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"content": "\u003cp>Of all the post-apocalyptic landscapes we’ve been treated to over the years, none is as beautiful nor peaceful as that of \u003cem>Flow\u003c/em>.\u003c/p>\n\u003cp>In Gints Zilbalodis’ wondrously shimmering animated fable, a solitary black cat, after escaping a cataclysmic flood, navigates a water world. What brought things to this point is never explained. We’re left to look upon this strange, verdant and overgrown landscape through the amber eyes of our unnamed feline protagonist. Humans are completely absent, and it’s part of this beguilingly meditative film to wonder not just about what role we played in the flood, but to ponder the grace of the animal life left to inherit the Earth.\u003c/p>\n\u003cp>[aside postid='arts_13969167']As much as I didn’t have a wordless Latvian animated movie on my 2024 bingo card, \u003cem>Flow\u003c/em> — an expected Oscar contender currently in theaters — is quite easily the best animated movie of the year and one of the most poetic ecological parables in recent memory. It’s an all-audiences movie, and by that, I’m tempted to include not just young and old, but cats and dogs, too.\u003c/p>\n\u003cp>When the waters rise, the cat encounters a friendly Labrador, a long-legged secretary bird, a dozing capybara and a bauble-hoarding ring-tailed lemur. Cute as they are, they aren’t quite your typical animated animals. Part of the allure of \u003cem>Flow\u003c/em> is seeing animal characters that would normally be anthropomorphized and voiced by celebrity actors — the lemur, in particularly, has until now been ruled by Sacha Baron Cohen’s King Julian of \u003cem>Madagascar\u003c/em> — move and sound authentically.\u003c/p>\n\u003cp>Well, mostly. Circumstances bring these five together aboard a small sailboat, an ark sans Noah. And while \u003cem>Flow\u003c/em> doesn’t exactly go for realism — the secretary bird, for instance, proves an especially adept captain in steering the rudder — it is most decidedly drawn in closer harmony to the natural world than your average animation. Together they sail through mountain tops-turned-islands and an abandoned city with rivers for streets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=82WW9dVbglI\u003c/p>\n\u003cp>That \u003cem>Flow\u003c/em> is made with computer generated animation adds to its dreamy, curiously real surrealism. Zilbalodis created \u003cem>Flow\u003c/em> with Blender, the free, open-source graphics software tool. His camera moves less with the prescribed, storyboarded form of traditional animation than as a nimble, roving perspective within a virtual world. That such a natural and sensory movie is made possible by cutting-edge technology is one reason why the dystopic world of \u003cem>Flow\u003c/em> always feels more hopeful than it ought to.\u003c/p>\n\u003cp>[aside postid='arts_13969006']Another reason is the animals. Though they come from different species and have little means of communication, they together form an odd partnership. The cat is initially wary of each, but they slowly form an evident bond. Their survival hinges on their cooperation, which is occasionally threatened by the self-interest of others (there’s a pack of less community-minded dogs) or the cat’s own timid reluctance. Staying to face a problem or trust another animal, rather than scampering away, goes against its nature.\u003c/p>\n\u003cp>In that way, these two- and four-legged creatures, digitally rendered in a human-less future, are both worthy heirs to the planet and furry figures of inspiration for today. Reflections run through \u003cem>Flow\u003c/em> — in a mirror clutched by the lemur, in the water the cat peers into — but none more so than the image of ourselves gazing back at it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Flow’ is in theaters now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Another reason is the animals. Though they come from different species and have little means of communication, they together form an odd partnership. The cat is initially wary of each, but they slowly form an evident bond. Their survival hinges on their cooperation, which is occasionally threatened by the self-interest of others (there’s a pack of less community-minded dogs) or the cat’s own timid reluctance. Staying to face a problem or trust another animal, rather than scampering away, goes against its nature.\u003c/p>\n\u003cp>In that way, these two- and four-legged creatures, digitally rendered in a human-less future, are both worthy heirs to the planet and furry figures of inspiration for today. Reflections run through \u003cem>Flow\u003c/em> — in a mirror clutched by the lemur, in the water the cat peers into — but none more so than the image of ourselves gazing back at it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Flow’ is in theaters now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The question sounds so basic and friendly. But it’s actually loaded, as many mothers can attest. “Do you just love getting to be home with him all the time?” asks the younger, more put-together woman in the supermarket. “Must be so wonderful.”\u003c/p>\n\u003cp>Wonderful, of course — and sometimes brain-numbing and soul-draining too, some exhausted fulltime moms might reply. Especially if, like Amy Adams’ character in Marielle Heller’s \u003cem>Nightbitch\u003c/em>, they’d left their prized art gallery job to this other woman.\u003c/p>\n\u003cp>[aside postid='arts_13969055']And so Adams responds, twice, showing in this very opening scene exactly why her typically brave, brutally frank performance lifts this movie from an oddly uneven script to something unequivocally worth seeing.\u003c/p>\n\u003cp>First we get the honest answer, the one no one really gives until later in the shower: she feels “stuck inside of a prison of my own creation,” where she torments herself and ends up binge-eating Fig Newtons to keep from crying. She is angry all the time. Oh and, she has gotten dumber.\u003c/p>\n\u003cp>Then we rewind and director-writer Heller has Adams give her real answer: “I do, I love it! I love being a Mom.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There we are, two minutes and 13 seconds into \u003cem>Nightbitch\u003c/em> and you may already find yourself wowed by Adams. If not, just wait until her Mother is sitting at a chic restaurant with a bunch of colleagues from the art world, and her fangs come out.\u003c/p>\n\u003cp>And we don’t mean figuratively. We mean literally.\u003c/p>\n\u003cp>Let’s go back to the beginning, shall we?\u003c/p>\n\u003cp>\u003cem>Nightbitch\u003c/em> is based on the 2021 novel by Rachel Yoder, a feminist fable that the author has said came from her own malaise when pausing work for child-rearing.\u003c/p>\n\u003cp>She sets her tale in an unidentified suburb of an unidentified city. Mother (characters all have generic names), formerly an admired installation artist, spends her weekdays alone with her adorable, blond 2-year-old Son. Husband has a job that seems to bring him home only on weekends.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=918prRymA-U\u003c/p>\n\u003cp>The early scenes depicting Mother’s life are tight and impactful, a contrast to the confused havoc that will come toward the end of the film. Life revolves around the playground and the home, with occasional trips to storytime at the library where she notes, in narration, that she has no interest in the company of other moms — why should they be friends just because they’re moms?