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"content": "\u003cp>For holiday gift-giving or reading, I’ve got two non-traditional mysteries to recommend: One is genre-bending; the other features a detective who specializes in underwater investigations.\u003c/p>\n\u003cp>Jane Smiley has been a shape-shifter all throughout her long career: Her fiction has spanned domestic dramas like her Pulitzer Prize-winning novel, \u003cem>A Thousand Acres\u003c/em>; to her academic satire, \u003cem>Moo\u003c/em>; to speculative Norse history in \u003cem>The Greenlanders.\u003c/em> Her latest novel is a mash-up of a Western, a serial killer mystery and a feminist erotic romp.\u003c/p>\n\u003cfigure id=\"attachment_13922661\" class=\"wp-caption aligncenter\" style=\"max-width: 338px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/51O67KEiMmL.jpg\" alt=\"A book cover showing a cove on a beach.\" width=\"338\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/51O67KEiMmL.jpg 338w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/51O67KEiMmL-160x237.jpg 160w\" sizes=\"(max-width: 338px) 100vw, 338px\">\u003cfigcaption class=\"wp-caption-text\">‘A Dangerous Business,’ by Jane Smiley. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>A Dangerous Business\u003c/em> is set in Monterey, during the Gold Rush era. Heroine Eliza Ripple is a young widow whose brutish husband was killed in a bar fight. Eliza shed no tears; in fact, she’s happy earning her living in a local bordello. Not since Miss Kitty on \u003cem>Gunsmoke\u003c/em> hosted Marshal Dillon, Chester and Doc every night at the Longbranch Saloon has life in a bawdy house seemed so amiable.\u003c/p>\n\u003cp>[aside postid='arts_13921986']But the atmosphere quickly shifts from risqué to downright risky after two fellow working girls go missing. Eliza’s boss, a madam who exudes the world-weary wisdom of someone who’s been around the block more than once, tells her: “Between you and me, being a woman is a dangerous business, and don’t let anyone tell you otherwise.”\u003c/p>\n\u003cp>Around this same time, Eliza is befriended by another young woman named Jean who offers her services at “The Pearly Gates,” a bordello that “attend[s] to the needs of ladies, not men.” Jean sometimes wears men’s clothes and avails herself of male privileges, like taking Eliza on long walks down to the docks and into the surrounding woodlands. She also introduces Eliza to Edgar Allan Poe’s detective stories, starting with “The Murders in the Rue Morgue.” Soon enough, Eliza and Jean will be emulating Poe’s detective, Monsieur Dupin, as they take it upon themselves to investigate the mystery of the missing girls — a mystery the male authorities in Monterey are content to ignore.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The solution to the serial killings turns out to be “utterly unexpected”; but it’s really the story of Eliza that commands attention: a woman stranded at the edge of the Pacific who’s determined to hold onto her newfound autonomy.\u003c/p>\n\u003cfigure id=\"attachment_13922662\" class=\"wp-caption aligncenter\" style=\"max-width: 331px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/51fMaH1tRyL.jpg\" alt=\"A book cover with art depicting a large orange octopus under the water with a woman watching on.\" width=\"331\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/51fMaH1tRyL.jpg 331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/51fMaH1tRyL-160x242.jpg 160w\" sizes=\"(max-width: 331px) 100vw, 331px\">\u003cfigcaption class=\"wp-caption-text\">‘Remarkably Bright Creatures,’ by Shelby Van Pelt \u003ccite>(Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I missed Shelby Van Pelt’s debut novel \u003cem>Remarkably Bright Creatures \u003c/em>when it came out this past May, but its weird premise kept calling to me. An elderly woman named Tova works nights at an aquarium on the Puget Sound; she doesn’t need the job, but scrubbing floors and fish tanks keeps her mind off her teenage son’s disappearance 30 years ago.\u003c/p>\n\u003cp>Watching Tova from his tank is the aquarium’s main attraction — a giant Pacific octopus named Marcellus. One night, Tova frees Marcellus from a near fatal entanglement with a power cord; in return, Marcellus silently resolves to use his knowledge of the sea and his superior memory for faces and objects to help Tova discover the truth about her son’s fate.\u003c/p>\n\u003cp>[aside postid='arts_13921830']I had my doubts about this detecting duo of janitor and tentacled gumshoe: I thought it might be too cute. But, as Marcellus might joke, I was a sucker for thinking so. His voice, which alternates with chapters featuring Tova and other characters, is scornful and sad. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The solution to the serial killings turns out to be “utterly unexpected”; but it’s really the story of Eliza that commands attention: a woman stranded at the edge of the Pacific who’s determined to hold onto her newfound autonomy.\u003c/p>\n\u003cfigure id=\"attachment_13922662\" class=\"wp-caption aligncenter\" style=\"max-width: 331px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/51fMaH1tRyL.jpg\" alt=\"A book cover with art depicting a large orange octopus under the water with a woman watching on.\" width=\"331\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/51fMaH1tRyL.jpg 331w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/51fMaH1tRyL-160x242.jpg 160w\" sizes=\"(max-width: 331px) 100vw, 331px\">\u003cfigcaption class=\"wp-caption-text\">‘Remarkably Bright Creatures,’ by Shelby Van Pelt \u003ccite>(Ecco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I missed Shelby Van Pelt’s debut novel \u003cem>Remarkably Bright Creatures \u003c/em>when it came out this past May, but its weird premise kept calling to me. An elderly woman named Tova works nights at an aquarium on the Puget Sound; she doesn’t need the job, but scrubbing floors and fish tanks keeps her mind off her teenage son’s disappearance 30 years ago.\u003c/p>\n\u003cp>Watching Tova from his tank is the aquarium’s main attraction — a giant Pacific octopus named Marcellus. One night, Tova frees Marcellus from a near fatal entanglement with a power cord; in return, Marcellus silently resolves to use his knowledge of the sea and his superior memory for faces and objects to help Tova discover the truth about her son’s fate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I had my doubts about this detecting duo of janitor and tentacled gumshoe: I thought it might be too cute. But, as Marcellus might joke, I was a sucker for thinking so. His voice, which alternates with chapters featuring Tova and other characters, is scornful and sad. Here’s a snippet of Marcellus’ introduction:\u003c/p>\n\u003cblockquote>\u003cp>Each evening, I await the click of the overhead lights, leaving only the glow from the main tank. Not perfect, but close enough.\u003c/p>\n\u003cp>Almost-darkness, like the middle-bottom of the sea. I lived there before I was captured and imprisoned. …\u003c/p>\n\u003cp>I must advise you that our time together may be brief. The plaque [on my tank] states … the average life span of a giant Pacific octopus. Four years. …\u003c/p>\n\u003cp>I was brought here as a juvenile. I shall die here, in this tank. At the very most, one hundred and sixty days remain until my sentence is complete.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Like a noir detective, Marcellus looks the ultimate deadline of death in the eye and doesn’t blink. Both of these strange and freshly-imagined stories go deeper into uncharted territory for the mystery novel.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Looking+for+a+twist+on+the+whodunit%3F+Two+mysteries+veer+into+uncharted+territory+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "4 Cult Christmas Movies to Confuse the Whole Family",
"headTitle": "4 Cult Christmas Movies to Confuse the Whole Family | KQED",
"content": "\u003cp>Every winter, scores upon scores of schmaltzy seasonal movies get spewed upon the public in an opportunistic deluge that rarely results in anything memorable. This year, there were at least 170 (!) and all of them — every single one — were aimed at the broadest (blandest?) possible audience. Meaning: They were\u003cem> boring\u003c/em>.\u003c/p>\n\u003cp>For those of us who want Christmas movies that \u003cem>don’t\u003c/em> revolve around (a) romance, (b) coming home to a small town after living a big city, or (c) saving a local business, viewing options are few and far between. Which is why this year, I decided to lean into a few Christmas movies from bygone years that are so bizarre, you’ll wonder what your eggnog’s been spiked with.\u003c/p>\n\u003cp>Even better? All are available to stream for free. Hold onto your shelf elf!\u003c/p>\n\u003ch2>\u003cem>Santa Claus Conquers the Martians \u003c/em>(1964)\u003c/h2>\n\u003cfigure id=\"attachment_13922358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922358\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-4.54.21-PM-800x651.png\" alt=\"Promotional green, white and red poster advertising 'Santa Claus Conquers the Martians.' It features a rocket in the center, Santa and human children on the left and alien children and one adult on the right.\" width=\"800\" height=\"651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-4.54.21-PM-800x651.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-4.54.21-PM-1020x831.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-4.54.21-PM-160x130.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-4.54.21-PM-768x625.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-4.54.21-PM.png 1518w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aliens from Mars use laundry baskets too, you know.\u003c/figcaption>\u003c/figure>\n\u003cp>Before we get into it, I should probably mention that \u003cem>Santa Claus Conquers the Martians\u003c/em> is one of the worst movies ever made. You will marvel, throughout its 80 minutes, that people agreed to be in it and that entire teams of presumably rational humans worked on it.\u003c/p>\n\u003cp>Why am I telling you to watch it then? Because this is a sci-fi period piece that also happens to be as child-friendly as it is excellent fodder for a drinking game. (Drink every time someone fake-laughs at one of Santa’s “jokes”! Drink every time you notice weird, thinly veiled sexism! Drink throughout the last 10 minutes lest you feel like you’re on a bad acid trip!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some background: The extraterrestrials in \u003cem>Santa Claus Conquers the Martians\u003c/em> are from Mars, they have green food coloring all over their faces, poorly constructed antennas on their helmets and they have names like Dropo and Lady Momar. This advanced, unjustifiably snooty species is in possession of a variety of alien accoutrements including “the tickling ray,” “sleep spray” and “retro rockets.” Despite this, their kids are depressed, refusing to eat and sitting around watching human TV all day, much to the chagrin of their food-pill-popping parents.\u003c/p>\n\u003cp>Concerned, Kimar, leader of the martians, consults with an 800-year-old sage named Chochem who tells them they need “a Santa Claus” to cheer up the kids. So the martians head to Earth, kidnap two children (named Billy and Betty because: 1964), fly to the North Pole and try to hunt Santa down. There are very low-budget encounters with a polar bear and a robot named Torg, as well as a brilliantly terrible slow-motion karate chop fight.\u003c/p>\n\u003cfigure id=\"attachment_13922356\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922356\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Bear-robot-800x495.jpg\" alt=\"(L) A human dressed as a polar bear. (R) A very primitive, 1960s-era robot.\" width=\"800\" height=\"495\">\u003cfigcaption class=\"wp-caption-text\">Hi-tech special effects from the 1960s courtesy of ‘Santa Claus Conquers the Martians.’. \u003ccite>('Santa Conquers the Martians.')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other things happen. Everything is low stakes. Weird, aggressively soundtracked sections promoting the U.S. military occur. At one point Santa mourns the advent of automation. (He’s super into child labor, you see.) Oh, and the theme song is a banger.\u003c/p>\n\u003cp>You can watch this car crash, in its entirety, below. It is quaint and your children will laugh at it for all the wrong reasons.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=L4SZyeUGSM4\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>***\u003c/strong>\u003c/p>\n\u003ch2>\u003cem>Santa and the Ice Cream Bunny\u003c/em> (1972)\u003c/h2>\n\u003cfigure id=\"attachment_13922440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Screen-Shot-2022-12-07-at-1.07.59-PM-800x505.png\" alt=\"A human dressed like a white rabbit, behind the wheel of a car, being cheered on by three children cheering him on from the back seat.\" width=\"800\" height=\"505\">\u003cfigcaption class=\"wp-caption-text\">The Easter Bunny from this Christmas movie, arriving to eat your soul.\u003c/figcaption>\u003c/figure>\n\u003cp>The premise of this one is that Santa winds up trapped on a beach in Florida (the horror!) because his reindeers couldn’t take the literal heat and bailed on him. After talk-singing like a booze-fueled William Shatner, Santa responds to his predicament by luring random children to his side, Pied Piper style. (Nothing creepy about that at all.)\u003c/p>\n\u003cp>[aside postid='arts_13889748']The kids bring a variety of animals to see if they can pull the sleigh, including a mule, a hog, a sheep, a cow, a horse and a human man wearing a gorilla suit. When everything fails, rather than make any effort whatsoever to get his sleigh back to the North Pole, Santa decides to sit around and tell the children stories instead. What follows is a quietly sinister rendition of \u003cem>Thumbelina, \u003c/em>that includes terrifying mole people and — oh good! — a child marriage.\u003c/p>\n\u003cp>Once the (frankly astounding) movie-within-a-movie is over, back on the beach, a giant white rabbit shows up, roaring up in a giant red car full of kids. (This movie stands as a testament to the lackadaisical attitude towards parental supervision that ran amok during the 1970s.) The rabbit is in possession of all of the comforting charisma of Frank, the man-sized bunny from \u003cem>Donnie Darko\u003c/em>. He pledges to get Santa home in his car and … that’s it. That’s the end.\u003c/p>\n\u003cp>If you only watch one of the unhinged Christmas movies on this list, make it this one:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Voyn3forAT8\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>***\u003c/strong>\u003c/p>\n\u003ch2>\u003cem>Santa Claus\u003c/em> (1959)\u003c/h2>\n\u003cfigure id=\"attachment_13922362\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922362\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-11.31.43-PM-800x625.png\" alt=\"A promotional movie poster that shows a painting of Santa alongside a photo of a live action Santa arguing with a man dressed like the devil and covered in red body paint.\" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-11.31.43-PM-800x625.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-11.31.43-PM-1020x797.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-11.31.43-PM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-11.31.43-PM-768x600.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-11.31.43-PM-1536x1201.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-11.31.43-PM.png 1604w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">And now: A ‘Santa Claus’ movie that has absolutely nothing to do with Tim Allen.\u003c/figcaption>\u003c/figure>\n\u003cp>If you’ve ever wondered who would win in a fight between Santa and Satan (their names \u003cem>are\u003c/em> similar), then this is the movie for you!\u003c/p>\n\u003cp>In this one, Santa lives in a crystal palace on a cloud floating above the North Pole. He laughs all of the time, prompted by nothing at all, like \u003ca href=\"https://www.youtube.com/watch?v=gJdGp86Lxag\" target=\"_blank\" rel=\"noopener noreferrer\">Laughing Sal\u003c/a> or a serial killer. His \u003cspan style=\"text-decoration: line-through\">sweatshop\u003c/span> workshop is inhabited by children from around the world who are forced to wear official national dress to work every day, and sing in the languages of their homelands every time Santa (the tyrant) plays a white organ.\u003c/p>\n\u003cp>[aside postid='arts_13921477']One day, a toy that looks like Satan shows up in the workshop. Naturally, Santa sets it on fire. This sends a signal to a whole army of dancing devils down in hell. Satan then sends one of them up to Earth to defeat Santa and try to get random children to do evil deeds. (One of the kids chucks a rock at Santa’s forehead and it is genuinely hilarious\u003cem>.\u003c/em>)\u003c/p>\n\u003cp>In the battle between Santa and Satan, remarkably it’s Santa that ends up looking like the bigger creep most of the time. All the devil does is sabotage chimneys and tell kids to steal things. Santa, on the other hand, has a bunch of invasive monitoring equipment in his workshop, including a “teletalker that knows everything” and a machine that can see inside small children’s dreams. (WHAT.) At one point, Santa fires an arrow into the devil’s butt. By the time Santa has the cops called on him for breaking into people’s houses, it kinda feels justified.\u003c/p>\n\u003cp>Could the filmmakers have worked a bit harder on the movie title? Sure. Could they have made the devil a little bit more evil? Absolutely. Could we have avoided an entire sequence where a small girl stands in a sea of dry ice surrounded by life-size dancing dolls wearing masks of terror? One would think. But this Mexican classic is still more entertaining than anything that came out on Hallmark this year.\u003c/p>\n\u003cp>You can watch \u003cem>Santa Claus\u003c/em> in full below:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=htZqn3vPoJk\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>***\u003c/strong>\u003c/p>\n\u003ch2>\u003cem>The Magic Christmas Tree\u003c/em> (1964)\u003c/h2>\n\u003cfigure id=\"attachment_13922466\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922466\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Screen-Shot-2022-12-07-at-4.49.30-PM-800x529.png\" alt=\"A young boy of about 12 stands next to Santa Claus and a tinsel-covered tree.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-07-at-4.49.30-PM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-07-at-4.49.30-PM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-07-at-4.49.30-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-07-at-4.49.30-PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-07-at-4.49.30-PM.png 1282w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A boy, a Santa and a magic Christmas tree. Must be ‘The Magic Tree’!\u003c/figcaption>\u003c/figure>\n\u003cp>Mark is a young boy with the same energy as a middle-aged father of four who works in construction. One day, he makes the fateful decision to go and visit an elderly woman who’s rumored to be a witch. (She’s wearing a grey wig and her cat is named Lucifer, so … foregone conclusion.)\u003c/p>\n\u003cp>[aside postid='arts_13922004']After falling down and hitting his head, Mark wakes up and the world is suddenly in color, \u003cem>Wizard of Oz\u003c/em>-style. The witch gives him a magic ring with a seed inside it that enables Mark to grow a magic tree that will grant him three wishes.\u003c/p>\n\u003cp>One night, Mark’s entire family leaves him unattended (because: 1960s), so he goes outside and has a chat with the sexually ambiguous talking tree that sprang up moments after he planted it. Soon, Mark acquires magic powers that he uses out on the street for hijinks and chaos. (Weirdly, some of the people involved in said chaos appear to be driving the ice cream bunny’s giant red car. Coincidence?) Then Mark makes Santa Claus come over and bogarts him, preventing him from visiting other kids’ houses for the rest of the night. This, for some reason, really aggravates a giant. (And no, it doesn’t make any sense in the movie either…)\u003c/p>\n\u003cp>There are consequences, lessons and probably a mild concussion involved — which contributes to the feeling of being hit over the head repeatedly while watching it.\u003c/p>\n\u003cp>If you get all the way through this one, you probably deserve three wishes of your own:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jkkkONKOPxg\u003c/p>\n\u003cp>Merry Christmas, weirdos!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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\n",
