about the food groups. How could anyone possibly stomach that? Or when, after Elvis hasn’t called following his stint in the military, Priscilla’s mother asks her if there aren’t any boys in school she might be interested in, instead. Priscilla doesn’t need to say anything; just the image of lining up your average 9th grade boy against Elvis Presley is enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet their courtship continues in somewhat traditional fashion. Elvis, played with relaxed magnetism by Elordi (\u003cem>The Kissing Booth\u003c/em>, \u003cem>Saltburn\u003c/em>), is drawn to Priscilla because she reminds him of home; it’s clear her purity is part of her appeal to him. It’s a long time before they have sex, though her youth remains tacitly problematic. “Wow, she’s young,” says one woman watching Elvis lead Priscilla upstairs. “Like a little girl.”\u003c/p>\n\u003cp>Their life together is initially sweet if deranged. Priscilla drifts through a dream world even if Elvis’ extremes are glaring to us. His bedroom in Graceland is comically gaudy. “I got this for you,” we hear Elvis say kindly, before a handgun is handed over.\u003c/p>\n\u003cfigure id=\"attachment_13936977\" class=\"wp-caption aligncenter\" style=\"max-width: 1896px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936977\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM.png\" alt=\"A handsome young white man with dark hair sits in a chair playing guitar with his feet up on a desk. A window with brown drapes is behind him.\" width=\"1896\" height=\"1172\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM.png 1896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-1020x631.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-768x475.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-25-at-11.04.42-AM-1536x949.png 1536w\" sizes=\"(max-width: 1896px) 100vw, 1896px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Elordi in ‘Priscilla.’ \u003ccite>(Sabrina Lantos/ A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No Presley songs play in \u003cem>Priscilla\u003c/em>. (While Priscilla Presley is an executive producer, the Elvis estate didn’t participate in the film.) But it does share a telling track ( Carl Orff’s “Gassenhauer” ) with Terence Malick’s \u003cem>Badlands\u003c/em>, another movie about an underage teen girl (Sissy Spacek) who throws her life in with a charismatic drifter with matinee-idol looks (Martin Sheen).\u003c/p>\n\u003cp>And like they do for Holly in \u003cem>Badlands\u003c/em>, things turn increasingly dark for Priscilla. Elvis treats her like a doll he keeps at home while he goes in and out. “It’s either me or a career, baby,” he tells her. Coppola, who dedicates the movie to her mother, Eleanor Coppola, has long specialized in gilded cages (\u003cem>Marie Antoinette\u003c/em>, \u003cem>The Bling Ring\u003c/em>). Graceland turns out to be a prison to Priscilla.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There aren’t many false notes in Coppola’s richly layered film, handsomely shot by Philippe Le Sourd, with sumptuous production design from Tamara Deverell and fine, toned-down costumes by Stacey Battat.\u003c/p>\n\u003cp>But \u003cem>Priscilla\u003c/em> fades where \u003cem>Elvis\u003c/em> found its footing. When Presley’s downturn accelerates in Las Vegas, Luhrmann’s movie swelled with tragedy. In the same time period here, Priscilla awakens. Yet it feels underdeveloped, coming too quickly, in a sudden rush — albeit a terrific rush, with Dolly Parton playing.\u003c/p>\n\u003cp>A constant throughout, though, is Spaeny. This is a deft breakthrough performance perfectly poised between youthful fantasy and adult reality.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Priscilla’ is released nationwide on Nov. 3, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Persian Version’ Finds Laughter, Tears in Iranian American Tale of Resilient Women",
"headTitle": "‘Persian Version’ Finds Laughter, Tears in Iranian American Tale of Resilient Women | KQED",
"content": "\u003cp>Let nobody say writer-director Maryam Keshavarz doesn’t know how to start a movie.\u003c/p>\n\u003cp>The first time we see Leila, her alter ego in the autobiographical, warm-hearted, personal, funny but also somewhat chaotic \u003cem>The Persian Version\u003c/em>, she’s walking across the Brooklyn Bridge. Headed to a Halloween party, she’s carrying a surfboard and wearing what she calls a “burkini” — a sexy bikini, but paired with a niqab, the face-covering garment worn by some Muslim women.\u003c/p>\n\u003cp>It’s surely not an accident that Leila is crossing a bridge, because her film (and Halloween costume) is about bridging two identities — her Iranian heritage, and her American life. Leila (an engaging Layla Mohammadi) is a New York born-and-raised aspiring screenwriter (she wants to be an Iranian Martin Scorsese) who, we learn, has never been fully comfortable in either world. American kids would call her names at school; Iranians saw her as too Americanized.\u003c/p>\n\u003cp>[aside postid='arts_13936363']There are other bridges to be crossed here, too. The most important is that between Leila and her formidable immigrant mother, Shireen (the wonderful Niousha Noor), who created a successful life in America out of sheer grit, educating herself and becoming an adept businesswoman while running a household full of boys and one girl. It’s the girl, Leila, with whom Shireen has the fraught relationship, because — well, if you’re a mother or a daughter you probably get it.\u003c/p>\n\u003cp>But there’s a deeper backstory behind this troubled dynamic, and to learn all that, we must take a journey — a long journey, in terms of the film’s run time — back to a remote village in 1960s rural Iran. But let’s not get ahead of ourselves, because first adult Leila, gay and newly divorced from her wife, gets pregnant with the guy in drag who plays Hedwig on Broadway.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We told you this was chaotic.\u003c/p>\n\u003cp>About that Halloween party: Leila wins the costume prize — justifiably! — and also hooks up in a back room with Maximillian (Tom Byrne, charming in a less roguish Hugh Grant way), who’s starring in \u003cem>Hedwig and the Angry Inch\u003c/em> at the Belasco Theatre (where the show did actually run). And when she gets pregnant — professing she didn’t know you could get pregnant from a one-night stand — Max says he’s all in.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PDrlpcv4vXE\u003c/p>\n\u003cp>Keshavarz, whose film won the audience prize at Sundance, likes a flashback, and one of them takes us back to Leila’s childhood summer trips to Iran, fooling guards at the airport looking for banned American music and videos, and bringing Cyndi Lauper to her Iranian relatives. Who, in turn, dance with abandon to “Girls Just Wanna Have Fun” — a joyous scene.