\u003c/p>\n\u003cp>In fact, Mother lives in solitude, and director Heller does a nice job illustrating how that feels. You can almost feel the weight of the afternoon coming around, at this comfortable but hardly ostentatious home, when it’s too early for dinner and you’ve done all the activities already and you wonder if you can make it through the day.\u003c/p>\n\u003cp>Then things start to get weird. In the bathroom mirror, Mother starts noticing things. Her teeth are getting sharper. There’s something weird coming out of an apparent cyst at the bottom of her spine. She finds extra nipples. And that’s before she starts eating rare meat. (Also, if you love cats, you may want to close your eyes at one point.)\u003c/p>\n\u003cp>[aside postid='arts_13969006']Somehow Adams, who also produces here, makes these things seem, if not quite natural, then logical. What’s happening is that Mother’s frustration is becoming ferocious. Dangerously ferocious. But also — empowering. At night, or so she thinks, she is a wild dog.\u003c/p>\n\u003cp>Aspects of the film work wonderfully. Mother’s relationship with Son (twins Arleigh and Emmett Snowden) is lovely, largely due to a decision to let the young boys talk freely, with the adult actors reacting to their words. It lends a grounding realism to a film that quickly veers surreal.\u003c/p>\n\u003cp>Less successful is the relationship between Mother and Husband (Scoot McNairy), which takes on too much importance as the film goes on, in a baffling way. (Also, just asking, has anyone in this movie ever heard of a babysitter?)\u003c/p>\n\u003cp>More importantly, a story that posits itself on such a tantalizing idea — that by transforming into a dog, Mother discovers her true nature and power — resorts late in the game to a safer story about a marriage that never seemed appealing enough for us to care about anyway. It doesn’t help that it’s hard to grasp the distracting subplot about Mother’s own mother.\u003c/p>\n\u003cp>None of this takes away from the strength of Adams’ performance. You believe her love for her child as much as you believe her resentment for what he is taking away from her. And Adams can make almost any line work, including one about a walnut. But we digress.\u003c/p>\n\u003cp>It’s an irony that for reasons of storytelling, characters have generic names — because Adams is such a singular and particular talent. The journey she embarks upon is bizarre indeed, but you won’t regret taking it with her.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Nightbitch’ is released nationwide on Dec. 6, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The question sounds so basic and friendly. But it’s actually loaded, as many mothers can attest. “Do you just love getting to be home with him all the time?” asks the younger, more put-together woman in the supermarket. “Must be so wonderful.”\u003c/p>\n\u003cp>Wonderful, of course — and sometimes brain-numbing and soul-draining too, some exhausted fulltime moms might reply. Especially if, like Amy Adams’ character in Marielle Heller’s \u003cem>Nightbitch\u003c/em>, they’d left their prized art gallery job to this other woman.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And so Adams responds, twice, showing in this very opening scene exactly why her typically brave, brutally frank performance lifts this movie from an oddly uneven script to something unequivocally worth seeing.\u003c/p>\n\u003cp>First we get the honest answer, the one no one really gives until later in the shower: she feels “stuck inside of a prison of my own creation,” where she torments herself and ends up binge-eating Fig Newtons to keep from crying. She is angry all the time. Oh and, she has gotten dumber.\u003c/p>\n\u003cp>Then we rewind and director-writer Heller has Adams give her real answer: “I do, I love it! I love being a Mom.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There we are, two minutes and 13 seconds into \u003cem>Nightbitch\u003c/em> and you may already find yourself wowed by Adams. If not, just wait until her Mother is sitting at a chic restaurant with a bunch of colleagues from the art world, and her fangs come out.\u003c/p>\n\u003cp>And we don’t mean figuratively. We mean literally.\u003c/p>\n\u003cp>Let’s go back to the beginning, shall we?\u003c/p>\n\u003cp>\u003cem>Nightbitch\u003c/em> is based on the 2021 novel by Rachel Yoder, a feminist fable that the author has said came from her own malaise when pausing work for child-rearing.\u003c/p>\n\u003cp>She sets her tale in an unidentified suburb of an unidentified city. Mother (characters all have generic names), formerly an admired installation artist, spends her weekdays alone with her adorable, blond 2-year-old Son. Husband has a job that seems to bring him home only on weekends.\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/918prRymA-U'\n title='//www.youtube.com/embed/918prRymA-U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The early scenes depicting Mother’s life are tight and impactful, a contrast to the confused havoc that will come toward the end of the film. Life revolves around the playground and the home, with occasional trips to storytime at the library where she notes, in narration, that she has no interest in the company of other moms — why should they be friends just because they’re moms?\u003c/p>\n\u003cp>In fact, Mother lives in solitude, and director Heller does a nice job illustrating how that feels. You can almost feel the weight of the afternoon coming around, at this comfortable but hardly ostentatious home, when it’s too early for dinner and you’ve done all the activities already and you wonder if you can make it through the day.\u003c/p>\n\u003cp>Then things start to get weird. In the bathroom mirror, Mother starts noticing things. Her teeth are getting sharper. There’s something weird coming out of an apparent cyst at the bottom of her spine. She finds extra nipples. And that’s before she starts eating rare meat. (Also, if you love cats, you may want to close your eyes at one point.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Somehow Adams, who also produces here, makes these things seem, if not quite natural, then logical. What’s happening is that Mother’s frustration is becoming ferocious. Dangerously ferocious. But also — empowering. At night, or so she thinks, she is a wild dog.\u003c/p>\n\u003cp>Aspects of the film work wonderfully. Mother’s relationship with Son (twins Arleigh and Emmett Snowden) is lovely, largely due to a decision to let the young boys talk freely, with the adult actors reacting to their words. It lends a grounding realism to a film that quickly veers surreal.\u003c/p>\n\u003cp>Less successful is the relationship between Mother and Husband (Scoot McNairy), which takes on too much importance as the film goes on, in a baffling way. (Also, just asking, has anyone in this movie ever heard of a babysitter?)\u003c/p>\n\u003cp>More importantly, a story that posits itself on such a tantalizing idea — that by transforming into a dog, Mother discovers her true nature and power — resorts late in the game to a safer story about a marriage that never seemed appealing enough for us to care about anyway. It doesn’t help that it’s hard to grasp the distracting subplot about Mother’s own mother.\u003c/p>\n\u003cp>None of this takes away from the strength of Adams’ performance. You believe her love for her child as much as you believe her resentment for what he is taking away from her. And Adams can make almost any line work, including one about a walnut. But we digress.