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"excerpt": "Santa! Satan! The Easter Bunny! Child labor! Here are four Christmas movies you definitely won't find on Lifetime.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every winter, scores upon scores of schmaltzy seasonal movies get spewed upon the public in an opportunistic deluge that rarely results in anything memorable. This year, there were at least 170 (!) and all of them — every single one — were aimed at the broadest (blandest?) possible audience. Meaning: They were\u003cem> boring\u003c/em>.\u003c/p>\n\u003cp>For those of us who want Christmas movies that \u003cem>don’t\u003c/em> revolve around (a) romance, (b) coming home to a small town after living a big city, or (c) saving a local business, viewing options are few and far between. Which is why this year, I decided to lean into a few Christmas movies from bygone years that are so bizarre, you’ll wonder what your eggnog’s been spiked with.\u003c/p>\n\u003cp>Even better? All are available to stream for free. Hold onto your shelf elf!\u003c/p>\n\u003ch2>\u003cem>Santa Claus Conquers the Martians \u003c/em>(1964)\u003c/h2>\n\u003cfigure id=\"attachment_13922358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922358\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-4.54.21-PM-800x651.png\" alt=\"Promotional green, white and red poster advertising 'Santa Claus Conquers the Martians.' It features a rocket in the center, Santa and human children on the left and alien children and one adult on the right.\" width=\"800\" height=\"651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-4.54.21-PM-800x651.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-4.54.21-PM-1020x831.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-4.54.21-PM-160x130.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-4.54.21-PM-768x625.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-4.54.21-PM.png 1518w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aliens from Mars use laundry baskets too, you know.\u003c/figcaption>\u003c/figure>\n\u003cp>Before we get into it, I should probably mention that \u003cem>Santa Claus Conquers the Martians\u003c/em> is one of the worst movies ever made. You will marvel, throughout its 80 minutes, that people agreed to be in it and that entire teams of presumably rational humans worked on it.\u003c/p>\n\u003cp>Why am I telling you to watch it then? Because this is a sci-fi period piece that also happens to be as child-friendly as it is excellent fodder for a drinking game. (Drink every time someone fake-laughs at one of Santa’s “jokes”! Drink every time you notice weird, thinly veiled sexism! Drink throughout the last 10 minutes lest you feel like you’re on a bad acid trip!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some background: The extraterrestrials in \u003cem>Santa Claus Conquers the Martians\u003c/em> are from Mars, they have green food coloring all over their faces, poorly constructed antennas on their helmets and they have names like Dropo and Lady Momar. This advanced, unjustifiably snooty species is in possession of a variety of alien accoutrements including “the tickling ray,” “sleep spray” and “retro rockets.” Despite this, their kids are depressed, refusing to eat and sitting around watching human TV all day, much to the chagrin of their food-pill-popping parents.\u003c/p>\n\u003cp>Concerned, Kimar, leader of the martians, consults with an 800-year-old sage named Chochem who tells them they need “a Santa Claus” to cheer up the kids. So the martians head to Earth, kidnap two children (named Billy and Betty because: 1964), fly to the North Pole and try to hunt Santa down. There are very low-budget encounters with a polar bear and a robot named Torg, as well as a brilliantly terrible slow-motion karate chop fight.\u003c/p>\n\u003cfigure id=\"attachment_13922356\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922356\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Bear-robot-800x495.jpg\" alt=\"(L) A human dressed as a polar bear. (R) A very primitive, 1960s-era robot.\" width=\"800\" height=\"495\">\u003cfigcaption class=\"wp-caption-text\">Hi-tech special effects from the 1960s courtesy of ‘Santa Claus Conquers the Martians.’. \u003ccite>('Santa Conquers the Martians.')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other things happen. Everything is low stakes. Weird, aggressively soundtracked sections promoting the U.S. military occur. At one point Santa mourns the advent of automation. (He’s super into child labor, you see.) Oh, and the theme song is a banger.\u003c/p>\n\u003cp>You can watch this car crash, in its entirety, below. It is quaint and your children will laugh at it for all the wrong reasons.\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/L4SZyeUGSM4'\n title='//www.youtube.com/embed/L4SZyeUGSM4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp style=\"text-align: center\">\u003cstrong>***\u003c/strong>\u003c/p>\n\u003ch2>\u003cem>Santa and the Ice Cream Bunny\u003c/em> (1972)\u003c/h2>\n\u003cfigure id=\"attachment_13922440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Screen-Shot-2022-12-07-at-1.07.59-PM-800x505.png\" alt=\"A human dressed like a white rabbit, behind the wheel of a car, being cheered on by three children cheering him on from the back seat.\" width=\"800\" height=\"505\">\u003cfigcaption class=\"wp-caption-text\">The Easter Bunny from this Christmas movie, arriving to eat your soul.\u003c/figcaption>\u003c/figure>\n\u003cp>The premise of this one is that Santa winds up trapped on a beach in Florida (the horror!) because his reindeers couldn’t take the literal heat and bailed on him. After talk-singing like a booze-fueled William Shatner, Santa responds to his predicament by luring random children to his side, Pied Piper style. (Nothing creepy about that at all.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The kids bring a variety of animals to see if they can pull the sleigh, including a mule, a hog, a sheep, a cow, a horse and a human man wearing a gorilla suit. When everything fails, rather than make any effort whatsoever to get his sleigh back to the North Pole, Santa decides to sit around and tell the children stories instead. What follows is a quietly sinister rendition of \u003cem>Thumbelina, \u003c/em>that includes terrifying mole people and — oh good! — a child marriage.\u003c/p>\n\u003cp>Once the (frankly astounding) movie-within-a-movie is over, back on the beach, a giant white rabbit shows up, roaring up in a giant red car full of kids. (This movie stands as a testament to the lackadaisical attitude towards parental supervision that ran amok during the 1970s.) The rabbit is in possession of all of the comforting charisma of Frank, the man-sized bunny from \u003cem>Donnie Darko\u003c/em>. He pledges to get Santa home in his car and … that’s it. That’s the end.\u003c/p>\n\u003cp>If you only watch one of the unhinged Christmas movies on this list, make it this one:\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/Voyn3forAT8'\n title='//www.youtube.com/embed/Voyn3forAT8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp style=\"text-align: center\">\u003cstrong>***\u003c/strong>\u003c/p>\n\u003ch2>\u003cem>Santa Claus\u003c/em> (1959)\u003c/h2>\n\u003cfigure id=\"attachment_13922362\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922362\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-11.31.43-PM-800x625.png\" alt=\"A promotional movie poster that shows a painting of Santa alongside a photo of a live action Santa arguing with a man dressed like the devil and covered in red body paint.\" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-11.31.43-PM-800x625.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-11.31.43-PM-1020x797.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-11.31.43-PM-160x125.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-11.31.43-PM-768x600.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-11.31.43-PM-1536x1201.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-05-at-11.31.43-PM.png 1604w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">And now: A ‘Santa Claus’ movie that has absolutely nothing to do with Tim Allen.\u003c/figcaption>\u003c/figure>\n\u003cp>If you’ve ever wondered who would win in a fight between Santa and Satan (their names \u003cem>are\u003c/em> similar), then this is the movie for you!\u003c/p>\n\u003cp>In this one, Santa lives in a crystal palace on a cloud floating above the North Pole. He laughs all of the time, prompted by nothing at all, like \u003ca href=\"https://www.youtube.com/watch?v=gJdGp86Lxag\" target=\"_blank\" rel=\"noopener noreferrer\">Laughing Sal\u003c/a> or a serial killer. His \u003cspan style=\"text-decoration: line-through\">sweatshop\u003c/span> workshop is inhabited by children from around the world who are forced to wear official national dress to work every day, and sing in the languages of their homelands every time Santa (the tyrant) plays a white organ.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One day, a toy that looks like Satan shows up in the workshop. Naturally, Santa sets it on fire. This sends a signal to a whole army of dancing devils down in hell. Satan then sends one of them up to Earth to defeat Santa and try to get random children to do evil deeds. (One of the kids chucks a rock at Santa’s forehead and it is genuinely hilarious\u003cem>.\u003c/em>)\u003c/p>\n\u003cp>In the battle between Santa and Satan, remarkably it’s Santa that ends up looking like the bigger creep most of the time. All the devil does is sabotage chimneys and tell kids to steal things. Santa, on the other hand, has a bunch of invasive monitoring equipment in his workshop, including a “teletalker that knows everything” and a machine that can see inside small children’s dreams. (WHAT.) At one point, Santa fires an arrow into the devil’s butt. By the time Santa has the cops called on him for breaking into people’s houses, it kinda feels justified.\u003c/p>\n\u003cp>Could the filmmakers have worked a bit harder on the movie title? Sure. Could they have made the devil a little bit more evil? Absolutely. Could we have avoided an entire sequence where a small girl stands in a sea of dry ice surrounded by life-size dancing dolls wearing masks of terror? One would think. But this Mexican classic is still more entertaining than anything that came out on Hallmark this year.\u003c/p>\n\u003cp>You can watch \u003cem>Santa Claus\u003c/em> in full below:\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/htZqn3vPoJk'\n title='//www.youtube.com/embed/htZqn3vPoJk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp style=\"text-align: center\">\u003cstrong>***\u003c/strong>\u003c/p>\n\u003ch2>\u003cem>The Magic Christmas Tree\u003c/em> (1964)\u003c/h2>\n\u003cfigure id=\"attachment_13922466\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922466\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Screen-Shot-2022-12-07-at-4.49.30-PM-800x529.png\" alt=\"A young boy of about 12 stands next to Santa Claus and a tinsel-covered tree.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-07-at-4.49.30-PM-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-07-at-4.49.30-PM-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-07-at-4.49.30-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-07-at-4.49.30-PM-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/Screen-Shot-2022-12-07-at-4.49.30-PM.png 1282w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A boy, a Santa and a magic Christmas tree. Must be ‘The Magic Tree’!\u003c/figcaption>\u003c/figure>\n\u003cp>Mark is a young boy with the same energy as a middle-aged father of four who works in construction. One day, he makes the fateful decision to go and visit an elderly woman who’s rumored to be a witch. (She’s wearing a grey wig and her cat is named Lucifer, so … foregone conclusion.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After falling down and hitting his head, Mark wakes up and the world is suddenly in color, \u003cem>Wizard of Oz\u003c/em>-style. The witch gives him a magic ring with a seed inside it that enables Mark to grow a magic tree that will grant him three wishes.\u003c/p>\n\u003cp>One night, Mark’s entire family leaves him unattended (because: 1960s), so he goes outside and has a chat with the sexually ambiguous talking tree that sprang up moments after he planted it. Soon, Mark acquires magic powers that he uses out on the street for hijinks and chaos. (Weirdly, some of the people involved in said chaos appear to be driving the ice cream bunny’s giant red car. Coincidence?) Then Mark makes Santa Claus come over and bogarts him, preventing him from visiting other kids’ houses for the rest of the night. This, for some reason, really aggravates a giant. (And no, it doesn’t make any sense in the movie either…)\u003c/p>\n\u003cp>There are consequences, lessons and probably a mild concussion involved — which contributes to the feeling of being hit over the head repeatedly while watching it.\u003c/p>\n\u003cp>If you get all the way through this one, you probably deserve three wishes of your own:\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/jkkkONKOPxg'\n title='//www.youtube.com/embed/jkkkONKOPxg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Merry Christmas, weirdos!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Kids Really Can Change the World — Just Ask ‘Pinocchio’ and ‘Matilda’",
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"content": "\u003cp>The young heroes of Carlo Collodi’s classic fantasy \u003cem>Pinocchio\u003c/em> and Roald Dahl’s 1988 children’s novel \u003cem>Matilda\u003c/em> may not seem too alike at first: One is a wooden puppet who becomes a real boy and finds he has a lot to learn, while the other is a real girl of such extraordinary brainpower that she winds up schooling everyone else. But in their own ways, they’re both about a child’s extraordinary power to change the world — a lesson that stays winningly intact in two new screen adaptations, both arriving on Netflix this month.\u003c/p>\n\u003cp>[aside postid='arts_13922425']\u003cem>Guillermo del Toro’s Pinocchio\u003c/em>, as its title announces, is very much the work of the dark fantasist who made \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=10266161\">Pan’s Labyrinth\u003c/a> and \u003ca href=\"https://www.npr.org/2017/12/01/567265511/guillermo-del-toro-says-shape-of-water-is-an-antidote-for-today-s-cynicism\">The Shape of Water.\u003c/a> That’s not to say it’s too scary for children, only that its mix of visual richness and ghoulish whimsy would be hard to mistake for another filmmaker’s work. In this telling, the aging Italian woodcarver Geppetto has a young son who’s killed by a falling missile during World War I. Many years later, Geppetto, still distraught, chops down a pine tree in a drunken rage and carves a little puppet boy out of it, as if he could somehow bring his son back. And so this Pinocchio, forged in grief, springs to life not as a joyous creation, but as a sorry replacement for Geppetto’s lost son. That gives Pinocchio’s mischievous, defiant behavior an extra emotional edge.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Od2NW1sfRdA\u003c/p>\n\u003cp>Del Toro, who directed the movie with Mark Gustafson, has also darkened the story in other ways. This Pinocchio, who’s voiced by Gregory Mann, dies on multiple occasions and is magically resurrected each time. World War II also looms in the background, and Pinocchio will soon come face-to-face with Mussolini himself. It’s not the first time Del Toro has blended history and fantasy, pitting his young characters against the forces of Fascism.\u003c/p>\n\u003cp>It is, however, the first time he’s made a feature entirely in stop-motion animation, and the hand-crafted, herky-jerky images are a wonder to behold. The backdrops are exquisite, and I loved the intricate non-human character designs for a benevolent woodland sprite, voiced by Tilda Swinton, and for Sebastian J. Cricket, a kind of Jiminy-like sidekick voiced by Ewan McGregor. Still, for all its overflowing invention, this \u003cem>Pinocchio\u003c/em>, like a lot of Del Toro movies, could’ve been tighter and more disciplined. I’m also not sure why the movie had to be a musical, given how unmemorable most of the songs are.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By contrast, the songs in the new movie \u003cem>Roald Dahl’s Matilda the Musical\u003c/em> are as terrific as they were when I heard them \u003ca href=\"https://www.npr.org/2013/04/11/176704420/matilda-brings-beloved-book-to-broadway\">performed on Broadway\u003c/a> years ago. The movie is an extremely faithful adaptation of that hugely popular show. It tells the story of Matilda Wormwood, a child prodigy who’s already reading Dickens and Dostoevsky by age 6.\u003c/p>\n\u003cp>[aside postid='arts_13891275']Much of the pleasure of the story comes from watching Matilda — the winning Alisha Weir — get revenge on her foolish, vulgar and generally indifferent parents whenever they treat her badly, which is often. But Matilda will soon have bigger fish to fry in the form of Miss Trunchbull, the sadistic headmistress at her school, who terrifies her students and calls them “maggots.” In one showstopping number, Matilda’s fellow students manage to overcome their fears and rise up, declaring their right to be, as they call themselves, “Revolting Children.”\u003c/p>\n\u003cp>Miss Trunchbull is played, with the help of a fatsuit and facial prosthetics, by Emma Thompson, and she’s a memorable monster, subjecting her students to all kinds of cruel mind games and baroque forms of corporal punishment. It’s fun watching Matilda outwit her, while also bonding with her kind-hearted teacher, Miss Honey — a very moving Lashana Lynch.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EzKASl2T9d0\u003c/p>\n\u003cp>The movie retains the show’s central creative trio: the director Matthew Warchus, the writer Dennis Kelly and the composer-lyricist Tim Minchin. That’s mostly a good thing, even if the movie’s relentless high spirits and bright, bouncy colors tend to overpower the darker vibes of the original story. There are also elements here that simply don’t work as well onscreen as they did onstage, including a subplot that takes place within Matilda’s own imagination.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I have to say, though, that my 6-year-old screening companion didn’t mind in the slightest: I looked over every so often to find her laughing at the jokes, covering her eyes at the scary parts and bopping along to the music. She was completely transported — and so, in those moments, was I.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=Kids+really+can+change+the+world+%E2%80%94+just+ask+%27Pinocchio%27+and+%27Matilda%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The young heroes of Carlo Collodi’s classic fantasy \u003cem>Pinocchio\u003c/em> and Roald Dahl’s 1988 children’s novel \u003cem>Matilda\u003c/em> may not seem too alike at first: One is a wooden puppet who becomes a real boy and finds he has a lot to learn, while the other is a real girl of such extraordinary brainpower that she winds up schooling everyone else. But in their own ways, they’re both about a child’s extraordinary power to change the world — a lesson that stays winningly intact in two new screen adaptations, both arriving on Netflix this month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Guillermo del Toro’s Pinocchio\u003c/em>, as its title announces, is very much the work of the dark fantasist who made \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=10266161\">Pan’s Labyrinth\u003c/a> and \u003ca href=\"https://www.npr.org/2017/12/01/567265511/guillermo-del-toro-says-shape-of-water-is-an-antidote-for-today-s-cynicism\">The Shape of Water.\u003c/a> That’s not to say it’s too scary for children, only that its mix of visual richness and ghoulish whimsy would be hard to mistake for another filmmaker’s work. In this telling, the aging Italian woodcarver Geppetto has a young son who’s killed by a falling missile during World War I. Many years later, Geppetto, still distraught, chops down a pine tree in a drunken rage and carves a little puppet boy out of it, as if he could somehow bring his son back. And so this Pinocchio, forged in grief, springs to life not as a joyous creation, but as a sorry replacement for Geppetto’s lost son. That gives Pinocchio’s mischievous, defiant behavior an extra emotional edge.\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/Od2NW1sfRdA'\n title='//www.youtube.com/embed/Od2NW1sfRdA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Del Toro, who directed the movie with Mark Gustafson, has also darkened the story in other ways. This Pinocchio, who’s voiced by Gregory Mann, dies on multiple occasions and is magically resurrected each time. World War II also looms in the background, and Pinocchio will soon come face-to-face with Mussolini himself. It’s not the first time Del Toro has blended history and fantasy, pitting his young characters against the forces of Fascism.\u003c/p>\n\u003cp>It is, however, the first time he’s made a feature entirely in stop-motion animation, and the hand-crafted, herky-jerky images are a wonder to behold. The backdrops are exquisite, and I loved the intricate non-human character designs for a benevolent woodland sprite, voiced by Tilda Swinton, and for Sebastian J. Cricket, a kind of Jiminy-like sidekick voiced by Ewan McGregor. Still, for all its overflowing invention, this \u003cem>Pinocchio\u003c/em>, like a lot of Del Toro movies, could’ve been tighter and more disciplined. I’m also not sure why the movie had to be a musical, given how unmemorable most of the songs are.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By contrast, the songs in the new movie \u003cem>Roald Dahl’s Matilda the Musical\u003c/em> are as terrific as they were when I heard them \u003ca href=\"https://www.npr.org/2013/04/11/176704420/matilda-brings-beloved-book-to-broadway\">performed on Broadway\u003c/a> years ago. The movie is an extremely faithful adaptation of that hugely popular show. It tells the story of Matilda Wormwood, a child prodigy who’s already reading Dickens and Dostoevsky by age 6.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Much of the pleasure of the story comes from watching Matilda — the winning Alisha Weir — get revenge on her foolish, vulgar and generally indifferent parents whenever they treat her badly, which is often. But Matilda will soon have bigger fish to fry in the form of Miss Trunchbull, the sadistic headmistress at her school, who terrifies her students and calls them “maggots.” In one showstopping number, Matilda’s fellow students manage to overcome their fears and rise up, declaring their right to be, as they call themselves, “Revolting Children.”\u003c/p>\n\u003cp>Miss Trunchbull is played, with the help of a fatsuit and facial prosthetics, by Emma Thompson, and she’s a memorable monster, subjecting her students to all kinds of cruel mind games and baroque forms of corporal punishment. It’s fun watching Matilda outwit her, while also bonding with her kind-hearted teacher, Miss Honey — a very moving Lashana Lynch.\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/EzKASl2T9d0'\n title='//www.youtube.com/embed/EzKASl2T9d0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The movie retains the show’s central creative trio: the director Matthew Warchus, the writer Dennis Kelly and the composer-lyricist Tim Minchin. That’s mostly a good thing, even if the movie’s relentless high spirits and bright, bouncy colors tend to overpower the darker vibes of the original story. There are also elements here that simply don’t work as well onscreen as they did onstage, including a subplot that takes place within Matilda’s own imagination.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I have to say, though, that my 6-year-old screening companion didn’t mind in the slightest: I looked over every so often to find her laughing at the jokes, covering her eyes at the scary parts and bopping along to the music. She was completely transported — and so, in those moments, was I.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 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=Kids+really+can+change+the+world+%E2%80%94+just+ask+%27Pinocchio%27+and+%27Matilda%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "It’s Thumbs-Down in the UK For Harry and Meghan’s Netflix Series",