\u003c/p>\n\u003cp>[aside postid='arts_13936754']Back in the States (the film toggles perhaps too frequently between eras, mostly 2000s New Jersey, 1980s Brooklyn and 1960s rural Iran) adult Leila’s father needs a heart transplant. And Leila is hurting from her failed marriage. In flashback, we see her bringing her wife to Thanksgiving dinner and her mother, unable to approve of the gay relationship, ultimately kicking the couple out in disgust.\u003c/p>\n\u003cp>What has made her mother’s heart so cold, particularly with her daughter? Leila’s grandmother hints that a mysterious scandal long ago brought Shireen to America. To understand, we’re taken back to that village in Iran, where Shireen was a bride at 14, coping with early motherhood and heartbreak. Luckily, this section of the film stars an extraordinary young actor, Kamand Shafieisabet in her first film, packing an emotional wallop into every scene.\u003c/p>\n\u003cp>As vividly as Keshavarz portrays the country of her heritage, she is unable to return there — her first feature, \u003cem>Circumstance\u003c/em>, about sexual desire between two girls in Iran, won her her first audience award at Sundance but also got her banned from the country.\u003c/p>\n\u003cfigure id=\"attachment_13936875\" class=\"wp-caption aligncenter\" style=\"max-width: 1788px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936875\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM.png\" alt=\"A young middle eastern woman walks on a road, between lanes of cars stuck in traffic. She looks wistful and is wearing a long brown coat with a fur collar, pale pants, a tight top and boots. She has cascading brown hair.\" width=\"1788\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM.png 1788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-1020x686.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-768x516.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-1536x1033.png 1536w\" sizes=\"(max-width: 1788px) 100vw, 1788px\">\u003cfigcaption class=\"wp-caption-text\">Layla Mohammadi in a scene from ‘The Persian Version.‘ \u003ccite>(Yiget Eken/ Sony Pictures Classics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In any case we end \u003cem>The Persian Version\u003c/em> not in Iran but back in the States, in a place not usually very comical but where most comedies involving a birth, even a dramatic comedy like this, eventually wind up: the maternity ward.\u003c/p>\n\u003cp>[aside postid='arts_13936628']The scene here is intentionally crowded and yes, chaotic, just like the entire film. But it ends on a note that brings easy tears.\u003c/p>\n\u003cp>The rebelliousness of each of the strong women here — mother and daughter — somehow coalesces into understanding. Such moments can be sappy, but here, as with her lovely opening shot, Keshavarz does it well. She sticks the landing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Persian Version’ was released on Oct. 20, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are other bridges to be crossed here, too. The most important is that between Leila and her formidable immigrant mother, Shireen (the wonderful Niousha Noor), who created a successful life in America out of sheer grit, educating herself and becoming an adept businesswoman while running a household full of boys and one girl. It’s the girl, Leila, with whom Shireen has the fraught relationship, because — well, if you’re a mother or a daughter you probably get it.\u003c/p>\n\u003cp>But there’s a deeper backstory behind this troubled dynamic, and to learn all that, we must take a journey — a long journey, in terms of the film’s run time — back to a remote village in 1960s rural Iran. But let’s not get ahead of ourselves, because first adult Leila, gay and newly divorced from her wife, gets pregnant with the guy in drag who plays Hedwig on Broadway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We told you this was chaotic.\u003c/p>\n\u003cp>About that Halloween party: Leila wins the costume prize — justifiably! — and also hooks up in a back room with Maximillian (Tom Byrne, charming in a less roguish Hugh Grant way), who’s starring in \u003cem>Hedwig and the Angry Inch\u003c/em> at the Belasco Theatre (where the show did actually run). And when she gets pregnant — professing she didn’t know you could get pregnant from a one-night stand — Max says he’s all in.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PDrlpcv4vXE'\n title='//www.youtube.com/embed/PDrlpcv4vXE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Keshavarz, whose film won the audience prize at Sundance, likes a flashback, and one of them takes us back to Leila’s childhood summer trips to Iran, fooling guards at the airport looking for banned American music and videos, and bringing Cyndi Lauper to her Iranian relatives. Who, in turn, dance with abandon to “Girls Just Wanna Have Fun” — a joyous scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Back in the States (the film toggles perhaps too frequently between eras, mostly 2000s New Jersey, 1980s Brooklyn and 1960s rural Iran) adult Leila’s father needs a heart transplant. And Leila is hurting from her failed marriage. In flashback, we see her bringing her wife to Thanksgiving dinner and her mother, unable to approve of the gay relationship, ultimately kicking the couple out in disgust.\u003c/p>\n\u003cp>What has made her mother’s heart so cold, particularly with her daughter? Leila’s grandmother hints that a mysterious scandal long ago brought Shireen to America. To understand, we’re taken back to that village in Iran, where Shireen was a bride at 14, coping with early motherhood and heartbreak. Luckily, this section of the film stars an extraordinary young actor, Kamand Shafieisabet in her first film, packing an emotional wallop into every scene.\u003c/p>\n\u003cp>As vividly as Keshavarz portrays the country of her heritage, she is unable to return there — her first feature, \u003cem>Circumstance\u003c/em>, about sexual desire between two girls in Iran, won her her first audience award at Sundance but also got her banned from the country.\u003c/p>\n\u003cfigure id=\"attachment_13936875\" class=\"wp-caption aligncenter\" style=\"max-width: 1788px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936875\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM.png\" alt=\"A young middle eastern woman walks on a road, between lanes of cars stuck in traffic. She looks wistful and is wearing a long brown coat with a fur collar, pale pants, a tight top and boots. She has cascading brown hair.\" width=\"1788\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM.png 1788w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-1020x686.