\u003c/p>\n\u003cp>It’s an irony that for reasons of storytelling, characters have generic names — because Adams is such a singular and particular talent. The journey she embarks upon is bizarre indeed, but you won’t regret taking it with her.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Nightbitch’ is released nationwide on Dec. 6, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Anthony Robles’ story seems almost tailor made for a Hollywood film. Born with only one leg, his right, he overcame the prejudices of those around him and his own physical limitations to become a champion wrestler. Though coaches at the top wrestling programs couldn’t see his potential, he was undeterred, coasting on his own determination and his mother Judy’s (Jennifer Lopez) unwavering belief in him.\u003c/p>\n\u003cp>[aside postid='arts_13968835']The film version is aptly titled \u003cem>Unstoppable\u003c/em>, and it’s getting a limited theatrical release starting Friday before it streams on Prime Video on Jan. 16. Directed by William Goldenberg, the Oscar-winning editor of \u003cem>Argo\u003c/em> making his feature directorial debut, \u003cem>Unstoppable\u003c/em> has all the makings of a rousing sports drama that’s sure to have audiences cheering in theaters or on their couches. You’d have to be a certain kind of grinch not to get swept up in the hurdles and triumphs, especially with such a compelling lead performance from Jharrel Jerome. And yet for a story about a guy who shattered expectations, the film itself is rather conventional.\u003c/p>\n\u003cp>Eschewing the temptation to tell his story from birth, \u003cem>Unstoppable\u003c/em>’s arc begins at the end of high school. He chose long ago to not rely on a prosthetic and is comfortable in his body. His sport is wrestling, which he’ll joke later that he chose because it was the only one where the other guy couldn’t run away from him.\u003c/p>\n\u003cp>Though he’s winning at the high school level, the exciting college programs, like Iowa, are not interested in taking a chance on him. His best offer is a full ride at Drexel in Philadelphia, which everyone agrees is better than walking on at one of the better-known schools. But complications on the home front force his hand and soon enough he’s walking on at Arizona State University, trying to prove himself to a coach, Sean Charles (Don Cheadle), who had already advised him to go elsewhere.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fxEEdR2ZTDw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mom as eldest son’s biggest cheerleader she isn’t, but Judy has a lot going on. She had Anthony at age 16 and, when we meet up with them, is married and has four young children with Rick (Bobby Cannavale), a toxic husband and father who goes long on the virtues of making the right choices and being a man and providing for his family (which, spoiler, he doesn’t). It’s a very one-note role for Cannavale, just a shorthand villain who’s always just around the corner ready to ruin things, whether it’s dinner or Anthony’s plans to move across the country.\u003c/p>\n\u003cp>[aside postid='arts_13969006']Regardless of how much this is true, \u003cem>Unstoppable\u003c/em> relies too heavily on the cliches of a working-class domestic drama and Rick’s vileness which perhaps is a little insulting to Judy’s experience. This is a woman who managed to achieve incredible things (revealed at the end) despite being a single mother to five. While Lopez is magnetic as always, it’s hard not to wonder what this character might have looked like if one of the three credited screenwriters had been a woman. Judy does get her own arc and demonstrates her agency in a mic drop kind of scene, but it seems like a rather small moment to concentrate on once you’ve learned what she went on to accomplish.\u003c/p>\n\u003cp>The film is really best when it’s about the sport, the impossible training including a run up a rocky hill that Anthony does on his crutches, the matches, and Anthony’s relationships with his coaches who become de facto father figures for him. Michael Peña, as his high school coach, is particularly impactful in his limited scenes, and Cheadle is always a joy. But it’s ultimately Jerome’s show, and a good one at that. Let’s hope it’s the first of many leading film roles for him.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Unstoppable’ is released in limited theaters on Dec. 6, 2024. It begins streaming on Prime Video on Jan. 16, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anthony Robles’ story seems almost tailor made for a Hollywood film. Born with only one leg, his right, he overcame the prejudices of those around him and his own physical limitations to become a champion wrestler. Though coaches at the top wrestling programs couldn’t see his potential, he was undeterred, coasting on his own determination and his mother Judy’s (Jennifer Lopez) unwavering belief in him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film version is aptly titled \u003cem>Unstoppable\u003c/em>, and it’s getting a limited theatrical release starting Friday before it streams on Prime Video on Jan. 16. Directed by William Goldenberg, the Oscar-winning editor of \u003cem>Argo\u003c/em> making his feature directorial debut, \u003cem>Unstoppable\u003c/em> has all the makings of a rousing sports drama that’s sure to have audiences cheering in theaters or on their couches. You’d have to be a certain kind of grinch not to get swept up in the hurdles and triumphs, especially with such a compelling lead performance from Jharrel Jerome. And yet for a story about a guy who shattered expectations, the film itself is rather conventional.\u003c/p>\n\u003cp>Eschewing the temptation to tell his story from birth, \u003cem>Unstoppable\u003c/em>’s arc begins at the end of high school. He chose long ago to not rely on a prosthetic and is comfortable in his body. His sport is wrestling, which he’ll joke later that he chose because it was the only one where the other guy couldn’t run away from him.\u003c/p>\n\u003cp>Though he’s winning at the high school level, the exciting college programs, like Iowa, are not interested in taking a chance on him. His best offer is a full ride at Drexel in Philadelphia, which everyone agrees is better than walking on at one of the better-known schools. But complications on the home front force his hand and soon enough he’s walking on at Arizona State University, trying to prove himself to a coach, Sean Charles (Don Cheadle), who had already advised him to go elsewhere.\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/fxEEdR2ZTDw'\n title='//www.youtube.com/embed/fxEEdR2ZTDw'\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>Mom as eldest son’s biggest cheerleader she isn’t, but Judy has a lot going on. She had Anthony at age 16 and, when we meet up with them, is married and has four young children with Rick (Bobby Cannavale), a toxic husband and father who goes long on the virtues of making the right choices and being a man and providing for his family (which, spoiler, he doesn’t). It’s a very one-note role for Cannavale, just a shorthand villain who’s always just around the corner ready to ruin things, whether it’s dinner or Anthony’s plans to move across the country.