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"content": "\u003cp>Reviews for the new Netflix series \u003cem>Harry & Meghan\u003c/em>, by Prince Harry and Meghan, the Duchess of Sussex, have been withering in the British press. This is not surprising, given that the couple spends much of the first three episodes attacking Britain’s notorious tabloid media for invading their privacy and some coverage that traded in racist tropes.\u003c/p>\n\u003cp>[aside postid='arts_13919284']Some U.K. newspapers responded in kind to the first three episodes of six. \u003cem>The Telegraph\u003c/em> called the series a “very \u003ca href=\"https://www.telegraph.co.uk/opinion/2022/12/08/sussexes-documentary-californian-exercise-grievance/\">Californian exercise in grievance\u003c/a>.”\u003c/p>\n\u003cp>The \u003cem>Spectator \u003c/em>magazine called it a “\u003ca href=\"https://www.spectator.co.uk/article/harry-and-meghans-netflix-show-is-a-tedious-narcissistic-wallow/\">tedious, narcissistic wallow\u003c/a>.”\u003c/p>\n\u003cp>The criticism, however, did not just come from the political right. Britain’s \u003cem>Guardian\u003c/em>, which is liberal and more likely to be sympathetic to the couple’s politics, called the series “a \u003ca href=\"https://www.theguardian.com/tv-and-radio/live/2022/dec/08/harry-meghan-netflix-documentary-royal-family-media-reaction-live-updates?page=with:block-6391d0888f08f54ad0692bd6\">one-sided PR effort\u003c/a>.”\u003c/p>\n\u003cp>Across the water in Ireland — no fan of the British monarchy — the \u003cem>Irish Times\u003c/em> described the first three hours as “a sometimes unwatchable \u003ca href=\"https://www.irishtimes.com/culture/tv-radio/2022/12/08/harry-meghan-a-heartfelt-gloopy-and-sometimes-unwatchable-plunge-into-planet-sussex/\">plunge into Planet Sussex\u003c/a>.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The series contains no revelations. Instead, it’s an expanded version of the couple’s perspective on why they left the Royal family nearly two years ago. The couple and their Archewell foundation employees focus on the Royal family’s co-dependent relationship with Britain’s press and the human toll it takes. Tim Burt, who does strategic communications for the foundation, describes the unwritten contract.\u003c/p>\n\u003cp>“The taxpayer in the U.K. pays for the royal family and in return for those payments, there is an expectation that the Royal family will be available to the media,” says Burt, “and this is a sense of ‘We pay, you pose.’ ”\u003c/p>\n\u003cp>[aside postid='arts_13866072']Harry sees this as a power struggle.\u003c/p>\n\u003cp>“It all comes down to control,” he says. “It’s like this family is ours to exploit. Their trauma is our story and our narrative to control\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>The first episode covers the couple’s secret courtship and romance, which struck a chord with some viewers.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>I’ve always been ‘Team Harry and Meghan,’ ” said Ateh Jewell, who writes about the beauty industry, speaking on Britain’s ITV on Thursday. “She’s been painted as a scheming, predatory, prince-hunting woman. And I think the first episode shows that they have a deep love, a \u003ca href=\"https://www.youtube.com/watch?v=QZ5ai4pSw98\">friendship and a connection\u003c/a>.”\u003c/p>\n\u003cp>The “Team Harry” framing highlights the polarizing effect the couple have here. Their supporters see them as principled activists who have called out racism in Britain and the Royal family at great personal cost. Their detractors see them as complainers and ingrates who turned their back on the country after it welcomed Meghan and threw the couple a spectacular wedding at Windsor Castle in 2018.\u003c/p>\n\u003cp>Opinion on Prince Harry in his homeland is divided. A few years ago, he was among the most popular royals, with ratings that rivaled his late grandmother, Queen Elizabeth. Today his popularity \u003ca href=\"https://yougov.co.uk/topics/politics/explore/public_figure/Prince_Harry_Duke_of_Sussex\">sits at just 38%\u003c/a>, according to research firm YouGov.\u003c/p>\n\u003cp>Only \u003ca href=\"https://yougov.co.uk/topics/politics/explore/public_figure/Meghan_Duchess_of_Sussex\">27% of people here\u003c/a> like Meghan, according to YouGov, while a slight majority don’t.\u003c/p>\n\u003cp>[aside postid='arts_13893693']Among them is Jan Veale, a retired hairdresser from Devon, in southwest England. Veale doesn’t like the couple and plans to hate-watch the series.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>I am glad they’ve made it, because I don’t like what they’ve done to the Royal family,” said Veale, while strolling around London’s Covent Garden on Thursday looking at the Christmas lights. “I think this will make people hate them even more and I’m glad of that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR London producer Morgan Ayre contributed to this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+thumbs-down+in+the+U.K.+for+Harry+and+Meghan%27s+Netflix+Series&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some U.K. newspapers responded in kind to the first three episodes of six. \u003cem>The Telegraph\u003c/em> called the series a “very \u003ca href=\"https://www.telegraph.co.uk/opinion/2022/12/08/sussexes-documentary-californian-exercise-grievance/\">Californian exercise in grievance\u003c/a>.”\u003c/p>\n\u003cp>The \u003cem>Spectator \u003c/em>magazine called it a “\u003ca href=\"https://www.spectator.co.uk/article/harry-and-meghans-netflix-show-is-a-tedious-narcissistic-wallow/\">tedious, narcissistic wallow\u003c/a>.”\u003c/p>\n\u003cp>The criticism, however, did not just come from the political right. Britain’s \u003cem>Guardian\u003c/em>, which is liberal and more likely to be sympathetic to the couple’s politics, called the series “a \u003ca href=\"https://www.theguardian.com/tv-and-radio/live/2022/dec/08/harry-meghan-netflix-documentary-royal-family-media-reaction-live-updates?page=with:block-6391d0888f08f54ad0692bd6\">one-sided PR effort\u003c/a>.”\u003c/p>\n\u003cp>Across the water in Ireland — no fan of the British monarchy — the \u003cem>Irish Times\u003c/em> described the first three hours as “a sometimes unwatchable \u003ca href=\"https://www.irishtimes.com/culture/tv-radio/2022/12/08/harry-meghan-a-heartfelt-gloopy-and-sometimes-unwatchable-plunge-into-planet-sussex/\">plunge into Planet Sussex\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 series contains no revelations. Instead, it’s an expanded version of the couple’s perspective on why they left the Royal family nearly two years ago. The couple and their Archewell foundation employees focus on the Royal family’s co-dependent relationship with Britain’s press and the human toll it takes. Tim Burt, who does strategic communications for the foundation, describes the unwritten contract.\u003c/p>\n\u003cp>“The taxpayer in the U.K. pays for the royal family and in return for those payments, there is an expectation that the Royal family will be available to the media,” says Burt, “and this is a sense of ‘We pay, you pose.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Harry sees this as a power struggle.\u003c/p>\n\u003cp>“It all comes down to control,” he says. “It’s like this family is ours to exploit. Their trauma is our story and our narrative to control\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>The first episode covers the couple’s secret courtship and romance, which struck a chord with some viewers.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>I’ve always been ‘Team Harry and Meghan,’ ” said Ateh Jewell, who writes about the beauty industry, speaking on Britain’s ITV on Thursday. “She’s been painted as a scheming, predatory, prince-hunting woman. And I think the first episode shows that they have a deep love, a \u003ca href=\"https://www.youtube.com/watch?v=QZ5ai4pSw98\">friendship and a connection\u003c/a>.”\u003c/p>\n\u003cp>The “Team Harry” framing highlights the polarizing effect the couple have here. Their supporters see them as principled activists who have called out racism in Britain and the Royal family at great personal cost. Their detractors see them as complainers and ingrates who turned their back on the country after it welcomed Meghan and threw the couple a spectacular wedding at Windsor Castle in 2018.\u003c/p>\n\u003cp>Opinion on Prince Harry in his homeland is divided. A few years ago, he was among the most popular royals, with ratings that rivaled his late grandmother, Queen Elizabeth. Today his popularity \u003ca href=\"https://yougov.co.uk/topics/politics/explore/public_figure/Prince_Harry_Duke_of_Sussex\">sits at just 38%\u003c/a>, according to research firm YouGov.\u003c/p>\n\u003cp>Only \u003ca href=\"https://yougov.co.uk/topics/politics/explore/public_figure/Meghan_Duchess_of_Sussex\">27% of people here\u003c/a> like Meghan, according to YouGov, while a slight majority don’t.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Among them is Jan Veale, a retired hairdresser from Devon, in southwest England. Veale doesn’t like the couple and plans to hate-watch the series.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>I am glad they’ve made it, because I don’t like what they’ve done to the Royal family,” said Veale, while strolling around London’s Covent Garden on Thursday looking at the Christmas lights. “I think this will make people hate them even more and I’m glad of that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR London producer Morgan Ayre contributed to this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+thumbs-down+in+the+U.K.+for+Harry+and+Meghan%27s+Netflix+Series&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Fan is Reportedly Buying the ‘Goonies’ House in Oregon, Which Was Listed for $1.7M",
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"content": "\u003cp>ASTORIA, Ore. — The listing agent for the Victorian home featured in the \u003cem>The Goonies\u003c/em> film in Astoria, Oregon, said this week the likely new owner is a fan of the classic coming-of-age movie about friendships and treasure hunting, and he promises to preserve and protect the landmark.\u003c/p>\n\u003cp>[aside postid='arts_13878444']The 1896 home with sweeping views of the Columbia River flowing into the Pacific Ocean was listed in November with an asking price of nearly $1.7 million.\u003c/p>\n\u003cp>Jordan Miller of John L. Scott Real Estate said the sale is expected to close in mid January, The Oregonian/OregonLive \u003ca href=\"https://www.oregonlive.com/realestate/2022/12/goonies-house-in-astoria-sells-to-a-fan-who-wants-to-protect-the-landmark.html\">reported\u003c/a>. The new owner, a self-described serial entrepreneur, will make his name known at that time, Miller said.\u003c/p>\n\u003cp>Since the movie came to theaters in 1985, fans have flocked to the home in northwestern Oregon’s historic port of Astoria. The city celebrates Goonies Day on June 7, the film’s release date, and welcomes thousands of people for the event.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kr_z37TgQO4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An offer was accepted six days after the house was listed, according to public record.\u003c/p>\n\u003cp>“After the word spread that the property was for sale, we received multiple offers, at asking price and higher, and we have a full backup offer,” Miller said.\u003c/p>\n\u003cp>Seller Sandi Preston is passing along movie memorabilia she has collected or has been given, and some of the furniture in the home, restored to its original 1896 style, may also be sold to the buyer, according to Miller.\u003c/p>\n\u003cp>[aside postid='pop_97337']Preston was known to be largely welcoming to visitors. But she lived in the house and the constant crowds were a strain that prompted her at times to close it to foot traffic.\u003c/p>\n\u003cp>After the film’s 30th anniversary drew about 1,500 daily visitors in 2015, Preston posted “no trespassing” signs prohibiting tourists from walking up to the property. She reopened it to the public in August.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Based on a story by Steven Spielberg, the film features a group of friends fighting to protect their homes from an expanding country club and threats of foreclosure. In the process, they discover an old treasure map that leads them on an adventure and allows them to save their “Goon Docks” neighborhood.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+fan+is+reportedly+buying+the+%27Goonies%27+house+in+Oregon%2C+which+was+listed+for+%241.7M&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Preston was known to be largely welcoming to visitors. But she lived in the house and the constant crowds were a strain that prompted her at times to close it to foot traffic.\u003c/p>\n\u003cp>After the film’s 30th anniversary drew about 1,500 daily visitors in 2015, Preston posted “no trespassing” signs prohibiting tourists from walking up to the property. She reopened it to the public in August.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Based on a story by Steven Spielberg, the film features a group of friends fighting to protect their homes from an expanding country club and threats of foreclosure. In the process, they discover an old treasure map that leads them on an adventure and allows them to save their “Goon Docks” neighborhood.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+fan+is+reportedly+buying+the+%27Goonies%27+house+in+Oregon%2C+which+was+listed+for+%241.7M&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tilda Swinton Stars Twice in ‘The Eternal Daughter’ — As Both Parent and Child",
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"content": "\u003cp>I have to admit that when I heard Tilda Swinton would be playing two roles in \u003cem>The Eternal Daughter\u003c/em>, my immediate reaction was something like, “What else is new?” Swinton is a marvelous actor and a gifted multitasker. Maybe you remember her playing twin sisters in\u003ca href=\"https://www.npr.org/2016/02/04/465312506/hail-caesar-will-make-you-miss-movies-with-exclamation-points\"> \u003cem>Hail, Caesar!\u003c/em>\u003c/a> or \u003ca href=\"https://www.npr.org/2017/06/29/533973063/bong-joon-hos-okja-is-as-weird-a-hybrid-as-its-porcine-star\">\u003cem>Okja\u003c/em>\u003c/a>, or taking on three different roles in the recent remake of \u003ca href=\"https://www.npr.org/2018/10/26/658858340/suspiria-a-cult-horror-remake-dances-to-a-confusing-beat\">\u003cem>Suspiria\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13921562']But \u003cem>The Eternal Daughter\u003c/em>, the latest movie written and directed by Joanna Hogg, might be the most effective and moving casting stunt of Swinton’s career. She plays a filmmaker, Julie, and her mother, Rosalind, who have come to stay at a remote Welsh hotel for a few days before Christmas. They’ve booked a double room for themselves and Rosalind’s dog, Louis, played by one of Swinton’s own spaniels. That’s about it for the cast, save a few members of the hotel staff, including an amusingly snippy receptionist played by Carly-Sophia Davies. It doesn’t appear there are any other guests.\u003c/p>\n\u003cp>While it unfolds at a measured pace, \u003cem>The Eternal Daughter\u003c/em> is immediately gripping. Hogg has structured the movie as a kind of ghost story, and she’s clearly having fun with the conventions of the genre. The hotel is a marvelously creaky old estate in the middle of nowhere, shrouded in mists and moonlight. Strange noises disturb Julie’s sleep at night, and at one point, someone — it’s not clear who — opens the door to their room and Louis gets out. Don’t worry, this isn’t one of those slasher movies where the family pet winds up dead. Hogg isn’t \u003cem>really\u003c/em> trying to scare us. But she has a wonderful feel for gothic atmosphere, something she heightens by shooting on 16mm film and playing eerie flute music during Julie’s walks on the hotel grounds.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5hJR8hEsLZU\u003c/p>\n\u003cp>All in all, the movie is a splendid reminder of how much magic a smart, subtle filmmaker can conjure without a massive visual-effects budget. And the most magical thing about it is Swinton’s double casting. Hogg shrewdly downplays her own gimmick. She rarely places Julie and Rosalind in the same frame, instead cutting between them during their many conversations. That must have made shooting less expensive, with minimal need for body doubles or digital trickery. The back-and-forth editing style also works well for the script, given that this mother and daughter tend to speak in polite, hesitant tones; rarely do they step on each other’s sentences. They clearly love and dote on each other — Julie, full of warmth and vigor, takes good care of Rosalind, who tires easily and isn’t in the best of health.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But there’s also a darker undertow to their relationship that gradually comes into focus. We learn that Rosalind was sent to stay at this place years ago during World War II, when she was still a child. She has some happy memories of her time here, but also a lot of traumatic ones — and Julie, we realize, wants to mine those memories for a future film project.\u003c/p>\n\u003cp>[aside postid='arts_13922080']Here’s where things get complicated, since Julie is an alter ego for Joanna Hogg herself, and Rosalind is a stand-in for her own mother. This isn’t the first of Hogg’s movies to draw on her family life — I loved her two \u003cem>Souvenir\u003c/em> films, about her early years as a student filmmaker in the 1980s. But \u003cem>The Eternal Daughter\u003c/em>, set closer to the present day, is a different kind of cinematic memoir — more playful, and more mysterious. In reminiscing about her own relationship with her mother, Hogg raises all kinds of ideas about grief, loss and memory. She’s also questioning herself: Does she have any right to probe her mother’s personal history for her own artistic inspiration?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I don’t know the answer, and I don’t know if Hogg does, either. But I’m grateful to have spent time with these two characters and the great actor who plays them. Swinton’s casting isn’t just a stunt; it brilliantly conveys the uncomfortable transference of identity that often happens between mothers and daughters. At the same time, when they communicate, Julie and Rosalind show a certain reserve, shying away from confrontation or even emotion. But the shattering climax of \u003cem>The Eternal Daughter\u003c/em> is nothing if not emotional. It leaves us with the intriguing notion that maybe all love stories are ghost stories, to the degree that we’re all haunted, in some way, by the memories of those we love.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tilda+Swinton+stars+twice+in+%27The+Eternal+Daughter%27+%E2%80%94+as+both+parent+and+child&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But \u003cem>The Eternal Daughter\u003c/em>, the latest movie written and directed by Joanna Hogg, might be the most effective and moving casting stunt of Swinton’s career. She plays a filmmaker, Julie, and her mother, Rosalind, who have come to stay at a remote Welsh hotel for a few days before Christmas. They’ve booked a double room for themselves and Rosalind’s dog, Louis, played by one of Swinton’s own spaniels. That’s about it for the cast, save a few members of the hotel staff, including an amusingly snippy receptionist played by Carly-Sophia Davies. It doesn’t appear there are any other guests.\u003c/p>\n\u003cp>While it unfolds at a measured pace, \u003cem>The Eternal Daughter\u003c/em> is immediately gripping. Hogg has structured the movie as a kind of ghost story, and she’s clearly having fun with the conventions of the genre. The hotel is a marvelously creaky old estate in the middle of nowhere, shrouded in mists and moonlight. Strange noises disturb Julie’s sleep at night, and at one point, someone — it’s not clear who — opens the door to their room and Louis gets out. Don’t worry, this isn’t one of those slasher movies where the family pet winds up dead. Hogg isn’t \u003cem>really\u003c/em> trying to scare us. But she has a wonderful feel for gothic atmosphere, something she heightens by shooting on 16mm film and playing eerie flute music during Julie’s walks on the hotel grounds.\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/5hJR8hEsLZU'\n title='//www.youtube.com/embed/5hJR8hEsLZU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All in all, the movie is a splendid reminder of how much magic a smart, subtle filmmaker can conjure without a massive visual-effects budget. And the most magical thing about it is Swinton’s double casting. Hogg shrewdly downplays her own gimmick. She rarely places Julie and Rosalind in the same frame, instead cutting between them during their many conversations. That must have made shooting less expensive, with minimal need for body doubles or digital trickery. The back-and-forth editing style also works well for the script, given that this mother and daughter tend to speak in polite, hesitant tones; rarely do they step on each other’s sentences. They clearly love and dote on each other — Julie, full of warmth and vigor, takes good care of Rosalind, who tires easily and isn’t in the best of health.