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-768x516.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-24-at-10.52.26-AM-1536x1033.png 1536w\" sizes=\"(max-width: 1788px) 100vw, 1788px\">\u003cfigcaption class=\"wp-caption-text\">Layla Mohammadi in a scene from ‘The Persian Version.‘ \u003ccite>(Yiget Eken/ Sony Pictures Classics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In any case we end \u003cem>The Persian Version\u003c/em> not in Iran but back in the States, in a place not usually very comical but where most comedies involving a birth, even a dramatic comedy like this, eventually wind up: the maternity ward.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The scene here is intentionally crowded and yes, chaotic, just like the entire film. But it ends on a note that brings easy tears.\u003c/p>\n\u003cp>The rebelliousness of each of the strong women here — mother and daughter — somehow coalesces into understanding. Such moments can be sappy, but here, as with her lovely opening shot, Keshavarz does it well. She sticks the landing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Persian Version’ was released on Oct. 20, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s almost Halloween — and, anyway, fall is always a great time for mysteries and thrillers.\u003c/p>\n\u003cp>This batch is intriguing, for sure. It includes an homage to Shirley Jackson, an examination of online lists crashing into real life, and an atmospheric look at the world of queer people in the 1950s Navy.\u003c/p>\n\u003ch3>\u003cem>A Haunting on the Hill\u003c/em>\u003c/h3>\n\u003cp>While Elizabeth Hand’s new novel might not be the same as a new novel from Shirley Jackson, it’s pretty close, because Hand (\u003cem>Curious Toys\u003c/em>) wittily and delicately ties her titular locale to Jackson’s famed Hill House and its creepy doings.\u003c/p>\n\u003cp>[aside postid='arts_13935438']\u003cem>A Haunting on the Hill\u003c/em> follows a quartet of theater people who decide to hold rehearsals at a wonderfully decrepit and disturbing old mansion. Each of the four has some kind of secret and each of the four will be triggered by things that happen during their stay; readers should understand, from Hand’s previous books, that she’s more interested in atmosphere and suspense than in gotchas and procedure. Her plots take place in old-time Chicago, contemporary Hawai’i, an English country house, and always play hard with juxtapositions (like placing a rock band in that country house) and interior fears and desires. Despite the misgivings of playwright Holly and her girlfriend Nisa, what happens on the Hill could be benign. It could be. But they should know that anything can happen before the curtain goes down on the play…\u003c/p>\n\u003ch3>\u003cem>The Leftover Woman \u003c/em>\u003c/h3>\n\u003cp>Anyone looking for an of-the-moment page-turner of a novel need look no further. Jean Kwok — whose \u003cem>Girl in Translation\u003c/em> and \u003cem>Searching for Sylvie Lee\u003c/em> are novels that illuminate the Chinese experience in America — expands her material in a thriller about a Chinese woman named Jasmine Yang who comes to American to find the daughter her controlling husband gave away without her knowledge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moving from teahouse to strip club to Manhattan townhouse and more, the book places Jasmine against publishing executive Rebecca — who has just adopted a much-longed-for baby, a little girl. The tension between the two, especially given Jasmine’s lack of resources and Rebecca’s privilege, places the idea of motherhood in stark relief. What is most important: The primal bond, or the ability to provide? While Kwok is clearly on Team Jasmine (the game complicated by the snakeheads to whom Jasmine owes money for her passage to the States), she also shows how dear the baby Rebecca has named Fiona is to her adoptive family.\u003c/p>\n\u003ch3>\u003cem>West Heart Kill \u003c/em>\u003c/h3>\n\u003cp>Every mystery lover enjoys a closed-room/locked-door whodunnit, whether it’s the on-screen \u003cem>Glass Onion\u003c/em> or a re-read of Agatha Christie’s \u003cem>The Murder of Roger Ackroyd.\u003c/em> In \u003cem>West Heart Kill\u003c/em>, Dann McDorman sets a murder mystery at an upstate New York hunt club on a dark and stormy night in the 1970s. Author McDorman, an MSNBC news producer, doesn’t stint on the murder in murder mystery; as club guests who have gathered for Fourth of July celebrations shrink in fear, three corpses pile up in four days.\u003c/p>\n\u003cp>[aside postid='arts_13936315']There’s lots of clever ripostes and wordplay involved, including quotes from and allusions to lots of great crime writers — the aforementioned Christie, Dashiell Hammett (a Knopf author, like McDorman!), and even Shakespeare, who should be better remembered for his crime writing (Ghosts! Witches! Sleepwalkers!). Since the story takes place in the 1970s, there’s lots of substance use and some adultery, all of which ratchets up the suspicions the tony guests have about each other. Since the novel is published in 2023, the author bakes in some choice about the ending — sheer catnip for readers raised on the “Choose Your Own Adventure” model of interactivity.\u003c/p>\n\u003ch3>\u003cem>The List\u003c/em>\u003c/h3>\n\u003cp>The young, beautiful, and on-the-go journalist Ola Olajide, about to marry the love of her life, Michael, comes crashing down to Earth when Michael’s name appears on a list of sexual predators that’s making the rounds of social media. How can the “the king and queen of #BlackLove” get past this? Author Yomi Adegoke, who actually started her own magazine for young Black women, makes the brilliant choice of having Ola and Michael narrate alternating chapters. Ola tests her faith in her fiancé against her belief in women’s stories and Michael furiously tries to think of who might have accused him of “harassment and sexual assault.”\u003c/p>\n\u003cp>Anyone who’s ever been part of a whisper network will recognize the misogyny in the worlds this couple inhabits, and anyone who has watched \u003cem>The Morning Show\u003c/em> will recognize that there’s going to be a big showdown, although the accusations might surprise everyone. Adegoke does not disappoint and, in fact, has already got a series underway that she’s creating and executive producing.\u003c/p>\n\u003ch3>\u003cem>The Bell in the Fog\u003c/em>\u003c/h3>\n\u003cp>The second Detective Evander “Andy” Mills again takes place in 1950s San Francisco, this time in the world of the United States Navy, where anyone queer remained closeted and closemouthed about their identity.