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Regardless of how much this is true, \u003cem>Unstoppable\u003c/em> relies too heavily on the cliches of a working-class domestic drama and Rick’s vileness which perhaps is a little insulting to Judy’s experience. This is a woman who managed to achieve incredible things (revealed at the end) despite being a single mother to five. While Lopez is magnetic as always, it’s hard not to wonder what this character might have looked like if one of the three credited screenwriters had been a woman. Judy does get her own arc and demonstrates her agency in a mic drop kind of scene, but it seems like a rather small moment to concentrate on once you’ve learned what she went on to accomplish.\u003c/p>\n\u003cp>The film is really best when it’s about the sport, the impossible training including a run up a rocky hill that Anthony does on his crutches, the matches, and Anthony’s relationships with his coaches who become de facto father figures for him. Michael Peña, as his high school coach, is particularly impactful in his limited scenes, and Cheadle is always a joy. But it’s ultimately Jerome’s show, and a good one at that. Let’s hope it’s the first of many leading film roles for him.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Unstoppable’ is released in limited theaters on Dec. 6, 2024. It begins streaming on Prime Video on Jan. 16, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13969030\" class=\"wp-caption aligncenter\" style=\"max-width: 1374px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13969030\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time.png\" alt=\"A book cover featuring a landscape painting of a coast line and cloudy skies.\" width=\"1374\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time.png 1374w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-800x1164.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1020x1485.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-768x1118.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/child-time-1055x1536.png 1055w\" sizes=\"(max-width: 1374px) 100vw, 1374px\">\u003cfigcaption class=\"wp-caption-text\">‘Time of the Child’ by Niall Williams. \u003ccite>(Bloomsbury Publishing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A village “on the western edge of a wet nowhere” populated by men who drink too much and women who smile too little. Throw in cows, an addled priest, an abandoned baby and a thick cloud cover of shame and you have the elements for a quintessential Irish story.\u003c/p>\n\u003cp>So quintessential, in fact, I’ve held off reading Niall Williams for a long time, despite hearing raves about his work. My skepticism, it turns out, was misplaced. I’ve just emerged from a Niall Williams binge with a belated appreciation for his writing, which invests specificity and life in characters and places easily reduced to clichés.\u003c/p>\n\u003cp>[aside postid='arts_13968936']\u003cem>Time of the Child \u003c/em>is Williams’ latest novel, a companion piece, rather than a sequel to, his 2019 novel, \u003cem>This Is Happiness. \u003c/em>Both books are set in the rural village of Faha — a town in the far west of Ireland whose inhabitants, we’re told, possess “the translucent flesh that came from living in an absolute humidity.”\u003c/p>\n\u003cp>\u003cem>Time of the Child\u003c/em> takes place in the weeks leading up to Christmas 1962 and opens — and closes — on a set piece of Mass at the parish church, where most of the village gathers. In between lies a story that feels, at once, realistic in its rough and comic everyday unfolding and mythic in its riffs on the grand themes of despair and spiritual redemption.\u003c/p>\n\u003cp>Jack Troy is the town doctor and central character here. He’s a melancholy contained man who, we’re told, “carrie[s] himself in a manner that [the townspeople of] Faha might have summarized as \u003cem>Not like us.\u003c/em>” Dr. Troy lost his wife and then the older woman he unexpectedly fell in love with, who’s now also dead. Keeping house for him is his 29-year-old daughter, Ronnie, the eldest of three sisters; the one who remained at home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ronnie, too, is a semi-enigma to the townspeople: Our narrator tells us that “Added to [her] reserve was not only the screened lives of all women in the parish at the time, but the marginal natures of all writers, for Ronnie Troy’s closest companion was her notebook.”\u003c/p>\n\u003cp>[aside postid='arts_13968840']Dr. Troy has become haunted by despair and by a particularly heartrending question: “\u003cem>Why does no one love my daughter?” \u003c/em>The answer, he fears, is his own glowering presence that may have repelled one especially promising suitor.\u003c/p>\n\u003cp>Inspired by what we’re told is a “mixed fuel of … brandy … [and] a parent’s fear of the unmade world after them,” Dr. Troy, uncharacteristically, resolves on a bizarre scheme to make things right. As the saying goes: “Man plans, God laughs.”\u003c/p>\n\u003cp>Instead of unfolding the Troy family narrative chronologically, Williams layers it on top of other simultaneous storylines, all of which are graced with language as bracing as salt spray from the chill Atlantic. We follow, for instance, the wanderings of Jude Quinlan, a 12-year-old “on the rope-bridge between man and boy.”\u003c/p>\n\u003cp>Jude’s father drinks and gambles and his mother, Mamie, possesses “the anxious look of one married to an instability.” Listen to how Williams moves fluidly from the mundane to the wider lens of the numinous in these snippets from an extended passage where Jude helps to unload a van full of Christmas toys for the town fair:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>There were toy soldiers, kits for flying gliders, … skittles in a net, balls, bats. … dolls of one expression but many dresses, …\u003c/p>\n\u003cp>For Jude, carrying everything from the van … was as close has he would get to handling any of these things. He had no resentment or bitterness. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Time of the Child \u003c/em>is Williams’ latest novel, a companion piece, rather than a sequel to, his 2019 novel, \u003cem>This Is Happiness. \u003c/em>Both books are set in the rural village of Faha — a town in the far west of Ireland whose inhabitants, we’re told, possess “the translucent flesh that came from living in an absolute humidity.”\u003c/p>\n\u003cp>\u003cem>Time of the Child\u003c/em> takes place in the weeks leading up to Christmas 1962 and opens — and closes — on a set piece of Mass at the parish church, where most of the village gathers. In between lies a story that feels, at once, realistic in its rough and comic everyday unfolding and mythic in its riffs on the grand themes of despair and spiritual redemption.\u003c/p>\n\u003cp>Jack Troy is the town doctor and central character here. He’s a melancholy contained man who, we’re told, “carrie[s] himself in a manner that [the townspeople of] Faha might have summarized as \u003cem>Not like us.\u003c/em>” Dr. Troy lost his wife and then the older woman he unexpectedly fell in love with, who’s now also dead. Keeping house for him is his 29-year-old daughter, Ronnie, the eldest of three sisters; the one who remained at home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ronnie, too, is a semi-enigma to the townspeople: Our narrator tells us that “Added to [her] reserve was not only the screened lives of all women in the parish at the time, but the marginal natures of all writers, for Ronnie Troy’s closest companion was her notebook.