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But there’s also a darker undertow to their relationship that gradually comes into focus. We learn that Rosalind was sent to stay at this place years ago during World War II, when she was still a child. She has some happy memories of her time here, but also a lot of traumatic ones — and Julie, we realize, wants to mine those memories for a future film project.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Here’s where things get complicated, since Julie is an alter ego for Joanna Hogg herself, and Rosalind is a stand-in for her own mother. This isn’t the first of Hogg’s movies to draw on her family life — I loved her two \u003cem>Souvenir\u003c/em> films, about her early years as a student filmmaker in the 1980s. But \u003cem>The Eternal Daughter\u003c/em>, set closer to the present day, is a different kind of cinematic memoir — more playful, and more mysterious. In reminiscing about her own relationship with her mother, Hogg raises all kinds of ideas about grief, loss and memory. She’s also questioning herself: Does she have any right to probe her mother’s personal history for her own artistic inspiration?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>I don’t know the answer, and I don’t know if Hogg does, either. But I’m grateful to have spent time with these two characters and the great actor who plays them. Swinton’s casting isn’t just a stunt; it brilliantly conveys the uncomfortable transference of identity that often happens between mothers and daughters. At the same time, when they communicate, Julie and Rosalind show a certain reserve, shying away from confrontation or even emotion. But the shattering climax of \u003cem>The Eternal Daughter\u003c/em> is nothing if not emotional. It leaves us with the intriguing notion that maybe all love stories are ghost stories, to the degree that we’re all haunted, in some way, by the memories of those we love.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tilda+Swinton+stars+twice+in+%27The+Eternal+Daughter%27+%E2%80%94+as+both+parent+and+child&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Before they even met, Tammy Wynette and George Jones were both supremely talented but breathtakingly messy humans. Once the country music legends got together (both personally and professionally), their chemistry was irresistible, but entirely too combustible behind closed doors.\u003c/p>\n\u003cp>At his worst, Jones was selfish, violent and the most destructive of alcoholics. He ditched out on tours, fired guns at people in drunken rages and had zero qualms about driving under the influence — even if it was on a lawnmower because his wife had hidden his car keys. Wynette gave as good as she got: possessive, emotionally manipulative and addicted to painkillers and other prescriptions. The story of Jones and Wynette’s life together is one for the ages — even if their marriage only did last six years.\u003c/p>\n\u003cp>[aside postid='arts_13920514']Given that Wynette died in 1998 and Jones passed on in 2013, it’s a little surprising that the world has had to wait this long for a good fictionalized account of their story. (The 1981 TV movie \u003ca href=\"https://www.youtube.com/watch?v=RNDFWFsn_kY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stand By Your Man\u003c/em>\u003c/a> remains legendary for its terrible wigs, though.) Enter Showtime with \u003cem>George & Tammy\u003c/em>, a six-part limited series premiering on Dec. 4.\u003c/p>\n\u003cp>Both Michael Shannon and Jessica Chastain do an admirable job of filling Jones’ and Wynette’s cowboy boots — not an easy task given the stars’ iconic status. The job at hand is made all the more challenging by the fact that Chastain and Shannon provide the vocals for Jones and Wynette’s hits themselves here. While both actors are good singers, unsurprisingly neither can match the vocal prowess of the musicians they are playing — something that grows particularly grating during some of Wynette’s musical numbers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DjrEeuQ5838\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One benefit to having the actors doing the singing, however, is that Chastain and Shannon actually have better onstage chemistry than the real-life Jones and Wynette generally did. In real life, Jones’ habit of never playing a song the same way twice often clumsily \u003ca href=\"https://www.youtube.com/watch?v=Q9KniULwvjE\" target=\"_blank\" rel=\"noopener noreferrer\">collided\u003c/a> with Wynette’s stilted perfectionism. In \u003cem>George & Tammy\u003c/em>, the couple are always better together than they are apart — a delightful embellishment that is fun to watch.\u003c/p>\n\u003cp>[aside postid='arts_13844829']\u003cem>George & Tammy\u003c/em> is excellent at picking out and recreating all of the most important steps in Jones and Wynette’s personal stories and careers, even if the timeline isn’t always exactly right. The show is admirably unflinching when it comes to portraying Jones’ most undignified behavior, down to “Dee-Doodle,” his \u003ca href=\"https://www.youtube.com/watch?v=esSpxsw590Q\" target=\"_blank\" rel=\"noopener noreferrer\">disturbing, cocaine-fueled, duck-voiced alter-ego\u003c/a>. The series also understands the variety of abuses that Wynette endured in the three (of her five) marriages that are depicted here, as well as the very real physical ailments that resulted in her addiction issues.\u003c/p>\n\u003cp>That being said, there is some uncomfortable fabrication in \u003cem>George & Tammy\u003c/em> (\u003ca href=\"https://americansongwriter.com/behind-the-song-he-stopped-loving-her-today/\" target=\"_blank\" rel=\"noopener noreferrer\">Wynette being present for Jones’ recording of “He Stopped Loving Her Today”?\u003c/a> Poppycock!), as well as some glaring omissions. The famous \u003ca href=\"https://www.npr.org/2000/10/28/1113153/tammy-wynettes-stand-by-your-man\" target=\"_blank\" rel=\"noopener noreferrer\">feminist backlash against Wynette’s “Stand By Your Man”\u003c/a> is reduced to a single three-second exchange, for example.\u003c/p>\n\u003cp>In Season 2 of country music history podcast \u003ca href=\"https://cocaineandrhinestones.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cocaine and Rhinestones\u003c/em>\u003c/a>, the true story of George Jones and Tammy Wynette is told in painstakingly researched detail. Where \u003cem>George & Tammy\u003c/em> was based almost entirely on their daughter Georgette’s memoir, the makers of \u003cem>Cocaine and Rhinestones\u003c/em> read every book and biography on the topic, fact-checked details and then parsed out the most likely conclusions. That’s probably the best approach when the two people at the center of the story are consistently unreliable narrators — whether for drug, image or ego-related reasons.\u003c/p>\n\u003cp>Though \u003cem>George & Tammy\u003c/em> is an infinitely more moving depiction of Jones and Wynette’s lives than was offered in the podcast, anyone who has listened to \u003cem>Cocaine and Rhinestones \u003c/em>will struggle with the way some of Wynette’s less flattering character traits are omitted from the show. The many times she was caught in major lies, Wynette’s pursuit of her friends’ boyfriends for sport, \u003ca href=\"https://cocaineandrhinestones.com/tammy-wynette-george-richey\" target=\"_blank\" rel=\"noopener noreferrer\">the unconvincingly applied makeup bruises\u003c/a> after her now-infamous falsified kidnapping — all absent from \u003cem>George & Tammy\u003c/em>. (And, in the interest of avoiding spoilers, let’s just say the culprit behind the mysterious graffiti on Wynette’s house looks very different in \u003cem>George & Tammy\u003c/em> from how it was presented in the podcast.)\u003c/p>\n\u003cp>There can be no doubt that the real-life Wynette was a resilient, hard-working and determined woman who was an excellent mother to her four daughters. There’s no questioning her musical clout either. The problem with \u003cem>George & Tammy\u003c/em> is that its depiction of her relies too heavily on the sanitized, victim-centric picture that Wynette painted of herself when she was alive. Because of that, some of the most complicated and fascinating aspects of Wynette’s character are absent here.\u003c/p>\n\u003cp>[aside postid='arts_13922004']All that being said, while \u003cem>George & Tammy\u003c/em> might not be as definitive or clear-cut about the facts as \u003cem>Cocaine and Rhinestones\u003c/em> was, as told here the couple’s story is more powerful. By the end, I found myself pondering the nature of intimate human relationships. Which ones are fated and which are happenstance? Why do some truly great partnerships burn out while other merely average ones go the distance? And why is the public so reluctant to let some celebrity relationships die, even when the couple in question is patently unhealthy for one another?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You won’t find all of the answers in \u003cem>George & Tammy — \u003c/em>but you will have a damn good time watching it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before they even met, Tammy Wynette and George Jones were both supremely talented but breathtakingly messy humans. Once the country music legends got together (both personally and professionally), their chemistry was irresistible, but entirely too combustible behind closed doors.\u003c/p>\n\u003cp>At his worst, Jones was selfish, violent and the most destructive of alcoholics. He ditched out on tours, fired guns at people in drunken rages and had zero qualms about driving under the influence — even if it was on a lawnmower because his wife had hidden his car keys. Wynette gave as good as she got: possessive, emotionally manipulative and addicted to painkillers and other prescriptions. The story of Jones and Wynette’s life together is one for the ages — even if their marriage only did last six years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Given that Wynette died in 1998 and Jones passed on in 2013, it’s a little surprising that the world has had to wait this long for a good fictionalized account of their story. (The 1981 TV movie \u003ca href=\"https://www.youtube.com/watch?v=RNDFWFsn_kY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stand By Your Man\u003c/em>\u003c/a> remains legendary for its terrible wigs, though.) Enter Showtime with \u003cem>George & Tammy\u003c/em>, a six-part limited series premiering on Dec. 4.\u003c/p>\n\u003cp>Both Michael Shannon and Jessica Chastain do an admirable job of filling Jones’ and Wynette’s cowboy boots — not an easy task given the stars’ iconic status. The job at hand is made all the more challenging by the fact that Chastain and Shannon provide the vocals for Jones and Wynette’s hits themselves here. While both actors are good singers, unsurprisingly neither can match the vocal prowess of the musicians they are playing — something that grows particularly grating during some of Wynette’s musical numbers.\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/DjrEeuQ5838'\n title='//www.youtube.com/embed/DjrEeuQ5838'\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>One benefit to having the actors doing the singing, however, is that Chastain and Shannon actually have better onstage chemistry than the real-life Jones and Wynette generally did. In real life, Jones’ habit of never playing a song the same way twice often clumsily \u003ca href=\"https://www.youtube.com/watch?v=Q9KniULwvjE\" target=\"_blank\" rel=\"noopener noreferrer\">collided\u003c/a> with Wynette’s stilted perfectionism. In \u003cem>George & Tammy\u003c/em>, the couple are always better together than they are apart — a delightful embellishment that is fun to watch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>George & Tammy\u003c/em> is excellent at picking out and recreating all of the most important steps in Jones and Wynette’s personal stories and careers, even if the timeline isn’t always exactly right. The show is admirably unflinching when it comes to portraying Jones’ most undignified behavior, down to “Dee-Doodle,” his \u003ca href=\"https://www.youtube.com/watch?v=esSpxsw590Q\" target=\"_blank\" rel=\"noopener noreferrer\">disturbing, cocaine-fueled, duck-voiced alter-ego\u003c/a>. The series also understands the variety of abuses that Wynette endured in the three (of her five) marriages that are depicted here, as well as the very real physical ailments that resulted in her addiction issues.\u003c/p>\n\u003cp>That being said, there is some uncomfortable fabrication in \u003cem>George & Tammy\u003c/em> (\u003ca href=\"https://americansongwriter.com/behind-the-song-he-stopped-loving-her-today/\" target=\"_blank\" rel=\"noopener noreferrer\">Wynette being present for Jones’ recording of “He Stopped Loving Her Today”?\u003c/a> Poppycock!), as well as some glaring omissions. The famous \u003ca href=\"https://www.npr.org/2000/10/28/1113153/tammy-wynettes-stand-by-your-man\" target=\"_blank\" rel=\"noopener noreferrer\">feminist backlash against Wynette’s “Stand By Your Man”\u003c/a> is reduced to a single three-second exchange, for example.\u003c/p>\n\u003cp>In Season 2 of country music history podcast \u003ca href=\"https://cocaineandrhinestones.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Cocaine and Rhinestones\u003c/em>\u003c/a>, the true story of George Jones and Tammy Wynette is told in painstakingly researched detail. Where \u003cem>George & Tammy\u003c/em> was based almost entirely on their daughter Georgette’s memoir, the makers of \u003cem>Cocaine and Rhinestones\u003c/em> read every book and biography on the topic, fact-checked details and then parsed out the most likely conclusions. That’s probably the best approach when the two people at the center of the story are consistently unreliable narrators — whether for drug, image or ego-related reasons.\u003c/p>\n\u003cp>Though \u003cem>George & Tammy\u003c/em> is an infinitely more moving depiction of Jones and Wynette’s lives than was offered in the podcast, anyone who has listened to \u003cem>Cocaine and Rhinestones \u003c/em>will struggle with the way some of Wynette’s less flattering character traits are omitted from the show. The many times she was caught in major lies, Wynette’s pursuit of her friends’ boyfriends for sport, \u003ca href=\"https://cocaineandrhinestones.com/tammy-wynette-george-richey\" target=\"_blank\" rel=\"noopener noreferrer\">the unconvincingly applied makeup bruises\u003c/a> after her now-infamous falsified kidnapping — all absent from \u003cem>George & Tammy\u003c/em>. (And, in the interest of avoiding spoilers, let’s just say the culprit behind the mysterious graffiti on Wynette’s house looks very different in \u003cem>George & Tammy\u003c/em> from how it was presented in the podcast.)\u003c/p>\n\u003cp>There can be no doubt that the real-life Wynette was a resilient, hard-working and determined woman who was an excellent mother to her four daughters. There’s no questioning her musical clout either. The problem with \u003cem>George & Tammy\u003c/em> is that its depiction of her relies too heavily on the sanitized, victim-centric picture that Wynette painted of herself when she was alive. Because of that, some of the most complicated and fascinating aspects of Wynette’s character are absent here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All that being said, while \u003cem>George & Tammy\u003c/em> might not be as definitive or clear-cut about the facts as \u003cem>Cocaine and Rhinestones\u003c/em> was, as told here the couple’s story is more powerful. By the end, I found myself pondering the nature of intimate human relationships. Which ones are fated and which are happenstance? Why do some truly great partnerships burn out while other merely average ones go the distance? And why is the public so reluctant to let some celebrity relationships die, even when the couple in question is patently unhealthy for one another?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You won’t find all of the answers in \u003cem>George & Tammy — \u003c/em>but you will have a damn good time watching it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oh look, it’s Dec. 1! That can mean only one thing! We have officially reached that special point in the year when Dolly Parton bestows upon us a preposterous Christmas movie. Her latest, \u003cem>Dolly Parton’s Mountain Magic Christmas\u003c/em> is even weirder than usual — significantly weirder than this trailer suggests, in fact.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ooOAxj7mK84\u003c/p>\n\u003cp>I’m going to break this thing down for you minute-by-minute (spoilers are coming), so get ready. This movie mashes together fiction, a TV special, supernatural country stars, sections where Dolly breaks the fourth wall to share lessons that aren’t really lessons, one entire dance routine that happens inside her mind, and more stilted dialog than a ’70s porno.\u003c/p>\n\u003cp>Let’s do this!\u003c/p>\n\u003cp>2:53: Dolly plays a show in Tahoe and is caught completely off guard when it starts snowing in a region of the country that’s known for its skiing. K.\u003c/p>\n\u003cfigure id=\"attachment_13922015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922015\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/dollface-800x528.png\" alt=\"Dolly Parton, with a look of complete astonishment on her face.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1536x1013.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1920x1267.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface.png 2046w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s not the apocalypse, Dolly. Calm down. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>3:10: Driven into a frenzy by the sight of snow, Dolly decides on the spot that she simply must do a TV special “to bring that mountain magic to everyone this Christmas.” She calls a TV producer named Sam to share this suggestion and wakes him up in the middle of the night. Sam immediately turns on a light, grins, gets up and starts shamelessly kissing Dolly’s ass. This is 100% the appropriate response to a middle-of-the-night phone call from Dolly Parton.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>4:00: It is expressly stated repeatedly that Dolly wants to film the special at Dollywood and broadcast it on NBC. Oh crap. This whole movie is going to be a really long commercial for Dollywood and NBC isn’t it?\u003c/p>\n\u003cp>4:48: Opening credits roll, featuring Dolly sitting in a meadow, singing a song, surrounded by sunflowers. I presume this is exactly where she wakes up every morning, flawless from the dawn sunlight and surrounded by talking squirrels.\u003c/p>\n\u003cp>6:26: Ana Gasteyer is in this as an NBC employee named Susan. Susan wants Dolly’s TV special to be a live event, but does little else for the rest of this movie. What a waste of Ana Gasteyer.\u003c/p>\n\u003cfigure id=\"attachment_13922017\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_13626-800x534.jpg\" alt=\"A middle aged white woman with long dark blonde hair, speaking on the telephone at an office desk.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ana Gasteyer in a role that in no way allows her to be funny. What is the meaning of this? Aside from squeezing that NBC logo into the background, I mean. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>8:35: Dolly is in Dollywood’s main square wearing a dress that I recognize from her 2020 movie, \u003cem>Christmas on the Square\u003c/em>. (Thrifty!) Dolly is surrounded by unfeasibly happy people waving large candy canes and what can only be described as excessive wreaths. This initially appears to be a regular-ass musical scene, but then…\u003c/p>\n\u003cp>8:40: Dolly starts shouting “Go tell it!” and “Spread the word!” and the assembled crowds automatically repeat everything she says, in unison. Is Dollywood housing a cult? Has anyone looked into this? Someone should look into this.\u003c/p>\n\u003cp>8:47: Dolly yells “Jesus Christ is born!” and everyone in the square magically knows to respond: “Hallelujah! He is born!” Okay, now I’m scared.\u003c/p>\n\u003cp>9:01: Dolly starts singing “Go Tell It on the Mountain,” and everyone in the vicinity starts line dancing. These people include: the candy cane and wreath people, cowboys and cowgirls flinging each other around, 1950s sock hop petticoat folks, casual bystanders and — oh but \u003cem>of course\u003c/em> — Mary and Joseph impersonators. (Mary’s a ballerina, naturally.) I went to a wedding in Bastrop, Texas once that was actually a lot like this.\u003c/p>\n\u003cfigure id=\"attachment_13922034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922034\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_07850-800x534.jpg\" alt=\"An eclectic mix of people dance in a town square while large crowds watch on from behind.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cult members? Jury’s still out. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>11:09: Dolly sings “He’s alive and I’m forgiven / Heaven’s gates are open wide!” Dollywood is definitely housing a cult.\u003c/p>\n\u003cp>13:33: It’s now “the morning of the live show” and everyone is talking to Dolly like she’s a maniac who might kick them in the crotch if they stop working compliments about her into every single sentence. Why is everyone so scared of Dolly Parton? Is this an Ellen situation? Someone should look into this too.\u003c/p>\n\u003cp>[aside postid='arts_13889581']14:27: NBC decides it simply must work the Rockettes into this movie somehow, so invents a flimsy side plot where the show’s choreographer ditches Dolly to go work with the kicky dance troupe at the last minute. Hey NBC, we know you’ve got Radio City Music Hall tickets to sell and everything, but LITERALLY NOBODY THINKS THE ROCKETTES ARE COOLER THAN DOLLY PARTON. This would never happen.\u003c/p>\n\u003cp>15:39: Jimmy Fallon is in this because NBC is determined to ruin this entire movie.