\u003c/p>\n\u003cp>[aside postid='arts_13909309']Lev AC Rosen’s first Mills novel, \u003cem>Lavender House\u003c/em>, ended with Andy’s firing from the San Francisco Police Department when he was outed. Now, Mills has his own office, and when an old lover walks in asking for his help, he takes the case despite his broken heart. That old lover, James Morris, is a USN captain who is being blackmailed. As Det. Mills searches for the incriminating photos and the young man who holds them, readers will take a tour of the era’s gay and lesbian clubs, in many cases the only venues where queer San Franciscans could be at ease and among friends. Rosen has told readers that there are at least two more books coming in this series, and readers who love lively, authentic, historical P.I. stories will not want to miss them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Bethanne Patrick is a freelance writer and critic who tweets \u003ca href=\"https://twitter.com/thebookmaven\">@TheBookMaven\u003c/a> and hosts the podcast Missing Pages.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+mysteries+and+thrillers+new+this+fall+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moving from teahouse to strip club to Manhattan townhouse and more, the book places Jasmine against publishing executive Rebecca — who has just adopted a much-longed-for baby, a little girl. The tension between the two, especially given Jasmine’s lack of resources and Rebecca’s privilege, places the idea of motherhood in stark relief. What is most important: The primal bond, or the ability to provide? While Kwok is clearly on Team Jasmine (the game complicated by the snakeheads to whom Jasmine owes money for her passage to the States), she also shows how dear the baby Rebecca has named Fiona is to her adoptive family.\u003c/p>\n\u003ch3>\u003cem>West Heart Kill \u003c/em>\u003c/h3>\n\u003cp>Every mystery lover enjoys a closed-room/locked-door whodunnit, whether it’s the on-screen \u003cem>Glass Onion\u003c/em> or a re-read of Agatha Christie’s \u003cem>The Murder of Roger Ackroyd.\u003c/em> In \u003cem>West Heart Kill\u003c/em>, Dann McDorman sets a murder mystery at an upstate New York hunt club on a dark and stormy night in the 1970s. Author McDorman, an MSNBC news producer, doesn’t stint on the murder in murder mystery; as club guests who have gathered for Fourth of July celebrations shrink in fear, three corpses pile up in four days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s lots of clever ripostes and wordplay involved, including quotes from and allusions to lots of great crime writers — the aforementioned Christie, Dashiell Hammett (a Knopf author, like McDorman!), and even Shakespeare, who should be better remembered for his crime writing (Ghosts! Witches! Sleepwalkers!). Since the story takes place in the 1970s, there’s lots of substance use and some adultery, all of which ratchets up the suspicions the tony guests have about each other. Since the novel is published in 2023, the author bakes in some choice about the ending — sheer catnip for readers raised on the “Choose Your Own Adventure” model of interactivity.\u003c/p>\n\u003ch3>\u003cem>The List\u003c/em>\u003c/h3>\n\u003cp>The young, beautiful, and on-the-go journalist Ola Olajide, about to marry the love of her life, Michael, comes crashing down to Earth when Michael’s name appears on a list of sexual predators that’s making the rounds of social media. How can the “the king and queen of #BlackLove” get past this? Author Yomi Adegoke, who actually started her own magazine for young Black women, makes the brilliant choice of having Ola and Michael narrate alternating chapters. Ola tests her faith in her fiancé against her belief in women’s stories and Michael furiously tries to think of who might have accused him of “harassment and sexual assault.”\u003c/p>\n\u003cp>Anyone who’s ever been part of a whisper network will recognize the misogyny in the worlds this couple inhabits, and anyone who has watched \u003cem>The Morning Show\u003c/em> will recognize that there’s going to be a big showdown, although the accusations might surprise everyone. Adegoke does not disappoint and, in fact, has already got a series underway that she’s creating and executive producing.\u003c/p>\n\u003ch3>\u003cem>The Bell in the Fog\u003c/em>\u003c/h3>\n\u003cp>The second Detective Evander “Andy” Mills again takes place in 1950s San Francisco, this time in the world of the United States Navy, where anyone queer remained closeted and closemouthed about their identity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lev AC Rosen’s first Mills novel, \u003cem>Lavender House\u003c/em>, ended with Andy’s firing from the San Francisco Police Department when he was outed. Now, Mills has his own office, and when an old lover walks in asking for his help, he takes the case despite his broken heart. That old lover, James Morris, is a USN captain who is being blackmailed. As Det. Mills searches for the incriminating photos and the young man who holds them, readers will take a tour of the era’s gay and lesbian clubs, in many cases the only venues where queer San Franciscans could be at ease and among friends. Rosen has told readers that there are at least two more books coming in this series, and readers who love lively, authentic, historical P.I. stories will not want to miss them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Bethanne Patrick is a freelance writer and critic who tweets \u003ca href=\"https://twitter.com/thebookmaven\">@TheBookMaven\u003c/a> and hosts the podcast Missing Pages.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+mysteries+and+thrillers+new+this+fall+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Recipe for a Better ‘Bake-Off’? Fun Format, Good Casting, and Less Host Shtick",
"headTitle": "The Recipe for a Better ‘Bake-Off’? Fun Format, Good Casting, and Less Host Shtick | KQED",