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Dr. Troy has become haunted by despair and by a particularly heartrending question: “\u003cem>Why does no one love my daughter?” \u003c/em>The answer, he fears, is his own glowering presence that may have repelled one especially promising suitor.\u003c/p>\n\u003cp>Inspired by what we’re told is a “mixed fuel of … brandy … [and] a parent’s fear of the unmade world after them,” Dr. Troy, uncharacteristically, resolves on a bizarre scheme to make things right. As the saying goes: “Man plans, God laughs.”\u003c/p>\n\u003cp>Instead of unfolding the Troy family narrative chronologically, Williams layers it on top of other simultaneous storylines, all of which are graced with language as bracing as salt spray from the chill Atlantic. We follow, for instance, the wanderings of Jude Quinlan, a 12-year-old “on the rope-bridge between man and boy.”\u003c/p>\n\u003cp>Jude’s father drinks and gambles and his mother, Mamie, possesses “the anxious look of one married to an instability.” Listen to how Williams moves fluidly from the mundane to the wider lens of the numinous in these snippets from an extended passage where Jude helps to unload a van full of Christmas toys for the town fair:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>There were toy soldiers, kits for flying gliders, … skittles in a net, balls, bats. … dolls of one expression but many dresses, …\u003c/p>\n\u003cp>For Jude, carrying everything from the van … was as close has he would get to handling any of these things. He had no resentment or bitterness. Rather, from nearness to the marvelous something rubbed off on him …\u003c/p>\n\u003cp>The other thing, the one that only occurred to him years later when he would recall what happened that day, was that what he was carrying out of the van that December morning was his childhood.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/jay-z\">Jay-Z\u003c/a> ’s popular exhibit \u003ca href=\"https://www.thebookofhov.com/\">\u003cem>The Book of Hov\u003c/em>\u003c/a> in New York is about to live up to its name by becoming an actual book.\u003c/p>\n\u003cp>[aside postid='arts_13968608']\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> debuts Wednesday, following the success of Jay-Z’s free immersive exhibit at the Brooklyn Public Library, which drew more than 600,000 visitors in a six-month span last year. The 432-page book, released by Assouline, goes on pre-sale Tuesday.\u003c/p>\n\u003cp>The book serves as both a commemoration and a time capsule of the exhibition that celebrated the life and work of the 24-time Grammy winner, bringing together thousands of archived artifacts from his illustrious career. There are nearly 700 images. In the eight chapters, readers will find everything from iconic stage outfits to rare interviews, awards and never-before-seen photographs.\u003c/p>\n\u003cfigure id=\"attachment_13968981\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV.png\" alt=\"A blue book cover with white lettering on the front.\" width=\"2000\" height=\"1711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-800x684.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1020x873.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-160x137.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-768x657.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1536x1314.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1920x1643.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Book of Hov: A Tribute to Jay-Z.’ \u003ccite>(Assouline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chapter titles are drawn from Jay-Z’s lyrics.\u003c/p>\n\u003cp>\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> unveils Jay-Z’s deep connection with the art world and his rising business ventures, reveals his unique method of composing rhymes mentally and his criminal and social justice activism. It offers a tribute to Baseline Studios where \u003cem>The Blueprint\u003c/em> and \u003cem>The Black Album\u003c/em> were birthed. The book also captures him articulating his vision and manifesting his future through a series of interviews spanning several years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the book’s other highlights include the guitar Jay-Z played at the Glastonbury Festival; Daniel Arsham’s sculpture of the iconic \u003cem>HOV Hands\u003c/em>; his Rock & Roll Hall of Fame award; and hundreds of paper planes, which were created by New York City schoolchildren who wrote their dreams inside.\u003c/p>\n\u003cp>[aside postid='arts_13968679']\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> will be available in three editions: The classic version for $120, the ultimate for $2,000 and price upon request for five special limited- edition copies with a tri-fold each housed in a bronze slipcase artwork by Arsham.\u003c/p>\n\u003cp>A portion of the proceeds from the sale of the special limited edition will be donated to the Brooklyn Public Library.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Book of Hov: A Tribute to Jay-Z’ is released on Dec. 4, 2024 via Assouline. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> debuts Wednesday, following the success of Jay-Z’s free immersive exhibit at the Brooklyn Public Library, which drew more than 600,000 visitors in a six-month span last year. The 432-page book, released by Assouline, goes on pre-sale Tuesday.\u003c/p>\n\u003cp>The book serves as both a commemoration and a time capsule of the exhibition that celebrated the life and work of the 24-time Grammy winner, bringing together thousands of archived artifacts from his illustrious career. There are nearly 700 images. In the eight chapters, readers will find everything from iconic stage outfits to rare interviews, awards and never-before-seen photographs.\u003c/p>\n\u003cfigure id=\"attachment_13968981\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968981\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV.png\" alt=\"A blue book cover with white lettering on the front.\" width=\"2000\" height=\"1711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-800x684.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1020x873.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-160x137.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-768x657.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1536x1314.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/HOV-1920x1643.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Book of Hov: A Tribute to Jay-Z.’ \u003ccite>(Assouline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chapter titles are drawn from Jay-Z’s lyrics.\u003c/p>\n\u003cp>\u003cem>The Book of Hov: A Tribute to Jay-Z\u003c/em> unveils Jay-Z’s deep connection with the art world and his rising business ventures, reveals his unique method of composing rhymes mentally and his criminal and social justice activism. It offers a tribute to Baseline Studios where \u003cem>The Blueprint\u003c/em> and \u003cem>The Black Album\u003c/em> were birthed. The book also captures him articulating his vision and manifesting his future through a series of interviews spanning several years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13968937\" class=\"wp-caption aligncenter\" style=\"max-width: 1370px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968937\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue.png\" alt=\"A book cover depicting iron gates with the word 'Bellvue' on them. Cloudy skies hang low overhead.\" width=\"1370\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue.png 1370w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1020x1489.