\u003c/p>\n\u003cp>15:43: Jimmy Fallon is wearing a leather jacket with “JIMMY FALLON” bedazzled on the back of it. He is doing an impersonation of \u003cem>Grease\u003c/em>’s Danny Zuko with all the skill of your drunk cousin at a wedding. There is a good chance, I now realize, that I might keel over and die from watching this movie.\u003c/p>\n\u003cp>16:35: Dolly and Jimmy begin singing “It’s Almost Too Early for Christmas” at a Dollywood diner lunch table. It’s supposed to be live and spur of the moment. So either Jimmy Fallon’s voice naturally comes out aggressively auto-tuned, or he’s a robot now. Which actually would go some way to explaining his dance moves.\u003c/p>\n\u003cfigure id=\"attachment_13922016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-and-Jimmy-800x516.png\" alt=\"Dolly Parton in a tight red and black that's tied at the waist. Jimmy Fallon in a leather jacket. They are dancing inside a diner. \" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-800x516.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-1020x658.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-768x496.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-1536x991.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy.png 1782w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolly Parton and Jimmy Fallon: All of the chemistry of your new boyfriend trying to dance with your reluctant mom. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>17:30: Someone must’ve recognized this dance number wasn’t really working, so two much younger, zippier people have been subbed in wearing the same outfits as Dolly and Jimmy, to pretend to be them. The camera is not moving quickly enough to disguise the fact that the people dancing are definitely not Jimmy Fallon and Dolly Parton. This is … terrible. Just really, really quantifiably terrible.\u003c/p>\n\u003cp>19:34: Jimmy Fallon asks Dolly: “Why do you look as troubled as a tap dancer with a piece of corn in their shoe? Sorry. These mountains bring out the folksy similes in me.” Is this supposed to be funny? I don’t think this is supposed to be funny. But if it’s not supposed to be funny … what even is it?\u003c/p>\n\u003cp>20:22: Dolly remembers this movie is actually a Dollywood infomercial and slips this dialog in: “Everything in this park is about my life. We’ve even got the old cabin I grew up in, we’ve got the church I went to, there’s even that old grist mill we used to play in.” What the hell is a grist mill?\u003c/p>\n\u003cp>20:27: Dolly, suddenly wearing an entirely different outfit, is now at the grist mill (*shrugs*), and walks inside looking wistful. Gold magic dust swirls in the center of the room and Willie Nelson appears. Because anytime \u003cem>anyone\u003c/em> feels wistful in the vicinity of a mill, Willie Nelson teleports in, clutching a guitar.\u003c/p>\n\u003cp>20:56: Willie Nelson is wearing a headband with his own name on it, lest someone on the planet still doesn’t know who Willie Nelson is.\u003c/p>\n\u003cfigure id=\"attachment_13922018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/willie-800x558.png\" alt=\"A senior man with long gray hair braided over his shoulders, wearing a red headband with the words Willie Nelson on it.\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-800x558.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-1020x711.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-768x535.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-1536x1070.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie.png 1808w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">You’ve been alive literally longer than most people on the planet. We know who you are, Willie Nelson. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>21:57: Dolly and Willie sing “Pretty Paper.” It is so genuinely delightful, I almost forget about the Jimmy Fallon atrocity we just witnessed. (\u003cem>Almost\u003c/em>. Realistically, it may never leave me.)\u003c/p>\n\u003cp>[aside postid='pop_14182']26:07: Over a quarter into this movie and Dolly has \u003cem>just\u003c/em> decided to break the fourth wall for the first time, totally out of the blue. She wants the audience to know that “everyone is a kid at Christmas.” And that’s about it. Why was it necessary to dedicate an entire aside to this? This movie is completely bananas.\u003c/p>\n\u003cp>27:16: Producers are bickering over the opening number for the TV special and Dolly doesn’t like it. “All that anger and cussing. That ain’t nothin’ but the devil’s doings,” she says. “We’re trying to lift people up and Satan is trying to tear us down.” (Please let there be a twist where Jimmy Fallon is Satan, please let there be a twist where Jimmy Fallon is Satan…)\u003c/p>\n\u003cp>29:09: Dolly breaks out into a choreographed rendition of “Go to Hell” that is neither part of the fictional plot, \u003cem>nor\u003c/em> the TV special within the movie. So it’s happening … inside her head? Whoever wrote this movie was on drugs. A lot of super religious drugs.\u003c/p>\n\u003cfigure id=\"attachment_13922019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Go-to-Hell-800x534.jpg\" alt=\"Dolly Parton, wearing a red sequined jumpsuit sings, arms raised, surrounded by dancers dressed in gospel choir garb.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This movie is very, very biblical in a super weird way. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>29:38: A smug-looking man in a suit arrives halfway through “Go to Hell”, as a representation of Satan himself. But get this: He looks \u003cem>exactly\u003c/em> like Tom Cruise. That’s right! Dolly is trolling Scientologists! Somewhere, off in the distance, \u003ca href=\"https://www.aetv.com/shows/leah-remini-scientology-and-the-aftermath\" target=\"_blank\" rel=\"noopener noreferrer\">Leah Remini\u003c/a> is rhythmically \u003ca href=\"https://www.youtube.com/watch?v=1g8sPWiKw-4\" target=\"_blank\" rel=\"noopener noreferrer\">rubbing her acrylic nails together\u003c/a> in appreciation.\u003c/p>\n\u003cp>33:59: Shameless plug for Dolly Parton’s Imagination Library which has given away 200 million books to kids who really need them. I am genuinely grateful for this reminder that Dolly Parton is really good at things that aren’t Christmas specials.\u003c/p>\n\u003cp>35:03: Dolly Parton is playing the banjo.\u003c/p>\n\u003cp>36:03: Dolly Parton is playing a bedazzled acoustic guitar.\u003c/p>\n\u003cp>37:48: Dolly Parton has been trying to work in her real-life “grand-nephew Liam” into this plot for the last 40 minutes and Jesus Christ, the things our families make us do.\u003c/p>\n\u003cfigure id=\"attachment_13922020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922020\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_23008-800x534.jpg\" alt=\"A cute 6 or 7 year old blonde boy, looks off into the distance smiling. He is wearing a red sweatshirt and white and green checked overalls.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liam: No teeth, no real reason to be in this movie. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>38:16: Dolly is talking directly to the camera again to tell us that Liam is “a special little boy” who is going to “grow up to be something special.” STOP TRYING TO BREAK LIAM INTO SHOW BUSINESS, DOLLY.\u003c/p>\n\u003cp>38:50: Dolly is singing a feverish rendition of “Whoever You Are, Be That.” (Basically “Born This Way” for country people.) You can practically hear grandparents across the country slowly getting up from their armchairs and excusing themselves to the bathroom to get away from this.\u003c/p>\n\u003cp>42:15: Dolly is breaking the fourth wall. \u003cem>Again\u003c/em>. This time just to introduce “The Seeker,” which she sings in her dressing room. Is this part of the TV special within the movie? Personal downtime? This movie has entirely forgotten what it is supposed to be doing.\u003c/p>\n\u003cp>45:12: Dolly is talking to God. She seems to think he’s in the light fixtures.\u003c/p>\n\u003cp>46:29: With zero segue from the Very Earnest God Song we just heard, Dolly is now dressed as (I’m not lying) a reindeer and singing with Jimmie Allen. (Please note, non-country fans, that Jimmie Allen is not, in fact, a Jimmy Fallon comedy persona. And let’s all thank our lucky stars for that.)\u003c/p>\n\u003cfigure id=\"attachment_13922021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/My-antlers-are-up-here-800x541.png\" alt=\"Dolly Parton dressed as a reindeer and Jimmie Allen in a fringed brown suede jacket and matching wide brimmed hat.\" width=\"800\" height=\"541\">\u003cfigcaption class=\"wp-caption-text\">“Hey man, my antlers are up here!” \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>46:35: There are reindeer ladies playing air guitar in the background of this scene and, dear god, this is worse than \u003cem>Cats\u003c/em>. And that had James Corden in it.\u003c/p>\n\u003cp>48:27: Producer Sam refers to a female coworker as “that shy little thing” to her face and she responds to this HR violation by unceremoniously announcing that she grew up in miserable foster homes. What?\u003c/p>\n\u003cp>50:45: Dolly goes to the train station to ponder the direction of the TV special. (If only someone had done something similar before this movie was made.) A magic steam train shows up carrying Billy Ray Cyrus because, sure, why not.\u003c/p>\n\u003cp>Billy Ray has the face of Barry Gibb and the ombré hairstyle of Jennifer Aniston in Season 8 of \u003cem>Friends\u003c/em>. It is genuinely mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13922050\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922050\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Billy-Ray-Math-2-800x247.jpg\" alt=\"A photo of Barry Gibb, a plus sign, a photo of Jennifer Aniston, an equals sign, a screenshot of Billy Ray Cyrus.\" width=\"800\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-800x247.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1020x315.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-768x237.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1536x475.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-2048x633.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1920x594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tell me you don’t see it. \u003ccite>(Getty Images and Ron Galella / 'Friends' / NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>51:40: Billy Ray and Dolly start singing at each other. I’m realizing that up until this moment, I have managed to live my whole entire life without ever knowingly listening to a Billy Ray Cyrus song that wasn’t “Achy Breaky Heart.” I feel duped. \u003cem>Duped!\u003c/em>\u003c/p>\n\u003cp>54:38: Plot twist! Turns out that Billy Ray Cyrus is invisible to everyone except for Dolly Parton. If only this were reality.\u003c/p>\n\u003cp>56:26: Dolly and Miley Cyrus conduct a completely normal conversation about Dollywood roller coasters, just in case we haven’t considered visiting Dollywood in the last 10 minutes. Then they get up and sing a heartfelt ballad about Christmas. If you turn the sound off, they look like speakers at a sketchy sales convention.\u003c/p>\n\u003cfigure id=\"attachment_13922025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-and-Miley-800x559.png\" alt=\"Dolly Parton and Miley Cyrus both wearing formal black and white dresses stand before a Christmas tree.\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-800x559.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-1020x712.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-768x536.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley.png 1458w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolly and Miley looking like a mother-daughter team trying to get you involved in a pyramid scheme. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:01:34: Zach Williams shows up and Dolly explains that her TV special isn’t going quite as she imagined. (SAME, DOLLY. SAME.) Zach decides this calls for a talk about — what else? — Jesus.\u003c/p>\n\u003cp>Please now enjoy one of Zach and Dolly’s very natural exchanges.\u003c/p>\n\u003cp>[aside postid='arts_13889748']Dolly: “Zach Williams, don’t tell me you’re another one of those wise mountain men I’m going to see today.”\u003cbr>\nZach: “Well, I don’t know how wise I am, but I do know a wiser man than both of us and he’s telling me you can use a friend.”\u003c/p>\n\u003cp>JESUS CALLED ZACH WILLIAMS TO TALK ABOUT DOLLY PARTON, YOU GUYS. WHAT A GOSSIP.\u003c/p>\n\u003cp>1:03:02: Zach and Dolly sing “There Was Jesus” and it’s actually kind of a banger.\u003c/p>\n\u003cp>1:05:53: Dolly keeps working the term “wise men” into the conversation and I’m only now getting the fact that Willie, Billy and Zach are supposed to represent the Three Wise Men in this mess of a movie. Jesus literal Christ.\u003c/p>\n\u003cp>1:06:27: Dolly brings out her sisters Cassie and Rachel to sing with her because she is contractually obliged to do this every few years. If you don’t believe me, just watch this crowded cabin of backcombed hair and shiny lace from the 1980s:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Em8tdr2UBQ0\u003c/p>\n\u003cp>1:07:32 The following exchange just happened:\u003c/p>\n\u003cp>Dolly: “You know, I think I love snow so much because I was born in a big old snowstorm.”\u003cbr>\nCassie: “Daddy had to ride down and bring up Dr. Thomas to deliver you. We paid for you with a sack of cornmeal.”\u003c/p>\n\u003cp>“We paid for you with a sack of cornmeal” is going to be my go-to insult for the entirety of 2023.\u003c/p>\n\u003cp>[aside postid='arts_13921477']1:08:06: Dolly and her sisters are now singing a confounding song called “\u003ca href=\"https://www.youtube.com/watch?v=NrSBY_mCO9g\" target=\"_blank\" rel=\"noopener noreferrer\">E-Shay As-Way, Eye-May, Est-Bay, End-Fray\u003c/a>” and I am fairly certain my brain just shattered into a million pieces.\u003c/p>\n\u003cp>1:09:46: Thirteen more members of the Parton family (that apparently don’t warrant formal introductions) have arrived to sing a song about how crappy they all are to one another. This song contains lyrics like, “When it’s family, you forgive them, for they know not what they do / When it’s family, you accept them, ‘cause you have no choice but to.” If this is the nicest they can be about each other in public, on television, at Christmas, I would hate to hear their Thanksgiving dinner conversation.\u003c/p>\n\u003cp>1:15:03: Ana Gasteyer just showed back up to remind everyone that this is a Dollywood infomercial. “You know, it’s Dollywood,” she says. “The minute I walked through those gates, all my burdens just disappeared.” I am very tired now.\u003c/p>\n\u003cp>1:16:52: Sam asks Dolly “How’s my beautiful girl?” Why has no one at NBC HR ever had words with this man?\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13918217/snl-sexual-assault-horatio-sanz-jimmy-fallon-lorne-michaels-tracy-morgan-saturday\" target=\"_blank\" rel=\"noopener noreferrer\">Oh, wait. That’s right…\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13922026\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922026\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-800x471.png\" alt=\"A screenshot of a KQED Arts article titled 'At SNL, Allegations of Sexual Assault During Its Golden Era for Women.\" width=\"800\" height=\"471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-800x471.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1020x601.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-768x452.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1536x904.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-2048x1206.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1920x1131.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nothing to see here.\u003c/figcaption>\u003c/figure>\n\u003cp>1:19:40: I can sense the movie is winding down now because Dolly is talking directly to the camera again. “I hope I haven’t crammed God or Jesus down anybody’s throat,” she says, knowing full well that she has. “I hated that when it happened to me, but it is the season.” Sure, Dolly, okay.\u003c/p>\n\u003cp>1:20:12: “Now I believe the kingdom of heaven is within, and God is good and God is love,” Dolly says. WE LITERALLY JUST TALKED ABOUT THIS, DOLLY.\u003c/p>\n\u003cp>1:22:37: Dolly closes the TV special within the TV special with “Life Is Good Again,” which is a good song. Sexual harassment specialist Sam watches the performance from the side of the stage with a facial expression that is best described as “sad-thirsty.”\u003c/p>\n\u003cp>Then everyone goes outside to stand and sing in the snow.\u003c/p>\n\u003cfigure id=\"attachment_13922027\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922027\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/theater-scene-800x597.png\" alt=\"Dolly Parton stands under the marquee of the Palace Theater at Dollywood, surrounded by audiences members.\" width=\"800\" height=\"597\">\u003cfigcaption class=\"wp-caption-text\">Why finish a show on the stage indoors, when there is snow and inconvenience outside? \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The End.\u003c/p>\n\u003cp>Might we suggest that Dolly’s Christmas special next year just be a simple duets format? Please? Pretty please? With tinsel on top?\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>‘Dolly Parton’s Mountain Magic Christmas’ premieres on Dec. 1 at 8 p.m. on NBC, and is available to stream on Peacock from Dec. 2.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Dolly Parton + Jesus + magic country stars + gratuitous family members + a show within a movie = Absolutely unhinged TV.",
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"title": "‘Dolly Parton’s Magic Mountain Christmas’ By-The-Minute Analysis | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oh look, it’s Dec. 1! That can mean only one thing! We have officially reached that special point in the year when Dolly Parton bestows upon us a preposterous Christmas movie. Her latest, \u003cem>Dolly Parton’s Mountain Magic Christmas\u003c/em> is even weirder than usual — significantly weirder than this trailer suggests, in fact.\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/ooOAxj7mK84'\n title='//www.youtube.com/embed/ooOAxj7mK84'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’m going to break this thing down for you minute-by-minute (spoilers are coming), so get ready. This movie mashes together fiction, a TV special, supernatural country stars, sections where Dolly breaks the fourth wall to share lessons that aren’t really lessons, one entire dance routine that happens inside her mind, and more stilted dialog than a ’70s porno.\u003c/p>\n\u003cp>Let’s do this!\u003c/p>\n\u003cp>2:53: Dolly plays a show in Tahoe and is caught completely off guard when it starts snowing in a region of the country that’s known for its skiing. K.\u003c/p>\n\u003cfigure id=\"attachment_13922015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922015\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/dollface-800x528.png\" alt=\"Dolly Parton, with a look of complete astonishment on her face.\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1536x1013.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface-1920x1267.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dollface.png 2046w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s not the apocalypse, Dolly. Calm down. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>3:10: Driven into a frenzy by the sight of snow, Dolly decides on the spot that she simply must do a TV special “to bring that mountain magic to everyone this Christmas.” She calls a TV producer named Sam to share this suggestion and wakes him up in the middle of the night. Sam immediately turns on a light, grins, gets up and starts shamelessly kissing Dolly’s ass. This is 100% the appropriate response to a middle-of-the-night phone call from Dolly Parton.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>4:00: It is expressly stated repeatedly that Dolly wants to film the special at Dollywood and broadcast it on NBC. Oh crap. This whole movie is going to be a really long commercial for Dollywood and NBC isn’t it?\u003c/p>\n\u003cp>4:48: Opening credits roll, featuring Dolly sitting in a meadow, singing a song, surrounded by sunflowers. I presume this is exactly where she wakes up every morning, flawless from the dawn sunlight and surrounded by talking squirrels.\u003c/p>\n\u003cp>6:26: Ana Gasteyer is in this as an NBC employee named Susan. Susan wants Dolly’s TV special to be a live event, but does little else for the rest of this movie. What a waste of Ana Gasteyer.\u003c/p>\n\u003cfigure id=\"attachment_13922017\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_13626-800x534.jpg\" alt=\"A middle aged white woman with long dark blonde hair, speaking on the telephone at an office desk.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_13626.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ana Gasteyer in a role that in no way allows her to be funny. What is the meaning of this? Aside from squeezing that NBC logo into the background, I mean. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>8:35: Dolly is in Dollywood’s main square wearing a dress that I recognize from her 2020 movie, \u003cem>Christmas on the Square\u003c/em>. (Thrifty!) Dolly is surrounded by unfeasibly happy people waving large candy canes and what can only be described as excessive wreaths. This initially appears to be a regular-ass musical scene, but then…\u003c/p>\n\u003cp>8:40: Dolly starts shouting “Go tell it!” and “Spread the word!” and the assembled crowds automatically repeat everything she says, in unison. Is Dollywood housing a cult? Has anyone looked into this? Someone should look into this.\u003c/p>\n\u003cp>8:47: Dolly yells “Jesus Christ is born!” and everyone in the square magically knows to respond: “Hallelujah! He is born!” Okay, now I’m scared.\u003c/p>\n\u003cp>9:01: Dolly starts singing “Go Tell It on the Mountain,” and everyone in the vicinity starts line dancing. These people include: the candy cane and wreath people, cowboys and cowgirls flinging each other around, 1950s sock hop petticoat folks, casual bystanders and — oh but \u003cem>of course\u003c/em> — Mary and Joseph impersonators. (Mary’s a ballerina, naturally.) I went to a wedding in Bastrop, Texas once that was actually a lot like this.