"content": "\u003cp>I think last season of \u003cem>The Great British Baking Show \u003c/em>was the first one I didn’t gobble up (no pun intended) the minute the episodes dropped. I had grown weary of the hosting team of Noel Fielding and Matt Lucas, frustrated with overly complicated bakes that were almost impossible to execute well, and dismayed at repeated and \u003ca href=\"https://www.bonappetit.com/story/great-british-bake-off-mexico-week\">increasingly obnoxious takes\u003c/a> on “ethnic” food weeks that didn’t even seem to represent good-faith efforts to get things right.\u003c/p>\n\u003cp>What a relief to be looking forward to episodes arriving on Netflix on Friday mornings again.\u003c/p>\n\u003cp>[aside postid='arts_13936463']The show has had a long and bumpy ride; I am not alone in believing that the best and purest version will always be the first one, the public television one, with Mary Berry alongside Paul Hollywood, and with Mel Giedroyc and Sue Perkins hosting. But the era that followed, with Prue Leith taking Mary’s place and Noel Fielding hosting with Sandi Toksvig, had its charms, too. Then Sandi left, and she was replaced by \u003ca href=\"https://www.npr.org/2020/11/17/934780111/im-happy-to-eat-the-cakes-matt-lucas-joins-the-bake-off-tent\">Matt Lucas\u003c/a>, who was much too close to being another Noel, a look-at-me presence who seemed less interested in the contestants than in doing bits and being the center of attention. You can do bits on this show — that’s why they hire comedians! — but you have to care about the contestants first. Things got wonky.\u003c/p>\n\u003cp>Lucas is gone now, replaced by Alison Hammond, a boisterous but generous companion to Fielding who has helped the show restore its balance. She’s silly but not distracting. She and Noel don’t interrupt the flow to do shtick the way he did with Lucas. Production has knocked off the convoluted challenges and gone back to ones the bakers can do well. This week’s showstopper, for instance, is a cake inside any sort of chocolate box you want to make. Is making a chocolate box fancy? Sure! Is it impossible, or does it result in nothing but a \u003ca href=\"https://www.vice.com/en/article/qj4qgm/the-great-british-bake-off-celebrity-busts-review-2020\">series of failures\u003c/a>? No. And, yes, they’ve made the wise decision to stop the “national weeks” that were increasingly \u003ca href=\"https://www.foodandwine.com/great-british-baking-show-ends-national-themed-weeks-7965459\">embarrassing for everyone involved\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13936821\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936821\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733.jpg\" alt=\"A diverse group of 12 people arranged in two rows of 6 near a green field. The rear row is sitting on a stone wall with their arms around one another. The front row is crouched before them. All are wearing matching brown aprons.\" width=\"1920\" height=\"1279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733-1536x1023.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The 2023 contestants for ‘The Great British Baking Show.’ The series has had a long and bumpy ride, but it’s finally righted the ship by focusing on the fundamentals. \u003ccite>(Mark Bourdillon/ Love Productions/ Channel 4)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are two ways a show, particularly a competition show, can try to assure itself a long life. One is to go the \u003cem>Survivor \u003c/em>route of becoming ever more complicated, introducing new twists and turns and producer interventions that keep anybody from figuring out a reliable strategy, lest the outcome become predictable. It’s hard to argue with a show that’s on its 45th season when it comes to sticking around, but the game itself is much less smart and skilled than it once was, and as it eats its own tail by casting \u003cem>Survivor \u003c/em>superfans who proceed to spend their time on the show talking about how much they love the show, it’s \u003ca href=\"https://www.thedailybeast.com/obsessed/survivor-season-45-superfans-are-ruining-the-show\">less and less compelling\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other way is to do what \u003cem>Bake-Off \u003c/em>(yes, yes, in the U.S. we technically call it \u003cem>The Great British Baking Show\u003c/em>, but it’s \u003cem>Bake-Off \u003c/em>in our hearts) is currently doing. You trust your format, you concentrate on good casting, you lean on your fundamentals — in short, you calm the thing down. \u003cem>Bake-Off \u003c/em>has always been soothing; that’s its nature. It doesn’t need to be brand-new every time, with things you’ve never seen before. One technical challenge this season was custard creams, perhaps unfamiliar to many Americans but a basic and very popular sandwich cookie in the UK. It \u003ca href=\"https://thegreatbritishbakeoff.co.uk/recipes/all/prue-leiths-custard-creams/\">looks a lot like a golden Oreo\u003c/a>, though it’s rectangular and I’m pretty sure the texture is different. Getting it right comes down to details and technique. It’s not flashy; fussing over the execution is for \u003cem>nerds\u003c/em>, in the best way.\u003c/p>\n\u003cp>[aside postid='arts_13936637']There’s a lesson here for other shows: If your format is a good idea, you don’t have to keep complicating it. The human beings and the happenings will keep it fresh. And when you do that, the hosts can stay out of the way, because they’re not the main event. They never were.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+recipe+for+a+better+%27Bake-Off%27%3F+Fun+format%2C+good+casting%2C+and+less+host+shtick&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I think last season of \u003cem>The Great British Baking Show \u003c/em>was the first one I didn’t gobble up (no pun intended) the minute the episodes dropped. I had grown weary of the hosting team of Noel Fielding and Matt Lucas, frustrated with overly complicated bakes that were almost impossible to execute well, and dismayed at repeated and \u003ca href=\"https://www.bonappetit.com/story/great-british-bake-off-mexico-week\">increasingly obnoxious takes\u003c/a> on “ethnic” food weeks that didn’t even seem to represent good-faith efforts to get things right.\u003c/p>\n\u003cp>What a relief to be looking forward to episodes arriving on Netflix on Friday mornings again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The show has had a long and bumpy ride; I am not alone in believing that the best and purest version will always be the first one, the public television one, with Mary Berry alongside Paul Hollywood, and with Mel Giedroyc and Sue Perkins hosting. But the era that followed, with Prue Leith taking Mary’s place and Noel Fielding hosting with Sandi Toksvig, had its charms, too. Then Sandi left, and she was replaced by \u003ca href=\"https://www.npr.org/2020/11/17/934780111/im-happy-to-eat-the-cakes-matt-lucas-joins-the-bake-off-tent\">Matt Lucas\u003c/a>, who was much too close to being another Noel, a look-at-me presence who seemed less interested in the contestants than in doing bits and being the center of attention. You can do bits on this show — that’s why they hire comedians! — but you have to care about the contestants first. Things got wonky.