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-768x1121.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/bellvue-1052x1536.png 1052w\" sizes=\"(max-width: 1370px) 100vw, 1370px\">\u003cfigcaption class=\"wp-caption-text\">‘Bellevue’ by Robin Cook. \u003ccite>(G.P. Putnam's Sons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The building on New York’s East Side that used to house Bellevue Psychiatric Hospital has inspired tales of horror from the likes of H.P. Lovecraft and served as the model for Arkham Asylum in fictional Gotham City. For novelist Robin Cook, who interned there in the 1960s, it’s the perfect setting for his latest medical thriller.\u003c/p>\n\u003cp>\u003cem>Bellevue\u003c/em> is set in the present day, but hearkens often to the hospital’s controversial and storied past. The plot centers around 23-year-old Mitt Fuller, embarking on his surgical residency at the iconic hospital. Mitt’s “long and impressive medical pedigree” goes back more than 400 years and includes three previous surgeons and a psychiatrist. It’s always been Mitt’s dream to follow in his forefathers’ footsteps.\u003c/p>\n\u003cp>[aside postid='arts_13968593']But this is a Robin Cook novel, so readers shouldn’t be surprised that Mitt’s dream slowly becomes a nightmare. Cook does a nice job of drawing readers into the tale, not horrifying them all at once. Mitt possesses a little precognitive power and can sometimes see things before they happen or sense when he’s in danger. So when forceps start moving of their own accord during a procedure or sutures untie themselves, readers and Mitt get a serious case of the heebie-jeebies.\u003c/p>\n\u003cp>Readers learn early in the story why the hospital is haunted, but dramatic irony is at play for more than a hundred pages as Mitt assembles the puzzle and unearths his family’s buried secrets. Mitt’s medical training and belief in science don’t exactly square with a haunted hospital, but when he meets another hospital employee whose family has a history at the institution, together they put together the rest of the pieces.\u003c/p>\n\u003cp>The denouement is jarring, but feels earned. Cook has told a tale that delivers a measure of justice for some patients, while preserving the dreadful mystique spelled out on top of the “decorative rusty wrought iron fence” at the southeastern corner of First Avenue and 30th Street: B-E-L-L-E-V-U-E.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Bellevue’ by Robin Cook is out on Dec. 3, 2024, via G.P. Putnam’s Sons.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But this is a Robin Cook novel, so readers shouldn’t be surprised that Mitt’s dream slowly becomes a nightmare. Cook does a nice job of drawing readers into the tale, not horrifying them all at once. Mitt possesses a little precognitive power and can sometimes see things before they happen or sense when he’s in danger. So when forceps start moving of their own accord during a procedure or sutures untie themselves, readers and Mitt get a serious case of the heebie-jeebies.\u003c/p>\n\u003cp>Readers learn early in the story why the hospital is haunted, but dramatic irony is at play for more than a hundred pages as Mitt assembles the puzzle and unearths his family’s buried secrets. Mitt’s medical training and belief in science don’t exactly square with a haunted hospital, but when he meets another hospital employee whose family has a history at the institution, together they put together the rest of the pieces.\u003c/p>\n\u003cp>The denouement is jarring, but feels earned. Cook has told a tale that delivers a measure of justice for some patients, while preserving the dreadful mystique spelled out on top of the “decorative rusty wrought iron fence” at the southeastern corner of First Avenue and 30th Street: B-E-L-L-E-V-U-E.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Bellevue’ by Robin Cook is out on Dec. 3, 2024, via G.P. Putnam’s Sons.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/kendrick-lamar\">Kendrick Lamar\u003c/a> has announced \u003ca href=\"https://grandnationaltour.com/\">a show with SZA in San Francisco on May 29, 2025\u003c/a>, in yet another victory lap after scoring the \u003ca href=\"https://pitchfork.com/features/lists-and-guides/best-songs-2024/\">song of the year\u003c/a>. Tickets go on sale this week, including an early onsale with a presale code. Here’s how to get them. \u003c/p>\n\u003cp>Presale tickets for Kendrick go on sale \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">Wednesday, Dec. 4, at 10 a.m. Pacific Time\u003c/a>, and because we live in a corporate dystopia, they’re only available to Cash App Visa cardholders. Ticketmaster, as usual, doesn’t provide details about what that means.\u003c/p>\n\u003cp>Here’s what to know.\u003c/p>\n\u003cp>[aside postID='arts_13968608']You can get a Cash App Visa card by opening the Cash App app and selecting the rectangular card icon at the bottom, second from the left. Select “Get Your Free Card.” Choose the free option, enter your street address, and — because we live in a \u003cem>surveillance\u003c/em> dystopia — enter your social security number. Scroll past a bunch of terms and conditions that nobody reads, hit “continue,” and you’re done. \u003c/p>\n\u003cp>Your physical card will show up in the mail later, but you can still use your card number to buy tickets. Select the card icon at the bottom of the app again, and your virtual card will be displayed. Tap the “eye” icon in the upper right of the card to show the full card number. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then, about 10-15 minutes before 10 a.m. Pacific Time, go to \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">the San Francisco show ticket link\u003c/a> (you may be put in a “waiting room”) and enter the first nine digits of your Cash App Visa card. That is your presale code which will unlock the presale, and when you finally see a seat map and select the tickets you want, you’ll have to buy the tickets using your Cash App card number.\u003c/p>\n\u003cp>[aside postID='arts_13960019']You will also need to \u003ca href=\"https://cash.app/exclusives/kendrickandsza\">active your card and pre-load money into your Cash App balance\u003c/a> before this entire process; the card is not a conventional credit card, and works more like a debit card. How much money, you may wonder? Who knows, because we live in a \u003cem>consumerist\u003c/em> dystopia, and Ticketmaster refuses to advertise ticket prices before the onsale, while Cash App will be happy for you to anxiously pre-load $1,000 on their card and then forget about your remaining balance afterward. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you want to skip this labyrinthian nonsense and take your chances with the general public onsale, that happens on \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">Friday, Dec. 6, at 10 a.m. Pacific Time\u003c/a>. Oracle Park holds over 40,000 people. If you’re okay with sitting in the stands, you might be good. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/kendrick-lamar\">Kendrick Lamar\u003c/a> has announced \u003ca href=\"https://grandnationaltour.com/\">a show with SZA in San Francisco on May 29, 2025\u003c/a>, in yet another victory lap after scoring the \u003ca href=\"https://pitchfork.com/features/lists-and-guides/best-songs-2024/\">song of the year\u003c/a>. Tickets go on sale this week, including an early onsale with a presale code. Here’s how to get them. \u003c/p>\n\u003cp>Presale tickets for Kendrick go on sale \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">Wednesday, Dec. 4, at 10 a.m. Pacific Time\u003c/a>, and because we live in a corporate dystopia, they’re only available to Cash App Visa cardholders. Ticketmaster, as usual, doesn’t provide details about what that means.