\u003c/p>\n\u003cfigure id=\"attachment_13922034\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922034\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_07850-800x534.jpg\" alt=\"An eclectic mix of people dance in a town square while large crowds watch on from behind.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_07850.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cult members? Jury’s still out. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>11:09: Dolly sings “He’s alive and I’m forgiven / Heaven’s gates are open wide!” Dollywood is definitely housing a cult.\u003c/p>\n\u003cp>13:33: It’s now “the morning of the live show” and everyone is talking to Dolly like she’s a maniac who might kick them in the crotch if they stop working compliments about her into every single sentence. Why is everyone so scared of Dolly Parton? Is this an Ellen situation? Someone should look into this too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>14:27: NBC decides it simply must work the Rockettes into this movie somehow, so invents a flimsy side plot where the show’s choreographer ditches Dolly to go work with the kicky dance troupe at the last minute. Hey NBC, we know you’ve got Radio City Music Hall tickets to sell and everything, but LITERALLY NOBODY THINKS THE ROCKETTES ARE COOLER THAN DOLLY PARTON. This would never happen.\u003c/p>\n\u003cp>15:39: Jimmy Fallon is in this because NBC is determined to ruin this entire movie.\u003c/p>\n\u003cp>15:43: Jimmy Fallon is wearing a leather jacket with “JIMMY FALLON” bedazzled on the back of it. He is doing an impersonation of \u003cem>Grease\u003c/em>’s Danny Zuko with all the skill of your drunk cousin at a wedding. There is a good chance, I now realize, that I might keel over and die from watching this movie.\u003c/p>\n\u003cp>16:35: Dolly and Jimmy begin singing “It’s Almost Too Early for Christmas” at a Dollywood diner lunch table. It’s supposed to be live and spur of the moment. So either Jimmy Fallon’s voice naturally comes out aggressively auto-tuned, or he’s a robot now. Which actually would go some way to explaining his dance moves.\u003c/p>\n\u003cfigure id=\"attachment_13922016\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-and-Jimmy-800x516.png\" alt=\"Dolly Parton in a tight red and black that's tied at the waist. Jimmy Fallon in a leather jacket. They are dancing inside a diner. \" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-800x516.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-1020x658.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-768x496.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy-1536x991.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Jimmy.png 1782w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolly Parton and Jimmy Fallon: All of the chemistry of your new boyfriend trying to dance with your reluctant mom. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>17:30: Someone must’ve recognized this dance number wasn’t really working, so two much younger, zippier people have been subbed in wearing the same outfits as Dolly and Jimmy, to pretend to be them. The camera is not moving quickly enough to disguise the fact that the people dancing are definitely not Jimmy Fallon and Dolly Parton. This is … terrible. Just really, really quantifiably terrible.\u003c/p>\n\u003cp>19:34: Jimmy Fallon asks Dolly: “Why do you look as troubled as a tap dancer with a piece of corn in their shoe? Sorry. These mountains bring out the folksy similes in me.” Is this supposed to be funny? I don’t think this is supposed to be funny. But if it’s not supposed to be funny … what even is it?\u003c/p>\n\u003cp>20:22: Dolly remembers this movie is actually a Dollywood infomercial and slips this dialog in: “Everything in this park is about my life. We’ve even got the old cabin I grew up in, we’ve got the church I went to, there’s even that old grist mill we used to play in.” What the hell is a grist mill?\u003c/p>\n\u003cp>20:27: Dolly, suddenly wearing an entirely different outfit, is now at the grist mill (*shrugs*), and walks inside looking wistful. Gold magic dust swirls in the center of the room and Willie Nelson appears. Because anytime \u003cem>anyone\u003c/em> feels wistful in the vicinity of a mill, Willie Nelson teleports in, clutching a guitar.\u003c/p>\n\u003cp>20:56: Willie Nelson is wearing a headband with his own name on it, lest someone on the planet still doesn’t know who Willie Nelson is.\u003c/p>\n\u003cfigure id=\"attachment_13922018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/willie-800x558.png\" alt=\"A senior man with long gray hair braided over his shoulders, wearing a red headband with the words Willie Nelson on it.\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-800x558.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-1020x711.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-768x535.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie-1536x1070.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/willie.png 1808w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">You’ve been alive literally longer than most people on the planet. We know who you are, Willie Nelson. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>21:57: Dolly and Willie sing “Pretty Paper.” It is so genuinely delightful, I almost forget about the Jimmy Fallon atrocity we just witnessed. (\u003cem>Almost\u003c/em>. Realistically, it may never leave me.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>26:07: Over a quarter into this movie and Dolly has \u003cem>just\u003c/em> decided to break the fourth wall for the first time, totally out of the blue. She wants the audience to know that “everyone is a kid at Christmas.” And that’s about it. Why was it necessary to dedicate an entire aside to this? This movie is completely bananas.\u003c/p>\n\u003cp>27:16: Producers are bickering over the opening number for the TV special and Dolly doesn’t like it. “All that anger and cussing. That ain’t nothin’ but the devil’s doings,” she says. “We’re trying to lift people up and Satan is trying to tear us down.” (Please let there be a twist where Jimmy Fallon is Satan, please let there be a twist where Jimmy Fallon is Satan…)\u003c/p>\n\u003cp>29:09: Dolly breaks out into a choreographed rendition of “Go to Hell” that is neither part of the fictional plot, \u003cem>nor\u003c/em> the TV special within the movie. So it’s happening … inside her head? Whoever wrote this movie was on drugs. A lot of super religious drugs.\u003c/p>\n\u003cfigure id=\"attachment_13922019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Go-to-Hell-800x534.jpg\" alt=\"Dolly Parton, wearing a red sequined jumpsuit sings, arms raised, surrounded by dancers dressed in gospel choir garb.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Go-to-Hell.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This movie is very, very biblical in a super weird way. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>29:38: A smug-looking man in a suit arrives halfway through “Go to Hell”, as a representation of Satan himself. But get this: He looks \u003cem>exactly\u003c/em> like Tom Cruise. That’s right! Dolly is trolling Scientologists! Somewhere, off in the distance, \u003ca href=\"https://www.aetv.com/shows/leah-remini-scientology-and-the-aftermath\" target=\"_blank\" rel=\"noopener noreferrer\">Leah Remini\u003c/a> is rhythmically \u003ca href=\"https://www.youtube.com/watch?v=1g8sPWiKw-4\" target=\"_blank\" rel=\"noopener noreferrer\">rubbing her acrylic nails together\u003c/a> in appreciation.\u003c/p>\n\u003cp>33:59: Shameless plug for Dolly Parton’s Imagination Library which has given away 200 million books to kids who really need them. I am genuinely grateful for this reminder that Dolly Parton is really good at things that aren’t Christmas specials.\u003c/p>\n\u003cp>35:03: Dolly Parton is playing the banjo.\u003c/p>\n\u003cp>36:03: Dolly Parton is playing a bedazzled acoustic guitar.\u003c/p>\n\u003cp>37:48: Dolly Parton has been trying to work in her real-life “grand-nephew Liam” into this plot for the last 40 minutes and Jesus Christ, the things our families make us do.\u003c/p>\n\u003cfigure id=\"attachment_13922020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922020\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/NUP_198664_23008-800x534.jpg\" alt=\"A cute 6 or 7 year old blonde boy, looks off into the distance smiling. He is wearing a red sweatshirt and white and green checked overalls.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/NUP_198664_23008.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liam: No teeth, no real reason to be in this movie. \u003ccite>(Katherine Bomboy/NBC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>38:16: Dolly is talking directly to the camera again to tell us that Liam is “a special little boy” who is going to “grow up to be something special.” STOP TRYING TO BREAK LIAM INTO SHOW BUSINESS, DOLLY.\u003c/p>\n\u003cp>38:50: Dolly is singing a feverish rendition of “Whoever You Are, Be That.” (Basically “Born This Way” for country people.) You can practically hear grandparents across the country slowly getting up from their armchairs and excusing themselves to the bathroom to get away from this.\u003c/p>\n\u003cp>42:15: Dolly is breaking the fourth wall. \u003cem>Again\u003c/em>. This time just to introduce “The Seeker,” which she sings in her dressing room. Is this part of the TV special within the movie? Personal downtime? This movie has entirely forgotten what it is supposed to be doing.\u003c/p>\n\u003cp>45:12: Dolly is talking to God. She seems to think he’s in the light fixtures.\u003c/p>\n\u003cp>46:29: With zero segue from the Very Earnest God Song we just heard, Dolly is now dressed as (I’m not lying) a reindeer and singing with Jimmie Allen. (Please note, non-country fans, that Jimmie Allen is not, in fact, a Jimmy Fallon comedy persona. And let’s all thank our lucky stars for that.)\u003c/p>\n\u003cfigure id=\"attachment_13922021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922021\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/My-antlers-are-up-here-800x541.png\" alt=\"Dolly Parton dressed as a reindeer and Jimmie Allen in a fringed brown suede jacket and matching wide brimmed hat.\" width=\"800\" height=\"541\">\u003cfigcaption class=\"wp-caption-text\">“Hey man, my antlers are up here!” \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>46:35: There are reindeer ladies playing air guitar in the background of this scene and, dear god, this is worse than \u003cem>Cats\u003c/em>. And that had James Corden in it.\u003c/p>\n\u003cp>48:27: Producer Sam refers to a female coworker as “that shy little thing” to her face and she responds to this HR violation by unceremoniously announcing that she grew up in miserable foster homes. What?\u003c/p>\n\u003cp>50:45: Dolly goes to the train station to ponder the direction of the TV special. (If only someone had done something similar before this movie was made.) A magic steam train shows up carrying Billy Ray Cyrus because, sure, why not.\u003c/p>\n\u003cp>Billy Ray has the face of Barry Gibb and the ombré hairstyle of Jennifer Aniston in Season 8 of \u003cem>Friends\u003c/em>. It is genuinely mesmerizing.\u003c/p>\n\u003cfigure id=\"attachment_13922050\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922050\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Billy-Ray-Math-2-800x247.jpg\" alt=\"A photo of Barry Gibb, a plus sign, a photo of Jennifer Aniston, an equals sign, a screenshot of Billy Ray Cyrus.\" width=\"800\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-800x247.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1020x315.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-768x237.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1536x475.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-2048x633.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Billy-Ray-Math-2-1920x594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tell me you don’t see it. \u003ccite>(Getty Images and Ron Galella / 'Friends' / NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>51:40: Billy Ray and Dolly start singing at each other. I’m realizing that up until this moment, I have managed to live my whole entire life without ever knowingly listening to a Billy Ray Cyrus song that wasn’t “Achy Breaky Heart.” I feel duped. \u003cem>Duped!\u003c/em>\u003c/p>\n\u003cp>54:38: Plot twist! Turns out that Billy Ray Cyrus is invisible to everyone except for Dolly Parton. If only this were reality.\u003c/p>\n\u003cp>56:26: Dolly and Miley Cyrus conduct a completely normal conversation about Dollywood roller coasters, just in case we haven’t considered visiting Dollywood in the last 10 minutes. Then they get up and sing a heartfelt ballad about Christmas. If you turn the sound off, they look like speakers at a sketchy sales convention.\u003c/p>\n\u003cfigure id=\"attachment_13922025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Dolly-and-Miley-800x559.png\" alt=\"Dolly Parton and Miley Cyrus both wearing formal black and white dresses stand before a Christmas tree.\" width=\"800\" height=\"559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-800x559.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-1020x712.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley-768x536.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Dolly-and-Miley.png 1458w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dolly and Miley looking like a mother-daughter team trying to get you involved in a pyramid scheme. \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:01:34: Zach Williams shows up and Dolly explains that her TV special isn’t going quite as she imagined. (SAME, DOLLY. SAME.) Zach decides this calls for a talk about — what else? — Jesus.\u003c/p>\n\u003cp>Please now enjoy one of Zach and Dolly’s very natural exchanges.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Dolly: “Zach Williams, don’t tell me you’re another one of those wise mountain men I’m going to see today.”\u003cbr>\nZach: “Well, I don’t know how wise I am, but I do know a wiser man than both of us and he’s telling me you can use a friend.”\u003c/p>\n\u003cp>JESUS CALLED ZACH WILLIAMS TO TALK ABOUT DOLLY PARTON, YOU GUYS. WHAT A GOSSIP.\u003c/p>\n\u003cp>1:03:02: Zach and Dolly sing “There Was Jesus” and it’s actually kind of a banger.\u003c/p>\n\u003cp>1:05:53: Dolly keeps working the term “wise men” into the conversation and I’m only now getting the fact that Willie, Billy and Zach are supposed to represent the Three Wise Men in this mess of a movie. Jesus literal Christ.\u003c/p>\n\u003cp>1:06:27: Dolly brings out her sisters Cassie and Rachel to sing with her because she is contractually obliged to do this every few years. If you don’t believe me, just watch this crowded cabin of backcombed hair and shiny lace from the 1980s:\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/Em8tdr2UBQ0'\n title='//www.youtube.com/embed/Em8tdr2UBQ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1:07:32 The following exchange just happened:\u003c/p>\n\u003cp>Dolly: “You know, I think I love snow so much because I was born in a big old snowstorm.”\u003cbr>\nCassie: “Daddy had to ride down and bring up Dr. Thomas to deliver you. We paid for you with a sack of cornmeal.”\u003c/p>\n\u003cp>“We paid for you with a sack of cornmeal” is going to be my go-to insult for the entirety of 2023.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>1:08:06: Dolly and her sisters are now singing a confounding song called “\u003ca href=\"https://www.youtube.com/watch?v=NrSBY_mCO9g\" target=\"_blank\" rel=\"noopener noreferrer\">E-Shay As-Way, Eye-May, Est-Bay, End-Fray\u003c/a>” and I am fairly certain my brain just shattered into a million pieces.\u003c/p>\n\u003cp>1:09:46: Thirteen more members of the Parton family (that apparently don’t warrant formal introductions) have arrived to sing a song about how crappy they all are to one another. This song contains lyrics like, “When it’s family, you forgive them, for they know not what they do / When it’s family, you accept them, ‘cause you have no choice but to.” If this is the nicest they can be about each other in public, on television, at Christmas, I would hate to hear their Thanksgiving dinner conversation.\u003c/p>\n\u003cp>1:15:03: Ana Gasteyer just showed back up to remind everyone that this is a Dollywood infomercial. “You know, it’s Dollywood,” she says. “The minute I walked through those gates, all my burdens just disappeared.” I am very tired now.\u003c/p>\n\u003cp>1:16:52: Sam asks Dolly “How’s my beautiful girl?” Why has no one at NBC HR ever had words with this man?\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13918217/snl-sexual-assault-horatio-sanz-jimmy-fallon-lorne-michaels-tracy-morgan-saturday\" target=\"_blank\" rel=\"noopener noreferrer\">Oh, wait. That’s right…\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13922026\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922026\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-800x471.png\" alt=\"A screenshot of a KQED Arts article titled 'At SNL, Allegations of Sexual Assault During Its Golden Era for Women.\" width=\"800\" height=\"471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-800x471.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1020x601.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-768x452.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1536x904.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-2048x1206.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-28-at-6.34.17-PM-1920x1131.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nothing to see here.\u003c/figcaption>\u003c/figure>\n\u003cp>1:19:40: I can sense the movie is winding down now because Dolly is talking directly to the camera again. “I hope I haven’t crammed God or Jesus down anybody’s throat,” she says, knowing full well that she has. “I hated that when it happened to me, but it is the season.” Sure, Dolly, okay.\u003c/p>\n\u003cp>1:20:12: “Now I believe the kingdom of heaven is within, and God is good and God is love,” Dolly says. WE LITERALLY JUST TALKED ABOUT THIS, DOLLY.\u003c/p>\n\u003cp>1:22:37: Dolly closes the TV special within the TV special with “Life Is Good Again,” which is a good song. Sexual harassment specialist Sam watches the performance from the side of the stage with a facial expression that is best described as “sad-thirsty.”\u003c/p>\n\u003cp>Then everyone goes outside to stand and sing in the snow.\u003c/p>\n\u003cfigure id=\"attachment_13922027\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13922027\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/theater-scene-800x597.png\" alt=\"Dolly Parton stands under the marquee of the Palace Theater at Dollywood, surrounded by audiences members.\" width=\"800\" height=\"597\">\u003cfigcaption class=\"wp-caption-text\">Why finish a show on the stage indoors, when there is snow and inconvenience outside? \u003ccite>(NBC Universal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The End.\u003c/p>\n\u003cp>Might we suggest that Dolly’s Christmas special next year just be a simple duets format? Please? Pretty please? With tinsel on top?\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>‘Dolly Parton’s Mountain Magic Christmas’ premieres on Dec. 1 at 8 p.m. on NBC, and is available to stream on Peacock from Dec. 2.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Where Did All the Key Changes Go?",
"headTitle": "Where Did All the Key Changes Go? | KQED",