\u003c/p>\n\u003cp>Lucas is gone now, replaced by Alison Hammond, a boisterous but generous companion to Fielding who has helped the show restore its balance. She’s silly but not distracting. She and Noel don’t interrupt the flow to do shtick the way he did with Lucas. Production has knocked off the convoluted challenges and gone back to ones the bakers can do well. This week’s showstopper, for instance, is a cake inside any sort of chocolate box you want to make. Is making a chocolate box fancy? Sure! Is it impossible, or does it result in nothing but a \u003ca href=\"https://www.vice.com/en/article/qj4qgm/the-great-british-bake-off-celebrity-busts-review-2020\">series of failures\u003c/a>? No. And, yes, they’ve made the wise decision to stop the “national weeks” that were increasingly \u003ca href=\"https://www.foodandwine.com/great-british-baking-show-ends-national-themed-weeks-7965459\">embarrassing for everyone involved\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13936821\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936821\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733.jpg\" alt=\"A diverse group of 12 people arranged in two rows of 6 near a green field. The rear row is sitting on a stone wall with their arms around one another. The front row is crouched before them. All are wearing matching brown aprons.\" width=\"1920\" height=\"1279\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/gbbo23_1753_custom-102451ab97ad48f0575e8ad4ee9088a1f808c0d6-scaled-e1698049322733-1536x1023.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The 2023 contestants for ‘The Great British Baking Show.’ The series has had a long and bumpy ride, but it’s finally righted the ship by focusing on the fundamentals. \u003ccite>(Mark Bourdillon/ Love Productions/ Channel 4)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are two ways a show, particularly a competition show, can try to assure itself a long life. One is to go the \u003cem>Survivor \u003c/em>route of becoming ever more complicated, introducing new twists and turns and producer interventions that keep anybody from figuring out a reliable strategy, lest the outcome become predictable. It’s hard to argue with a show that’s on its 45th season when it comes to sticking around, but the game itself is much less smart and skilled than it once was, and as it eats its own tail by casting \u003cem>Survivor \u003c/em>superfans who proceed to spend their time on the show talking about how much they love the show, it’s \u003ca href=\"https://www.thedailybeast.com/obsessed/survivor-season-45-superfans-are-ruining-the-show\">less and less compelling\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other way is to do what \u003cem>Bake-Off \u003c/em>(yes, yes, in the U.S. we technically call it \u003cem>The Great British Baking Show\u003c/em>, but it’s \u003cem>Bake-Off \u003c/em>in our hearts) is currently doing. You trust your format, you concentrate on good casting, you lean on your fundamentals — in short, you calm the thing down. \u003cem>Bake-Off \u003c/em>has always been soothing; that’s its nature. It doesn’t need to be brand-new every time, with things you’ve never seen before. One technical challenge this season was custard creams, perhaps unfamiliar to many Americans but a basic and very popular sandwich cookie in the UK. It \u003ca href=\"https://thegreatbritishbakeoff.co.uk/recipes/all/prue-leiths-custard-creams/\">looks a lot like a golden Oreo\u003c/a>, though it’s rectangular and I’m pretty sure the texture is different. Getting it right comes down to details and technique. It’s not flashy; fussing over the execution is for \u003cem>nerds\u003c/em>, in the best way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s a lesson here for other shows: If your format is a good idea, you don’t have to keep complicating it. The human beings and the happenings will keep it fresh. And when you do that, the hosts can stay out of the way, because they’re not the main event. They never were.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+recipe+for+a+better+%27Bake-Off%27%3F+Fun+format%2C+good+casting%2C+and+less+host+shtick&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Showtime’s ‘Fellow Travelers’ Offers a Soupçon of Sexy Sex and a Heap of Gay Misery",
"headTitle": "Showtime’s ‘Fellow Travelers’ Offers a Soupçon of Sexy Sex and a Heap of Gay Misery | KQED",
"content": "\u003cp>We’ve seen bad love interests before. They’re handsome, smarmy and casually abusive. These characters are usually relegated to the sidelines as examples of who \u003ci data-stringify-type=\"italic\">not\u003c/i> to pursue. That is, unfortunately, not the case in \u003ci data-stringify-type=\"italic\">Fellow Travelers\u003c/i>, a new eight-part Showtime adaptation of Thomas Mallon’s 2007 novel.\u003c/p>\n\u003cp>[aside postid='arts_13933261']\u003cem>Fellow Travelers\u003c/em> is an epic love story that, at its core, hinges on gay lovers snatching moments together at sporadic points throughout their lives. More than half of the series, however, is set in McCarthy-era Washington, D.C. That’s an inherently difficult setting for any gay couple to thrive in, but the struggles faced by this pair would be far easier to watch if one of them didn’t behave like a self-centered, self-righteous jackass most of the time.\u003c/p>\n\u003cp>One gets the sense that the producers of \u003cem>Fellow Travelers\u003c/em> wanted said jackass, Hawk Fuller (played by Matt Bomer), to come across as a flawed and complicated man who has no choice but to keep his lover Tim Laughlin (Jonathan Bailey) at arm’s length because of the difficult times they’re living through. Instead, Hawk comes off as casually cruel, on a nonstop power trip and interested only in gratifying his own sexual needs and ego. (He’s basically Jon Hamm in \u003cem>Bridesmaids\u003c/em>, without the laughs.) Worse, Hawk is so dispassionate that not only is it impossible to feel invested in him as a character, it becomes difficult to care about submissive, moon-eyed Tim either. As a viewer, watching Tim willingly wolf down emotional scraps from Hawk, instead of finding someone better, remains frustrating for the entire first half of the series. (Hot bod aside, what does Tim even see in this guy?)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k_zI9UwYNQo\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s true that the folks behind this adaptation are a who’s-who of queer pop culture content. The series was created by Ron Nyswaner (\u003cem>Philadelphia\u003c/em>). And Nyswaner and Bomer executive produced with Robbie Rogers (\u003cem>My Policeman\u003c/em>) and Daniel Minahan (\u003cem>Halston\u003c/em>, \u003cem>American Crime Story: Versace\u003c/em>). But oh, what a difference it might have made had there been someone working on this series who had more experience presenting stories about LGBTQ folks who weren’t inherently doomed to tragedy in one form or another.\u003c/p>\n\u003cp>Sure, the (apparently also miserable) novel (I haven’t read it) dictates the circumstances. But some extra stolen moments of joy between our two protagonists would have gone a long way to explaining why they’re so into each other in the first place. As it stands, the only time they seem even vaguely happy together is in the bedroom. (Bravo to all of the steamy man sex in this series — that’s one of the things it actually does do with gusto.)