\u003c/p>\n\u003cp>Here’s what to know.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>You can get a Cash App Visa card by opening the Cash App app and selecting the rectangular card icon at the bottom, second from the left. Select “Get Your Free Card.” Choose the free option, enter your street address, and — because we live in a \u003cem>surveillance\u003c/em> dystopia — enter your social security number. Scroll past a bunch of terms and conditions that nobody reads, hit “continue,” and you’re done. \u003c/p>\n\u003cp>Your physical card will show up in the mail later, but you can still use your card number to buy tickets. Select the card icon at the bottom of the app again, and your virtual card will be displayed. Tap the “eye” icon in the upper right of the card to show the full card number. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then, about 10-15 minutes before 10 a.m. Pacific Time, go to \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">the San Francisco show ticket link\u003c/a> (you may be put in a “waiting room”) and enter the first nine digits of your Cash App Visa card. That is your presale code which will unlock the presale, and when you finally see a seat map and select the tickets you want, you’ll have to buy the tickets using your Cash App card number.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>You will also need to \u003ca href=\"https://cash.app/exclusives/kendrickandsza\">active your card and pre-load money into your Cash App balance\u003c/a> before this entire process; the card is not a conventional credit card, and works more like a debit card. How much money, you may wonder? Who knows, because we live in a \u003cem>consumerist\u003c/em> dystopia, and Ticketmaster refuses to advertise ticket prices before the onsale, while Cash App will be happy for you to anxiously pre-load $1,000 on their card and then forget about your remaining balance afterward. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you want to skip this labyrinthian nonsense and take your chances with the general public onsale, that happens on \u003ca href=\"https://www.ticketmaster.com/event/1C00617ABDC22B88\">Friday, Dec. 6, at 10 a.m. Pacific Time\u003c/a>. Oracle Park holds over 40,000 people. If you’re okay with sitting in the stands, you might be good. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "waitress-musical-san-francisco-playhouse-review",
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"content": "\u003cp>\u003cem>Waitress\u003c/em> is not a holiday musical, and I won’t try to \u003ca href=\"https://parade.com/1288946/samuelmurrian/is-die-hard-a-christmas-movie/\">boorishly\u003c/a> argue so. But it \u003cem>is\u003c/em> a story about love, and family, and muddling through somehow, with a wholesome and sweet payoff — a salve for the cold winter months. Plus, it’s about baking pies (he types, flecks of Thanksgiving flour still lining his cuticles).\u003c/p>\n\u003cp>Running through Jan. 18 at San Francisco Playhouse, \u003cem>Waitress\u003c/em> follows the travails of Jenna, a small-town diner waitress with an abusive husband who dreams of a better life. By inventing daily pie recipes based on her predicaments, she projects an alternate future for herself — one that derails when she absentmindedly sleeps with her husband and gets pregnant.\u003c/p>\n\u003cp>Jenna (Ruby Day) is trapped by economic, matrimonial and prenatal circumstances. Her fellow waitresses at the diner are trapped, too: the tottering Dawn (Sharon Shao) by self-doubt, the wisecracking Becky (Tanika Baptiste) by weary cynicism. Enter Jenna’s new-in-town gynecologist, Dr. Pomatter (Zeke Edmonds), add a dash of romantic spark, and you see where this recipe is leading. \u003c/p>\n\u003cfigure id=\"attachment_13968690\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sparks fly between Jenna (Ruby Day) and Dr. Pomatter (Zeke Edmonds) in ‘Waitress’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Jenna, Day strikes the right blend of folksy and inventive; she’s content and traditional but goes rogue when needed. Around Dawn and Becky, she’s open and supportive; around her doctor, she cautiously tries to avoid hopping out of one trap and into another. Only one man seems to fully loosen her guard: Joe (Louis Parnell), the elderly owner of the diner, an exacting curmudgeon who offers sagely bromides over the formica tabletop.\u003c/p>\n\u003cp>Meanwhile, Dawn longs for someone who understands her, and Shao sings the number “When He Sees Me” with a wonderful zig-zag between self-consciousness and hope. That person arrives in the form of Ogie (Michael Parrott), an amateur magician and clog dancer in bad pants who love-bombs Dawn; she runs toward rather than away from his red flags, and eventually, the audience does, too.\u003c/p>\n\u003cfigure id=\"attachment_13968693\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dawn (Sharon Shao) is ambushed by overeager Ogie (Michael Parrott) in ‘Waitress,’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Interplay between the employees of Joe’s Pie Diner is crucial to \u003cem>Waitress\u003c/em>, and director Susi Damilano maximizes the friction and synergies inherent to a powder-keg working environment. It wouldn’t be a true lunch counter without witty repartee, provided by Becky and line cook Cal (Dorian Lockett), who tear at each other’s throats. But if the diner staff can agree on one thing, it’s their disdain of Earl, Jenna’s husband. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Earl is your typical insecure jerk — he drinks, pockets Jenna’s tips and demands she never love their baby more than him. He’s also not jerky enough; the character is a man-baby, yes, but Ben Euphrat could play it with even more bullheaded toxicity, or at least wear less fashionable jeans. (As Joe, Parnell could be more grouchy, too.)\u003c/p>\n\u003cfigure id=\"attachment_13968689\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl (Ben Euphrat) visits his wife Jenna (Ruby Day) at the diner in ‘Waitress’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Day and Edmonds both blossom here, as Jenna dives deeper in lust with her married doctor. In the second act, just as the show starts to drag, Day brings the house down with “She Used to Be Mine,” singing it as if she’s sung it for three lifetimes, tearing every ounce of emotion from what’s left of Jenna’s soul. It’s a dam that’s finally burst, and on opening night, it got the longest applause. \u003c/p>\n\u003cp>It’s been six years since the \u003ca href=\"https://www.kqed.org/arts/13843169/if-you-love-the-film-waitress-the-musical-is-a-side-dish-worth-ordering\">Broadway tour of \u003cem>Waitress\u003c/em> came to town\u003c/a>, and San Francisco Playhouse has bet on audience’s appetites by investing in a stellar set by Jacquelyn Scott and a full onstage live band. The choreography by Nicole Helfer isn’t flashy — there are no razzle-dazzle synchronized dance numbers — but watching its careful precision unfold is like viewing a cross-section of a humming V8 engine with dozens of moving parts. A drum line is played on the lunch counter with wooden spoons. Jenna and Dr. Pomatter float through the air. Pies hover in circles like a reverie. \u003c/p>\n\u003cfigure id=\"attachment_13968691\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14.jpg\" alt=\"\" width=\"2000\" height=\"1247\" class=\"size-full wp-image-13968691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-1536x958.