"content": "\u003cp>Many of the biggest hits in pop music used to have something in common: a key change, like the one you hear in Whitney Houston’s “I Wanna Dance With Somebody.”\u003c/p>\n\u003cp>But key changes have become harder to find in top hits.\u003c/p>\n\u003cp>Chris Dalla Riva, a musician and data analyst at Audiomack, wanted to learn more about what it takes to compose a top hit. He spent the last few years listening to every number one hit listed on the Billboard Hot 100 since 1958 — more than 1100 songs.\u003c/p>\n\u003cp>“I just started noticing some trends, and I set down to writing about them,” says Dalla Riva, who published some of those findings in an article for the website \u003ca href=\"https://tedium.co/2022/11/09/the-death-of-the-key-change/\">Tedium\u003c/a>.\u003c/p>\n\u003cp>He found that about a quarter of those songs from the 1960s to the 1990s included a key change.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But from 2010 to 2020, there was just one top song: Travis Scott’s 2018 track, “Sicko Mode.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6ONRf7h3Mdk&t=1s\u003c/p>\n\u003cp>\u003cstrong>How the key change is used in pop music \u003c/strong>\u003c/p>\n\u003cp>According to Dalla Riva, changing the key — or shifting the base scale of a song — is a tool used across musical genres to “inject energy” into a pop number.\u003c/p>\n\u003cp>There are two common ways to place a key change into a top hit, he says. The first is to take the key up toward the end of a number, like Beyoncé does in her 2011 song “Love on Top,” which took listeners through four consecutive key changes. This placement helps a song crescendo to its climax.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ob7vObnFUJc\u003c/p>\n\u003cp>The second common placement, Dalla Riva says, is in the middle of a song to signal a change in mood. The Beach Boys took this approach in their 1966 release “\u003ca href=\"https://www.youtube.com/watch?v=apBWI6xrbLY\">Good Vibrations\u003c/a>,” as did Scott’s “Sicko Mode.”\u003c/p>\n\u003cp>“The key is just a tool,” Dalla Riva says. “And like all tools and music, the idea is to evoke emotion.”\u003c/p>\n\u003cp>\u003cstrong>Key changes falling flat \u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13921576']According to NYU professor and author of \u003cem>Dilla Time\u003c/em> Dan Charnas, the key change has faded out of popularity alongside the often slow and emotional ballad, which he calls a “bastion of key changes.” Meanwhile, hip-hop has taken center stage.\u003c/p>\n\u003cp>“Hip-hop is a rejection of a lot of the tropes of traditional musicianship,” Charnas says. Music composition has also changed, prioritizing rhythm and texture over individual notes and chords.\u003c/p>\n\u003cp>There are some numbers from the late ‘80s, like Michael Jackson’s 1988 hit “Man in the Mirror,” where the key change can be seen as both a mark of beauty and a cliché.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PivWY9wn5ps\u003c/p>\n\u003cp>“You can look at that song in two different ways. On one level, it’s a perfectly constructed song, a beautiful piece of songwriting. A lot of craft goes into it,” Charnas says. “In another view, it’s tropey, maudlin and completely manipulative.”\u003c/p>\n\u003cp>While the key change was once a mark of musical sophistication, many now consider it a crutch. Dalla Riva says a lot of his peers think using the key change is lazy.\u003c/p>\n\u003cp>“It’s just like you get to the last chorus and you’re like, all right, we need to inject some more energy. Let’s just shift the key up a half-step or a whole step.”\u003c/p>\n\u003cp>\u003cstrong>Where pop music is headed \u003c/strong>\u003c/p>\n\u003cp>Some fans and pop music experts might be inclined to mourn the “death” of the key change, but Charnas says musical tools and composition techniques are constantly evolving.\u003c/p>\n\u003cp>“There’s lots of ways to get dynamics in a song and in a composition,” Charnas says. “Key change is just one of the ways.”\u003c/p>\n\u003cp>[aside postid='arts_13921777']In the absence of key changes — and in a time where hip-hop and electronic music have gained popularity — composers have turned to varying rhythmic patterns and more evocative lyrics.\u003c/p>\n\u003cp>And if you’re one of those folks who wants the key change to come back, Charnas believes there’s one way to do it: fund music education.\u003c/p>\n\u003cp>“You want to know why Motown was such an incredible font of composition? Three words: Detroit Public Schools.”\u003c/p>\n\u003cp>Though it can be cliched, Charnas says he does miss hearing a key change when it’s used at its best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Do I miss good key changes? Absolutely. Do I wish more people could rock a key change like Stevie Wonder? Absolutely.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Where+did+all+the+key+changes+go%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Many of the biggest hits in pop music used to have something in common: a key change, like the one you hear in Whitney Houston’s “I Wanna Dance With Somebody.”\u003c/p>\n\u003cp>But key changes have become harder to find in top hits.\u003c/p>\n\u003cp>Chris Dalla Riva, a musician and data analyst at Audiomack, wanted to learn more about what it takes to compose a top hit. He spent the last few years listening to every number one hit listed on the Billboard Hot 100 since 1958 — more than 1100 songs.\u003c/p>\n\u003cp>“I just started noticing some trends, and I set down to writing about them,” says Dalla Riva, who published some of those findings in an article for the website \u003ca href=\"https://tedium.co/2022/11/09/the-death-of-the-key-change/\">Tedium\u003c/a>.\u003c/p>\n\u003cp>He found that about a quarter of those songs from the 1960s to the 1990s included a key change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But from 2010 to 2020, there was just one top song: Travis Scott’s 2018 track, “Sicko Mode.”\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/6ONRf7h3Mdk'\n title='//www.youtube.com/embed/6ONRf7h3Mdk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>How the key change is used in pop music \u003c/strong>\u003c/p>\n\u003cp>According to Dalla Riva, changing the key — or shifting the base scale of a song — is a tool used across musical genres to “inject energy” into a pop number.\u003c/p>\n\u003cp>There are two common ways to place a key change into a top hit, he says. The first is to take the key up toward the end of a number, like Beyoncé does in her 2011 song “Love on Top,” which took listeners through four consecutive key changes. This placement helps a song crescendo to its climax.\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/Ob7vObnFUJc'\n title='//www.youtube.com/embed/Ob7vObnFUJc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The second common placement, Dalla Riva says, is in the middle of a song to signal a change in mood. The Beach Boys took this approach in their 1966 release “\u003ca href=\"https://www.youtube.com/watch?v=apBWI6xrbLY\">Good Vibrations\u003c/a>,” as did Scott’s “Sicko Mode.”\u003c/p>\n\u003cp>“The key is just a tool,” Dalla Riva says. “And like all tools and music, the idea is to evoke emotion.”\u003c/p>\n\u003cp>\u003cstrong>Key changes falling flat \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>According to NYU professor and author of \u003cem>Dilla Time\u003c/em> Dan Charnas, the key change has faded out of popularity alongside the often slow and emotional ballad, which he calls a “bastion of key changes.” Meanwhile, hip-hop has taken center stage.\u003c/p>\n\u003cp>“Hip-hop is a rejection of a lot of the tropes of traditional musicianship,” Charnas says. Music composition has also changed, prioritizing rhythm and texture over individual notes and chords.\u003c/p>\n\u003cp>There are some numbers from the late ‘80s, like Michael Jackson’s 1988 hit “Man in the Mirror,” where the key change can be seen as both a mark of beauty and a cliché.\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/PivWY9wn5ps'\n title='//www.youtube.com/embed/PivWY9wn5ps'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“You can look at that song in two different ways. On one level, it’s a perfectly constructed song, a beautiful piece of songwriting. A lot of craft goes into it,” Charnas says. “In another view, it’s tropey, maudlin and completely manipulative.”\u003c/p>\n\u003cp>While the key change was once a mark of musical sophistication, many now consider it a crutch. Dalla Riva says a lot of his peers think using the key change is lazy.\u003c/p>\n\u003cp>“It’s just like you get to the last chorus and you’re like, all right, we need to inject some more energy. Let’s just shift the key up a half-step or a whole step.”\u003c/p>\n\u003cp>\u003cstrong>Where pop music is headed \u003c/strong>\u003c/p>\n\u003cp>Some fans and pop music experts might be inclined to mourn the “death” of the key change, but Charnas says musical tools and composition techniques are constantly evolving.\u003c/p>\n\u003cp>“There’s lots of ways to get dynamics in a song and in a composition,” Charnas says. “Key change is just one of the ways.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the absence of key changes — and in a time where hip-hop and electronic music have gained popularity — composers have turned to varying rhythmic patterns and more evocative lyrics.\u003c/p>\n\u003cp>And if you’re one of those folks who wants the key change to come back, Charnas believes there’s one way to do it: fund music education.\u003c/p>\n\u003cp>“You want to know why Motown was such an incredible font of composition? Three words: Detroit Public Schools.”\u003c/p>\n\u003cp>Though it can be cliched, Charnas says he does miss hearing a key change when it’s used at its best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Do I miss good key changes? Absolutely. Do I wish more people could rock a key change like Stevie Wonder? Absolutely.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Where+did+all+the+key+changes+go%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Gen Z Kids Still Wanna Fight [dun-dun] for Their Right [da-dun] to Paaaaaaartayyy",
"headTitle": "Gen Z Kids Still Wanna Fight [dun-dun] for Their Right [da-dun] to Paaaaaaartayyy | KQED",
"content": "\u003cp>\u003cem>This week, as we near the end of 2022, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://ww2.kqed.org/arts/tag/one-beautiful-thing\" target=\"_blank\" rel=\"noopener noreferrer\">One Beautiful Thing\u003c/a> from the year. Here, among a year that saw our tactile relationship to music further deteriorating, writer Rae Alexandra finds joy in a chance encounter affirming that certain icons haven’t been forgotten.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg\" alt=\"\" width=\"160\" height=\"176\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n August, I was strolling the packed Santa Cruz Beach Boardwalk with a friend when a trio of teens suddenly caught my eye. Casually walking in the opposite direction, the boys, complete strangers to me, were instantly recognizable.\u003c/p>\n\u003cp>One kid wore a red baseball cap and red shirt with the word “Stuyvesant” on it. The second had scruffy black hair and (despite the very hot weather) sported a black leather jacket over a white T-shirt. The third kid had on blue double denim paired with a FILA logo shirt, a baseball cap, and a VW chain hanging around his neck. The words leapt out of my mouth before I’d had a chance to even think about them. “It’s the Beastie Boys!” I yelled across the boardwalk.\u003c/p>\n\u003cp>All three boys heard me and immediately erupted into the kind of undiluted glee that only comes when someone finally recognizes your brilliance for the first time. Once they’d calmed down a bit, I asked if I could take their photo for posterity. The trio happily obliged, then went on their way, excitedly chatting about what had just happened.\u003c/p>\n\u003cfigure id=\"attachment_13921908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-800x847.png\" alt=\"Three teenage boys huddle together, smiling broadly, while dressed like the Beastie Boys.\" width=\"800\" height=\"847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-800x847.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-1020x1079.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-160x169.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-768x813.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM.png 1066w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The super-rad teens who walked around Santa Cruz Beach Boardwalk dressed like 1986 Beastie Boys for no reason. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I didn’t ask these goofy, incredibly cool kids their names. I didn’t ask them any questions. We simply shared a moment of mutual respect. I respected them for their musical knowledge and attention to detail; they respected that I recognized their point of reference. I suspect our brief exchange was far more important to me, however, than it was to them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I was 8 years old when the music video for “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener noreferrer\">(You Gotta) Fight For Your Right (To Party)\u003c/a>” — the source of the Santa Cruz teenagers’ outfits — was released. The Beastie Boys went on to soundtrack most of my formative years. I spent the mid-’90s cultivating a wardrobe almost entirely based on the band’s “\u003ca href=\"https://www.youtube.com/watch?v=ru3gH27Fn6E\" target=\"_blank\" rel=\"noopener noreferrer\">So What’cha Want\u003c/a>” video. In 1996, when Kathleen Hanna from Bikini Kill starting dating the Beasties’ Ad Rock, it absolved me of the feminist guilt that had plagued me for still appreciating their earliest records. In college, I noticed that the Beastie Boys were the great leveler — the one thing the punk rock kids, the hip-hop kids, the skater kids and the stoner kids could all agree on.\u003c/p>\n\u003cp>Back then, truly loving a band was hard work. You had to own physical copies of their records (including imports) in order to listen to them. Sometimes you had to order these from the record store, or a mail-order catalog, and sometimes that took over a month. You had to keep a blank tape in the VCR at all times if you wanted to watch your favorite videos on demand later. In the pre-internet age, I remember that coming by Beastie Boys merch — let alone a copy of \u003cem>Grand Royal\u003c/em>, the band’s own fanzine — required patience, persistence and a fair amount of postage. But there was joy in the hunt, and unbelievable satisfaction in finally getting your hands on what you’d wanted.\u003c/p>\n\u003cp>Truthfully, I’ve spent years now feeling bad for Gen Z and their relationship with music. When you have every song in the history of the world in your pocket, the joy of discovery is reduced. The tactile joys of the record store are absent. The price of concert tickets is now astronomically high in part because physical album sales figures are so low — which results in bands being way less physically accessible. Worst of all, with streaming services’ \u003ca href=\"https://www.theverge.com/2021/11/10/22774897/spotify-connect-autoplay-default-speaker-music-streaming\" target=\"_blank\" rel=\"noopener noreferrer\">insistence on autoplay\u003c/a>, songs are often listened to by algorithm, and not by complete album as the artist originally intended. When the hunt is gone, I’ve long worried, the rewards are fleeting.\u003c/p>\n\u003cp>So the teenaged Beastie Boys of Santa Cruz carried some important lessons for 44-year-old me. They taught me that, despite having all the musical options in the world, Gen Z kids still know a Really Great Anthem when they hear it. They let me know that young energy once spent on hunting for music and merch hasn’t disappeared; it’s merely transformed into new forms of dedication. (Like, I don’t know, spending Monday afternoon dressed up like a band most of your friends haven’t even heard of.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My boardwalk Beasties encounter also taught me that the Beastie Boys are \u003cem>still\u003c/em> a great leveler — and that the spirit of teen rebellion transcends generational barriers. More than anything, these teens let me know that, while they may not do music fandom exactly how we did it, the Gen Z kids are just fine.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, as we near the end of 2022, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://ww2.kqed.org/arts/tag/one-beautiful-thing\" target=\"_blank\" rel=\"noopener noreferrer\">One Beautiful Thing\u003c/a> from the year. Here, among a year that saw our tactile relationship to music further deteriorating, writer Rae Alexandra finds joy in a chance encounter affirming that certain icons haven’t been forgotten.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg\" alt=\"\" width=\"160\" height=\"176\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n August, I was strolling the packed Santa Cruz Beach Boardwalk with a friend when a trio of teens suddenly caught my eye. Casually walking in the opposite direction, the boys, complete strangers to me, were instantly recognizable.\u003c/p>\n\u003cp>One kid wore a red baseball cap and red shirt with the word “Stuyvesant” on it. The second had scruffy black hair and (despite the very hot weather) sported a black leather jacket over a white T-shirt. The third kid had on blue double denim paired with a FILA logo shirt, a baseball cap, and a VW chain hanging around his neck. The words leapt out of my mouth before I’d had a chance to even think about them. “It’s the Beastie Boys!” I yelled across the boardwalk.\u003c/p>\n\u003cp>All three boys heard me and immediately erupted into the kind of undiluted glee that only comes when someone finally recognizes your brilliance for the first time. Once they’d calmed down a bit, I asked if I could take their photo for posterity. The trio happily obliged, then went on their way, excitedly chatting about what had just happened.\u003c/p>\n\u003cfigure id=\"attachment_13921908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-800x847.png\" alt=\"Three teenage boys huddle together, smiling broadly, while dressed like the Beastie Boys.\" width=\"800\" height=\"847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-800x847.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-1020x1079.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-160x169.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-768x813.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM.png 1066w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The super-rad teens who walked around Santa Cruz Beach Boardwalk dressed like 1986 Beastie Boys for no reason. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I didn’t ask these goofy, incredibly cool kids their names. I didn’t ask them any questions. We simply shared a moment of mutual respect. I respected them for their musical knowledge and attention to detail; they respected that I recognized their point of reference. I suspect our brief exchange was far more important to me, however, than it was to them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I was 8 years old when the music video for “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener noreferrer\">(You Gotta) Fight For Your Right (To Party)\u003c/a>” — the source of the Santa Cruz teenagers’ outfits — was released. The Beastie Boys went on to soundtrack most of my formative years. I spent the mid-’90s cultivating a wardrobe almost entirely based on the band’s “\u003ca href=\"https://www.youtube.com/watch?v=ru3gH27Fn6E\" target=\"_blank\" rel=\"noopener noreferrer\">So What’cha Want\u003c/a>” video. In 1996, when Kathleen Hanna from Bikini Kill starting dating the Beasties’ Ad Rock, it absolved me of the feminist guilt that had plagued me for still appreciating their earliest records. In college, I noticed that the Beastie Boys were the great leveler — the one thing the punk rock kids, the hip-hop kids, the skater kids and the stoner kids could all agree on.\u003c/p>\n\u003cp>Back then, truly loving a band was hard work. You had to own physical copies of their records (including imports) in order to listen to them. Sometimes you had to order these from the record store, or a mail-order catalog, and sometimes that took over a month. You had to keep a blank tape in the VCR at all times if you wanted to watch your favorite videos on demand later. In the pre-internet age, I remember that coming by Beastie Boys merch — let alone a copy of \u003cem>Grand Royal\u003c/em>, the band’s own fanzine — required patience, persistence and a fair amount of postage. But there was joy in the hunt, and unbelievable satisfaction in finally getting your hands on what you’d wanted.\u003c/p>\n\u003cp>Truthfully, I’ve spent years now feeling bad for Gen Z and their relationship with music. When you have every song in the history of the world in your pocket, the joy of discovery is reduced. The tactile joys of the record store are absent. The price of concert tickets is now astronomically high in part because physical album sales figures are so low — which results in bands being way less physically accessible. Worst of all, with streaming services’ \u003ca href=\"https://www.theverge.com/2021/11/10/22774897/spotify-connect-autoplay-default-speaker-music-streaming\" target=\"_blank\" rel=\"noopener noreferrer\">insistence on autoplay\u003c/a>, songs are often listened to by algorithm, and not by complete album as the artist originally intended. When the hunt is gone, I’ve long worried, the rewards are fleeting.\u003c/p>\n\u003cp>So the teenaged Beastie Boys of Santa Cruz carried some important lessons for 44-year-old me. They taught me that, despite having all the musical options in the world, Gen Z kids still know a Really Great Anthem when they hear it. They let me know that young energy once spent on hunting for music and merch hasn’t disappeared; it’s merely transformed into new forms of dedication. (Like, I don’t know, spending Monday afternoon dressed up like a band most of your friends haven’t even heard of.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My boardwalk Beasties encounter also taught me that the Beastie Boys are \u003cem>still\u003c/em> a great leveler — and that the spirit of teen rebellion transcends generational barriers. More than anything, these teens let me know that, while they may not do music fandom exactly how we did it, the Gen Z kids are just fine.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Andor’ Soared — It Was About the Force, not ‘The Force’, of the Star Wars Universe",
"headTitle": "‘Andor’ Soared — It Was About the Force, not ‘The Force’, of the Star Wars Universe | KQED",