\u003c/p>\n\u003cp>[aside postid='arts_13933974']\u003cem>Fellow Travelers\u003c/em> is not all bad. It’s an aesthetically pleasing period piece that gets much better in its second half. In the first, it does an excellent job of capturing the anxiety of being a member of the gay community during the \u003ca href=\"https://press.uchicago.edu/ucp/books/book/chicago/L/bo3614333.html\">Lavender Scare\u003c/a> of the 1950s. The sneaking around, the paranoia, the personal and professional risks at hand make for stressful viewing, but it’s certainly an interesting reflection of what the LGBTQ+ community went through during the McCarthy hearings.\u003c/p>\n\u003cp>The series is also aided by side characters who are worth rooting for. In particular, Black journalist Marcus (Jelani Alladin) and his lover Frankie (Noah J. Ricketts) who experience all of the hardships of Hawk and Ted with the added burden of dealing with flagrant racism at every turn.\u003c/p>\n\u003cfigure id=\"attachment_13935141\" class=\"wp-caption aligncenter\" style=\"max-width: 1662px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13935141 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/frankie-final.png\" alt=\"A beautiful slender Black man sits in a bar looking content. He is wearing a white shirt, vest and bow tie.\" width=\"1662\" height=\"1118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final.png 1662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-1020x686.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-1536x1033.png 1536w\" sizes=\"(max-width: 1662px) 100vw, 1662px\">\u003cfigcaption class=\"wp-caption-text\">Frankie (Noah J. Ricketts): The one tiny beacon of gay joy in ‘Fellow Travelers.’ \u003ccite>(Showtime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thankfully, Episodes 6 through 8 offer significant payoffs. Hawk and Tim get much less arduous to watch once the show moves into the 1960s. Marriage and family life turns Hawk into a more sensitive human, while Tim grows a spine in the process of joining the Army and later, becoming an anti-war activist. Allison Williams also puts in a wonderful — and impressively sympathetic — performance as Hawk’s wife Lucy, as she struggles to sustain a stable home despite the secrets her husband insists on keeping from her.\u003c/p>\n\u003cp>[aside postid='arts_13930323']Episodes 7 and 8 move to San Francisco in the late ’70s and early ’80s, meaning — yay! — there’s suddenly a healthy amount of Sylvester on the soundtrack. Don’t get too excited about the potential for joy though — the story remains dour as ever, hitting the Harvey Milk and George Moscone murders before ploughing face first into the AIDS crisis. Even a foxy little trip to Fire Island manages to go depressingly off the rails. (At least Frankie and Marcus are around and still being cute as hell.)\u003c/p>\n\u003cp>Truth be told, this series would have benefited from being about three hours shorter. The McCarthy-era portion of the show is unnecessarily protracted — something that comes into stark relief when later episodes skip through years and years at a time.\u003c/p>\n\u003cp>If you’re someone who (for some reason) can’t get enough tragic gay stories in your life, you will absolutely love the way \u003cem>Fellow Travelers\u003c/em> revels in its own sepia-toned misery. If a series of steamy sex scenes is enough to get you through hours of doom and gloom, then by all means, have at it. But for everyone else? Consider this series a kind of endurance test, one in which characters respond to small gifts by saying things like, “I can’t bear being this happy.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sho.com/fellow-travelers\">Fellow Travelers\u003c/a>’ begins streaming on Showtime and Paramount+ on Oct. 27, 2023.\u003c/em>\u003c/p>\n\n",
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"excerpt": "This adaptation of Thomas Mallon’s 2007 novel revels in its own unhappiness, backdropped by McCarthyism, war and AIDS.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve seen bad love interests before. They’re handsome, smarmy and casually abusive. These characters are usually relegated to the sidelines as examples of who \u003ci data-stringify-type=\"italic\">not\u003c/i> to pursue. That is, unfortunately, not the case in \u003ci data-stringify-type=\"italic\">Fellow Travelers\u003c/i>, a new eight-part Showtime adaptation of Thomas Mallon’s 2007 novel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Fellow Travelers\u003c/em> is an epic love story that, at its core, hinges on gay lovers snatching moments together at sporadic points throughout their lives. More than half of the series, however, is set in McCarthy-era Washington, D.C. That’s an inherently difficult setting for any gay couple to thrive in, but the struggles faced by this pair would be far easier to watch if one of them didn’t behave like a self-centered, self-righteous jackass most of the time.\u003c/p>\n\u003cp>One gets the sense that the producers of \u003cem>Fellow Travelers\u003c/em> wanted said jackass, Hawk Fuller (played by Matt Bomer), to come across as a flawed and complicated man who has no choice but to keep his lover Tim Laughlin (Jonathan Bailey) at arm’s length because of the difficult times they’re living through. Instead, Hawk comes off as casually cruel, on a nonstop power trip and interested only in gratifying his own sexual needs and ego. (He’s basically Jon Hamm in \u003cem>Bridesmaids\u003c/em>, without the laughs.) Worse, Hawk is so dispassionate that not only is it impossible to feel invested in him as a character, it becomes difficult to care about submissive, moon-eyed Tim either. As a viewer, watching Tim willingly wolf down emotional scraps from Hawk, instead of finding someone better, remains frustrating for the entire first half of the series. (Hot bod aside, what does Tim even see in this guy?)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/k_zI9UwYNQo'\n title='//www.youtube.com/embed/k_zI9UwYNQo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s true that the folks behind this adaptation are a who’s-who of queer pop culture content. The series was created by Ron Nyswaner (\u003cem>Philadelphia\u003c/em>). And Nyswaner and Bomer executive produced with Robbie Rogers (\u003cem>My Policeman\u003c/em>) and Daniel Minahan (\u003cem>Halston\u003c/em>, \u003cem>American Crime Story: Versace\u003c/em>). But oh, what a difference it might have made had there been someone working on this series who had more experience presenting stories about LGBTQ folks who weren’t inherently doomed to tragedy in one form or another.