"content": "\u003cp>\u003cstrong>This article contains spoilers about the season finale of \u003c/strong>\u003cem>\u003cstrong>Andor\u003c/strong>\u003c/em>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>In one corner of the \u003cem>Star Wars\u003c/em> galaxy, you’ve got the eeeeevil Sith Lord, Emperor Sheev Palpatine, crackling with Force-lighting as he fries Jedi Master Mace Windu to a crisp, screaming “POWAH! UNLIMITED POWAAAAAH!”\u003c/p>\n\u003cp>And over in another corner — the much grubbier and lower-profile one depicted on season one of Disney+’s \u003cem>Andor \u003c/em>— you’ve got the bootlicking, low-level, fascist toady Syril Karn, standing at attention while he nervously answers his supervisor’s question about whether he’s modified his uniform.\u003c/p>\n\u003cp>“Perhaps slightly,” he says. “Pockets, piping. Some light tailoring.”\u003c/p>\n\u003cp>Several years separate those two events, and they exist on different orders of magnitude. The Emperor and all his cackling and crackling belong to the mythic, the macro \u003cem>Star War\u003c/em>s — the Joseph-Campbell-hero’s-quest of George Lucas’ original vision, which combined sprawling space-opera with the high adventure of Saturday movie serials — narrow escapes, thrilling stunts and hiss-worthy villains.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But over on \u003cem>Andor\u003c/em>, you’ve got villains like Syril Karn. They’re not exactly hiss-worthy, these pathetic, feckless strivers. Their constant angling for recognition and advancement, to say nothing of their obsession with the aesthetics of fascism (Piping! Light tailoring!), makes them more eyeroll-worthy.\u003c/p>\n\u003cp>Which is exactly why \u003cem>Andor \u003c/em>works as freshly, singularly and powerfully as it does.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cKOegEuCcfw\u003c/p>\n\u003ch3>Force with a lowercase “f”\u003c/h3>\n\u003cp>Karn and his colleagues are dedicated to the cause of fascist oppression (which they’re careful to refer to only as “order”) with a zeal that isn’t remotely macro. It isn’t mythic, religious or even passionate. Instead, they’re driven by institutional imperatives that scour their souls free of empathy, compassion and understanding, and reward them for ruthlessness, cruelty and — above all — efficiency.\u003c/p>\n\u003cp>Who’s the showrunner here, Hannah Arendt? Because as we watched season one of \u003cem>Andor \u003c/em>play out in a series of mini-arcs across its 12 episodes, we saw the inner workings of the Empire. It’s \u003cem>The Banality of Evil: The Series\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13920462']The \u003cem>Star War\u003c/em>s films showed us an Empire that was Evil because it destroyed planets and chased down our doughty heroes. Sure, there were always gray-uniformed Space Nazis milling around in the background, and the few who got speaking roles — Peter Cushing’s Grand Moff Tarkin, for example — were possessed of the cold cunning of a Saturday serial villain, to contrast with the implacable menace of Vader and the over-the-top mustache-twirling of the Emperor. They were all of a piece, larger than life.\u003c/p>\n\u003cp>But the fascistic functionaries of \u003cem>Andor —\u003c/em> Syril Karn, Dedra Mero, Major Partagaz, Lieutenant Supervisor Blevins, and others — are cogs. Willing, dedicated cogs who relish the machine they’re a part of, even if they each believe they could be of more use somewhere else in it.\u003c/p>\n\u003cp>There is The Force, and there is force — blunt, brutal and dehumanizing. In \u003cem>Andor\u003c/em>, again and again, we watched the latter variety exert its dispassionate influence, not on entire planets, but on individual lives. The public display of Andor’s father’s corpse. Andor’s arrest, and six-year-no-but-really-forever sentence for loitering. The exploitive, endless labor of Narkina 5. The appallingly chipper, matter-of-fact torture of Bix. The cumulative result was wrenching and personal and inevitably, eerily, relevant.\u003c/p>\n\u003cp>As was the season’s portrait of resistance.\u003c/p>\n\u003ch3>\u003cem>Andor \u003c/em>walked so Luke could Skywalk\u003c/h3>\n\u003cp>The \u003cem>Star Wars\u003c/em> films argue that a galaxy can be saved from tyranny by a handful of heroes — and, yes, a succession of easily exploited design flaws in space stations.\u003c/p>\n\u003cp>\u003cem>Andor \u003c/em>showed the growing discontent and anger that gives rise to heroes. In many different ways, for their own individual reasons, the characters of \u003cem>Andor \u003c/em>decide to rise up and fight, because totalitarianism is an unnatural state; it breeds resistance.\u003c/p>\n\u003cp>[aside postid='arts_13889379']“The more you tighten your grip,” Princess Leia told Tarkin in \u003cem>Star Wars: A New Hope,\u003c/em> “the more star systems are going to slip through your fingers.”\u003c/p>\n\u003cp>On \u003cem>Andor\u003c/em>, we watch as that grip tightens around places like Ferrix and Aldhani and Narkina 5 and Coruscant. We watch people we care about get crushed. But we also watch others slip through. Yes, lives get lost, and compromises get made — that’s what Luthen’s monologue in episode 10 is all about, the harrowing loneliness of the freedom fighter.\u003c/p>\n\u003cp>But \u003cem>Andor \u003c/em>shows us that the Empire’s downfall is and always was inevitable, Skywalker or no Skywalker. It’s baked in, the inescapable result of the system’s utter disregard for the humanity of the people it seeks to exploit and control.\u003c/p>\n\u003ch3>Anakin was right about sand\u003c/h3>\n\u003cp>Let’s be real, though.\u003c/p>\n\u003cp>There’s another reason, besides the satisfying clarity of its focus on the individual, that \u003cem>Andor’\u003c/em>s first season set itself apart. Back in 1977, on his aunt and uncle’s Tatooine moisture farm, we all watched Luke Skywalker inform C-3PO, “If there’s a bright center of the universe, you’re on the planet it’s farthest from.”\u003c/p>\n\u003cp>This turned out to be a lie. For several reasons — most especially the unhealthy infatuation with nostalgia/fan service that continues to dog the franchise — the \u003cem>Star Wars \u003c/em>powers-that-be keep booking us passage back to that same, damn featureless sand-planet. Even the otherwise excellent \u003cem>The Mandalorian\u003c/em>, which mostly traffics in the same interplanetary ground-level action \u003cem>Andor \u003c/em>does, couldn’t resist the siren song of Tatooine’s Krayt dragons and Tusken Raiders. (And despite a first season that managed to step out of the shadow of what had gone before, the gravitational pull of Jedi temples and lightsabers also proved too strong for \u003cem>The Mandalorian\u003c/em> to escape.)\u003c/p>\n\u003cp>[aside postid='arts_13903607']Looking forward to the second and final season of \u003cem>Andor\u003c/em>, we know a few things. Mon Mothma is gonna get exposed and go on the run (look for her daughter to betray her). Cassian has to meet K-2SO. Karn and Mero’s wildly dysfunctional, jackbooted \u003cem>folie-a-deux\u003c/em> will maybe see them \u003cem>a-deuxing\u003c/em> each other. (Personally, Karn’s infatuation with Mero seems more wrapped up with his demented obsession with authority than anything purely sexual; see above, in re: “Pockets. Piping. Some light tailoring.”)\u003c/p>\n\u003cp>And at least some of our favorite gray- or white-suited Imperial apparatchiks are gonna end up on the Death Star as it meets its fateful finish.\u003c/p>\n\u003cp>That much we know. This much we can only hope:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That it all will take place as far away from %##*&! Tatooine as possible.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Andor%27+soared+%E2%80%94+it+was+about+the+force%2C+not+The+Force%2C+of+the+Star+Wars+universe+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>This article contains spoilers about the season finale of \u003c/strong>\u003cem>\u003cstrong>Andor\u003c/strong>\u003c/em>\u003cstrong>.\u003c/strong>\u003c/p>\n\u003cp>In one corner of the \u003cem>Star Wars\u003c/em> galaxy, you’ve got the eeeeevil Sith Lord, Emperor Sheev Palpatine, crackling with Force-lighting as he fries Jedi Master Mace Windu to a crisp, screaming “POWAH! UNLIMITED POWAAAAAH!”\u003c/p>\n\u003cp>And over in another corner — the much grubbier and lower-profile one depicted on season one of Disney+’s \u003cem>Andor \u003c/em>— you’ve got the bootlicking, low-level, fascist toady Syril Karn, standing at attention while he nervously answers his supervisor’s question about whether he’s modified his uniform.\u003c/p>\n\u003cp>“Perhaps slightly,” he says. “Pockets, piping. Some light tailoring.”\u003c/p>\n\u003cp>Several years separate those two events, and they exist on different orders of magnitude. The Emperor and all his cackling and crackling belong to the mythic, the macro \u003cem>Star War\u003c/em>s — the Joseph-Campbell-hero’s-quest of George Lucas’ original vision, which combined sprawling space-opera with the high adventure of Saturday movie serials — narrow escapes, thrilling stunts and hiss-worthy villains.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But over on \u003cem>Andor\u003c/em>, you’ve got villains like Syril Karn. They’re not exactly hiss-worthy, these pathetic, feckless strivers. Their constant angling for recognition and advancement, to say nothing of their obsession with the aesthetics of fascism (Piping! Light tailoring!), makes them more eyeroll-worthy.\u003c/p>\n\u003cp>Which is exactly why \u003cem>Andor \u003c/em>works as freshly, singularly and powerfully as it does.\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/cKOegEuCcfw'\n title='//www.youtube.com/embed/cKOegEuCcfw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Force with a lowercase “f”\u003c/h3>\n\u003cp>Karn and his colleagues are dedicated to the cause of fascist oppression (which they’re careful to refer to only as “order”) with a zeal that isn’t remotely macro. It isn’t mythic, religious or even passionate. Instead, they’re driven by institutional imperatives that scour their souls free of empathy, compassion and understanding, and reward them for ruthlessness, cruelty and — above all — efficiency.\u003c/p>\n\u003cp>Who’s the showrunner here, Hannah Arendt? Because as we watched season one of \u003cem>Andor \u003c/em>play out in a series of mini-arcs across its 12 episodes, we saw the inner workings of the Empire. It’s \u003cem>The Banality of Evil: The Series\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The \u003cem>Star War\u003c/em>s films showed us an Empire that was Evil because it destroyed planets and chased down our doughty heroes. Sure, there were always gray-uniformed Space Nazis milling around in the background, and the few who got speaking roles — Peter Cushing’s Grand Moff Tarkin, for example — were possessed of the cold cunning of a Saturday serial villain, to contrast with the implacable menace of Vader and the over-the-top mustache-twirling of the Emperor. They were all of a piece, larger than life.\u003c/p>\n\u003cp>But the fascistic functionaries of \u003cem>Andor —\u003c/em> Syril Karn, Dedra Mero, Major Partagaz, Lieutenant Supervisor Blevins, and others — are cogs. Willing, dedicated cogs who relish the machine they’re a part of, even if they each believe they could be of more use somewhere else in it.\u003c/p>\n\u003cp>There is The Force, and there is force — blunt, brutal and dehumanizing. In \u003cem>Andor\u003c/em>, again and again, we watched the latter variety exert its dispassionate influence, not on entire planets, but on individual lives. The public display of Andor’s father’s corpse. Andor’s arrest, and six-year-no-but-really-forever sentence for loitering. The exploitive, endless labor of Narkina 5. The appallingly chipper, matter-of-fact torture of Bix. The cumulative result was wrenching and personal and inevitably, eerily, relevant.\u003c/p>\n\u003cp>As was the season’s portrait of resistance.\u003c/p>\n\u003ch3>\u003cem>Andor \u003c/em>walked so Luke could Skywalk\u003c/h3>\n\u003cp>The \u003cem>Star Wars\u003c/em> films argue that a galaxy can be saved from tyranny by a handful of heroes — and, yes, a succession of easily exploited design flaws in space stations.\u003c/p>\n\u003cp>\u003cem>Andor \u003c/em>showed the growing discontent and anger that gives rise to heroes. In many different ways, for their own individual reasons, the characters of \u003cem>Andor \u003c/em>decide to rise up and fight, because totalitarianism is an unnatural state; it breeds resistance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The more you tighten your grip,” Princess Leia told Tarkin in \u003cem>Star Wars: A New Hope,\u003c/em> “the more star systems are going to slip through your fingers.”\u003c/p>\n\u003cp>On \u003cem>Andor\u003c/em>, we watch as that grip tightens around places like Ferrix and Aldhani and Narkina 5 and Coruscant. We watch people we care about get crushed. But we also watch others slip through. Yes, lives get lost, and compromises get made — that’s what Luthen’s monologue in episode 10 is all about, the harrowing loneliness of the freedom fighter.\u003c/p>\n\u003cp>But \u003cem>Andor \u003c/em>shows us that the Empire’s downfall is and always was inevitable, Skywalker or no Skywalker. It’s baked in, the inescapable result of the system’s utter disregard for the humanity of the people it seeks to exploit and control.\u003c/p>\n\u003ch3>Anakin was right about sand\u003c/h3>\n\u003cp>Let’s be real, though.\u003c/p>\n\u003cp>There’s another reason, besides the satisfying clarity of its focus on the individual, that \u003cem>Andor’\u003c/em>s first season set itself apart. Back in 1977, on his aunt and uncle’s Tatooine moisture farm, we all watched Luke Skywalker inform C-3PO, “If there’s a bright center of the universe, you’re on the planet it’s farthest from.”\u003c/p>\n\u003cp>This turned out to be a lie. For several reasons — most especially the unhealthy infatuation with nostalgia/fan service that continues to dog the franchise — the \u003cem>Star Wars \u003c/em>powers-that-be keep booking us passage back to that same, damn featureless sand-planet. Even the otherwise excellent \u003cem>The Mandalorian\u003c/em>, which mostly traffics in the same interplanetary ground-level action \u003cem>Andor \u003c/em>does, couldn’t resist the siren song of Tatooine’s Krayt dragons and Tusken Raiders. (And despite a first season that managed to step out of the shadow of what had gone before, the gravitational pull of Jedi temples and lightsabers also proved too strong for \u003cem>The Mandalorian\u003c/em> to escape.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Looking forward to the second and final season of \u003cem>Andor\u003c/em>, we know a few things. Mon Mothma is gonna get exposed and go on the run (look for her daughter to betray her). Cassian has to meet K-2SO. Karn and Mero’s wildly dysfunctional, jackbooted \u003cem>folie-a-deux\u003c/em> will maybe see them \u003cem>a-deuxing\u003c/em> each other. (Personally, Karn’s infatuation with Mero seems more wrapped up with his demented obsession with authority than anything purely sexual; see above, in re: “Pockets. Piping. Some light tailoring.”)\u003c/p>\n\u003cp>And at least some of our favorite gray- or white-suited Imperial apparatchiks are gonna end up on the Death Star as it meets its fateful finish.\u003c/p>\n\u003cp>That much we know. This much we can only hope:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Family Feud Unites Us by Fulfilling a Basic Human Need: Low-Stakes Drama",
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"content": "\u003cp>My older sister has scrutinized every boyfriend I’ve ever brought home. But she isn’t performing the standard quality control checks. She wants to know if they’re good enough for … our future \u003cem>Family Feud\u003c/em> squad.\u003c/p>\n\u003cp>[aside postid='arts_13921169']For years we’ve been trying to put together an A-list lineup, always looking for the best formula of family members to take on our imaginary rivals. The same way the Avengers can’t all have the same superpower, we are building a balanced team of \u003cem>Feud\u003c/em>ers that could beat any enemies. What do they bring to the table? More importantly, what do they know that I don’t?\u003c/p>\n\u003cp>If you’re not familiar with the long-running game show, two families compete by guessing the most popular answers to survey questions. What makes it special is if you play it right, you aren’t giving your \u003cem>own\u003c/em> opinion — you’re thinking of what average survey respondents said. The family with the most points gets to play fast money, where two people need to answer rapid-fire to get enough points to win the cash prize.\u003c/p>\n\u003cp>So why \u003cem>Family Feud\u003c/em>? It’s kitschy and a bit silly — the \u003ca href=\"https://www.youtube.com/watch?v=QLSXaMibtTE\">YouTube highlights\u003c/a> never get old. It’s a game show that’s \u003cem>just\u003c/em> challenging enough. And ultimately, it’s the low-stakes drama we all need.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=V_hbpLufakg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My journey started with casual viewing. I grew up in a house without cable, and there were only so many things to keep us entertained when babysitting our younger sisters. The game show hit that sweet spot when we weren’t old enough to appreciate \u003cem>Jeopardy! \u003c/em>but felt too old for cartoons (the \u003ca href=\"https://www.youtube.com/watch?v=IlV7RhT6zHs\">”I’m Not A Girl, Not Yet A Woman”\u003c/a> phase.) We started when Richard Karn of \u003cem>Home Improvement\u003c/em> hosted, kept it up when \u003cem>Seinfeld’\u003c/em>s John O’Hurley took over, and we remain loyal viewers of the current Steve Harvey version. But truthfully, the host isn’t even a selling point for us — we are laser-focused on the game.\u003c/p>\n\u003cp>[aside postid='arts_13920298']The real obsession began when my big sister moved into her own apartment. She got cable, and I got to learn about the Game Show Network. Watching MULTIPLE episodes of \u003cem>Family Feud\u003c/em> back to back is what got us dreaming about competing someday, and even practicing our own fast money questions. (She always goes first, and I am always second — big sister privileges.)\u003c/p>\n\u003cp>When the pandemic first hit, \u003ca href=\"https://www.npr.org/2022/06/28/1105508049/really-into-series\">many took comfort in hobbies\u003c/a> like learning a new language or creating art. I did a little of that, too, but I also got addicted to the\u003cem> Family Feud\u003c/em> app, staying up late to compete with strangers and prove that I knew something — anything — during a time when so much felt unknown. That small sense of control brought me a little comfort and joy during the uncertainty. And some bragging rights.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o6gD9_akew0\u003c/p>\n\u003cp>And even celebrities like to \u003cem>Feud\u003c/em> with the rest of us. Whether it’s the original \u003cem>Queer Eye\u003c/em> cast facing off against the new class, or Sherri Shepherd shrieking that a cop would \u003ca href=\"https://www.youtube.com/watch?v=ITy1lsB8vJQ\">cut her husband’s penis off\u003c/a>, there’s something for every pop culture fanatic. An all-time high was when Kim Kardashian \u003ca href=\"https://www.youtube.com/watch?v=JxbV5wGpXc8\">brought the passion and speed\u003c/a> that you need for fast money, even if we can’t relate to some of her answers (shockingly, zero people said their butt is the body part they most often knock into things!)\u003c/p>\n\u003cp>[aside postid='arts_13907974']But ultimately, the reason I love \u003cem>Family Feud\u003c/em> is because I see it as the great equalizer. It forces me to take a step back from my bubble and think about the larger human experience. I know what \u003cem>I \u003c/em>would answer, but what would other people say? How am I different from them, but also how are we similar?\u003c/p>\n\u003cp>It took a few weeks, but she gave my (now-husband) her blessing to join our team. As we get older and our families continue to grow, so does our list of potential teammates. I see these new additions as opportunities to appreciate everyone for what they bring to the table in their unique way. And maybe we’re finally ready to take our imaginary team and turn it into the real deal.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What are you really into?\u003c/em>\u003c/strong> \u003ca href=\"https://www.npr.org/2022/06/28/1105477862/really-into-audience-form\">\u003cem>Fill out this form\u003c/em>\u003c/a>\u003cem> or leave us a voice note at 800-329-4273, and part of your submission may be featured online or on the radio.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Family+Feud+unites+us+by+fulfilling+a+basic+human+need%3A+low-stakes+drama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The real obsession began when my big sister moved into her own apartment. She got cable, and I got to learn about the Game Show Network. Watching MULTIPLE episodes of \u003cem>Family Feud\u003c/em> back to back is what got us dreaming about competing someday, and even practicing our own fast money questions. (She always goes first, and I am always second — big sister privileges.)\u003c/p>\n\u003cp>When the pandemic first hit, \u003ca href=\"https://www.npr.org/2022/06/28/1105508049/really-into-series\">many took comfort in hobbies\u003c/a> like learning a new language or creating art. I did a little of that, too, but I also got addicted to the\u003cem> Family Feud\u003c/em> app, staying up late to compete with strangers and prove that I knew something — anything — during a time when so much felt unknown. That small sense of control brought me a little comfort and joy during the uncertainty. And some bragging rights.\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/o6gD9_akew0'\n title='//www.youtube.com/embed/o6gD9_akew0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And even celebrities like to \u003cem>Feud\u003c/em> with the rest of us. Whether it’s the original \u003cem>Queer Eye\u003c/em> cast facing off against the new class, or Sherri Shepherd shrieking that a cop would \u003ca href=\"https://www.youtube.com/watch?v=ITy1lsB8vJQ\">cut her husband’s penis off\u003c/a>, there’s something for every pop culture fanatic. An all-time high was when Kim Kardashian \u003ca href=\"https://www.youtube.com/watch?v=JxbV5wGpXc8\">brought the passion and speed\u003c/a> that you need for fast money, even if we can’t relate to some of her answers (shockingly, zero people said their butt is the body part they most often knock into things!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But ultimately, the reason I love \u003cem>Family Feud\u003c/em> is because I see it as the great equalizer. It forces me to take a step back from my bubble and think about the larger human experience. I know what \u003cem>I \u003c/em>would answer, but what would other people say? How am I different from them, but also how are we similar?\u003c/p>\n\u003cp>It took a few weeks, but she gave my (now-husband) her blessing to join our team. As we get older and our families continue to grow, so does our list of potential teammates. I see these new additions as opportunities to appreciate everyone for what they bring to the table in their unique way. And maybe we’re finally ready to take our imaginary team and turn it into the real deal.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What are you really into?\u003c/em>\u003c/strong> \u003ca href=\"https://www.npr.org/2022/06/28/1105477862/really-into-audience-form\">\u003cem>Fill out this form\u003c/em>\u003c/a>\u003cem> or leave us a voice note at 800-329-4273, and part of your submission may be featured online or on the radio.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Family+Feud+unites+us+by+fulfilling+a+basic+human+need%3A+low-stakes+drama&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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