\u003c/p>\n\u003cp>Sure, the (apparently also miserable) novel (I haven’t read it) dictates the circumstances. But some extra stolen moments of joy between our two protagonists would have gone a long way to explaining why they’re so into each other in the first place. As it stands, the only time they seem even vaguely happy together is in the bedroom. (Bravo to all of the steamy man sex in this series — that’s one of the things it actually does do with gusto.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Fellow Travelers\u003c/em> is not all bad. It’s an aesthetically pleasing period piece that gets much better in its second half. In the first, it does an excellent job of capturing the anxiety of being a member of the gay community during the \u003ca href=\"https://press.uchicago.edu/ucp/books/book/chicago/L/bo3614333.html\">Lavender Scare\u003c/a> of the 1950s. The sneaking around, the paranoia, the personal and professional risks at hand make for stressful viewing, but it’s certainly an interesting reflection of what the LGBTQ+ community went through during the McCarthy hearings.\u003c/p>\n\u003cp>The series is also aided by side characters who are worth rooting for. In particular, Black journalist Marcus (Jelani Alladin) and his lover Frankie (Noah J. Ricketts) who experience all of the hardships of Hawk and Ted with the added burden of dealing with flagrant racism at every turn.\u003c/p>\n\u003cfigure id=\"attachment_13935141\" class=\"wp-caption aligncenter\" style=\"max-width: 1662px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13935141 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/09/frankie-final.png\" alt=\"A beautiful slender Black man sits in a bar looking content. He is wearing a white shirt, vest and bow tie.\" width=\"1662\" height=\"1118\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final.png 1662w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-1020x686.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/09/frankie-final-1536x1033.png 1536w\" sizes=\"(max-width: 1662px) 100vw, 1662px\">\u003cfigcaption class=\"wp-caption-text\">Frankie (Noah J. Ricketts): The one tiny beacon of gay joy in ‘Fellow Travelers.’ \u003ccite>(Showtime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thankfully, Episodes 6 through 8 offer significant payoffs. Hawk and Tim get much less arduous to watch once the show moves into the 1960s. Marriage and family life turns Hawk into a more sensitive human, while Tim grows a spine in the process of joining the Army and later, becoming an anti-war activist. Allison Williams also puts in a wonderful — and impressively sympathetic — performance as Hawk’s wife Lucy, as she struggles to sustain a stable home despite the secrets her husband insists on keeping from her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Episodes 7 and 8 move to San Francisco in the late ’70s and early ’80s, meaning — yay! — there’s suddenly a healthy amount of Sylvester on the soundtrack. Don’t get too excited about the potential for joy though — the story remains dour as ever, hitting the Harvey Milk and George Moscone murders before ploughing face first into the AIDS crisis. Even a foxy little trip to Fire Island manages to go depressingly off the rails. (At least Frankie and Marcus are around and still being cute as hell.)\u003c/p>\n\u003cp>Truth be told, this series would have benefited from being about three hours shorter. The McCarthy-era portion of the show is unnecessarily protracted — something that comes into stark relief when later episodes skip through years and years at a time.\u003c/p>\n\u003cp>If you’re someone who (for some reason) can’t get enough tragic gay stories in your life, you will absolutely love the way \u003cem>Fellow Travelers\u003c/em> revels in its own sepia-toned misery. If a series of steamy sex scenes is enough to get you through hours of doom and gloom, then by all means, have at it. But for everyone else? Consider this series a kind of endurance test, one in which characters respond to small gifts by saying things like, “I can’t bear being this happy.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.sho.com/fellow-travelers\">Fellow Travelers\u003c/a>’ begins streaming on Showtime and Paramount+ on Oct. 27, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Nyad,’ Jodie Foster Swims Away With a Showcase for Annette Bening",
"headTitle": "In ‘Nyad,’ Jodie Foster Swims Away With a Showcase for Annette Bening | KQED",
"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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"excerpt": "Bening is the star, but it’s Foster’s supporting role — warm and easy throughout — that really lifts ‘Nyad.’ ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>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>\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/3anCgVSQb3Q'\n title='//www.youtube.com/embed/3anCgVSQb3Q'\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>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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"title": "Britney Spears’ Autobiography Makes Private Details Public, and Public Events Personal",
"headTitle": "Britney Spears’ Autobiography Makes Private Details Public, and Public Events Personal | KQED",
"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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"excerpt": "The new Hulu series is ‘Queer Eye’ for dead people — or ghost investi-gay-tions, if you’re nasty.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>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>\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/Y15RhMymDxo'\n title='//www.youtube.com/embed/Y15RhMymDxo'\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>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",
"headTitle": "Dolly Parton’s New Book Takes Us ‘Behind the Seams’ of Her Life in Rhinestones | KQED",
"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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"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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"marketplace": {
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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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"mindshift": {
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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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"order": 12
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"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.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"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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},
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