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-1920x1197.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jenna (Ruby Day) dreams of Dr. Pomatter (Zeke Edmonds) in ‘Waitress’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Waitress\u003c/em> was written by women (the 2007 Adrienne Shelly movie was adapted for the stage by Jessie Nelson and Sara Bareilles), and it shows. Nestled within its well-worn small-town-diner tropes is a perspective that just \u003cem>feels\u003c/em> different, and not only in the dialogue. Jenna is a woman who chooses to have a baby but isn’t at all happy about it, a common dilemma not reflected enough in entertainment. \u003c/p>\n\u003cp>This is refreshing. It also lends the final scenes of \u003cem>Waitress\u003c/em> extra emotional weight, capturing the warmth \u003cem>and\u003c/em> the complexity inherent to the holiday season.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Waitress’ runs through Saturday, Jan. 18 at San Francisco Playhouse (450 Post St., San Francisco). \u003ca href=\"https://www.sfplayhouse.org/sfph/2024-2025-season/waitress/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "‘Waitress’ at San Francisco Playhouse: Complexity Baked In | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Waitress\u003c/em> is not a holiday musical, and I won’t try to \u003ca href=\"https://parade.com/1288946/samuelmurrian/is-die-hard-a-christmas-movie/\">boorishly\u003c/a> argue so. But it \u003cem>is\u003c/em> a story about love, and family, and muddling through somehow, with a wholesome and sweet payoff — a salve for the cold winter months. Plus, it’s about baking pies (he types, flecks of Thanksgiving flour still lining his cuticles).\u003c/p>\n\u003cp>Running through Jan. 18 at San Francisco Playhouse, \u003cem>Waitress\u003c/em> follows the travails of Jenna, a small-town diner waitress with an abusive husband who dreams of a better life. By inventing daily pie recipes based on her predicaments, she projects an alternate future for herself — one that derails when she absentmindedly sleeps with her husband and gets pregnant.\u003c/p>\n\u003cp>Jenna (Ruby Day) is trapped by economic, matrimonial and prenatal circumstances. Her fellow waitresses at the diner are trapped, too: the tottering Dawn (Sharon Shao) by self-doubt, the wisecracking Becky (Tanika Baptiste) by weary cynicism. Enter Jenna’s new-in-town gynecologist, Dr. Pomatter (Zeke Edmonds), add a dash of romantic spark, and you see where this recipe is leading. \u003c/p>\n\u003cfigure id=\"attachment_13968690\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968690\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli2-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sparks fly between Jenna (Ruby Day) and Dr. Pomatter (Zeke Edmonds) in ‘Waitress’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Jenna, Day strikes the right blend of folksy and inventive; she’s content and traditional but goes rogue when needed. Around Dawn and Becky, she’s open and supportive; around her doctor, she cautiously tries to avoid hopping out of one trap and into another. Only one man seems to fully loosen her guard: Joe (Louis Parnell), the elderly owner of the diner, an exacting curmudgeon who offers sagely bromides over the formica tabletop.\u003c/p>\n\u003cp>Meanwhile, Dawn longs for someone who understands her, and Shao sings the number “When He Sees Me” with a wonderful zig-zag between self-consciousness and hope. That person arrives in the form of Ogie (Michael Parrott), an amateur magician and clog dancer in bad pants who love-bombs Dawn; she runs toward rather than away from his red flags, and eventually, the audience does, too.\u003c/p>\n\u003cfigure id=\"attachment_13968693\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968693\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli12-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dawn (Sharon Shao) is ambushed by overeager Ogie (Michael Parrott) in ‘Waitress,’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Interplay between the employees of Joe’s Pie Diner is crucial to \u003cem>Waitress\u003c/em>, and director Susi Damilano maximizes the friction and synergies inherent to a powder-keg working environment. It wouldn’t be a true lunch counter without witty repartee, provided by Becky and line cook Cal (Dorian Lockett), who tear at each other’s throats. But if the diner staff can agree on one thing, it’s their disdain of Earl, Jenna’s husband. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earl is your typical insecure jerk — he drinks, pockets Jenna’s tips and demands she never love their baby more than him. He’s also not jerky enough; the character is a man-baby, yes, but Ben Euphrat could play it with even more bullheaded toxicity, or at least wear less fashionable jeans. (As Joe, Parnell could be more grouchy, too.)\u003c/p>\n\u003cfigure id=\"attachment_13968689\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13968689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli6-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Earl (Ben Euphrat) visits his wife Jenna (Ruby Day) at the diner in ‘Waitress’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Day and Edmonds both blossom here, as Jenna dives deeper in lust with her married doctor. In the second act, just as the show starts to drag, Day brings the house down with “She Used to Be Mine,” singing it as if she’s sung it for three lifetimes, tearing every ounce of emotion from what’s left of Jenna’s soul. It’s a dam that’s finally burst, and on opening night, it got the longest applause. \u003c/p>\n\u003cp>It’s been six years since the \u003ca href=\"https://www.kqed.org/arts/13843169/if-you-love-the-film-waitress-the-musical-is-a-side-dish-worth-ordering\">Broadway tour of \u003cem>Waitress\u003c/em> came to town\u003c/a>, and San Francisco Playhouse has bet on audience’s appetites by investing in a stellar set by Jacquelyn Scott and a full onstage live band. The choreography by Nicole Helfer isn’t flashy — there are no razzle-dazzle synchronized dance numbers — but watching its careful precision unfold is like viewing a cross-section of a humming V8 engine with dozens of moving parts. A drum line is played on the lunch counter with wooden spoons. Jenna and Dr. Pomatter float through the air. Pies hover in circles like a reverie. \u003c/p>\n\u003cfigure id=\"attachment_13968691\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14.jpg\" alt=\"\" width=\"2000\" height=\"1247\" class=\"size-full wp-image-13968691\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-1020x636.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-1536x958.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/SFP_Waitress_JessicaPalopoli14-1920x1197.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jenna (Ruby Day) dreams of Dr. Pomatter (Zeke Edmonds) in ‘Waitress’ at San Francisco Playhouse. \u003ccite>(Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Waitress\u003c/em> was written by women (the 2007 Adrienne Shelly movie was adapted for the stage by Jessie Nelson and Sara Bareilles), and it shows. Nestled within its well-worn small-town-diner tropes is a perspective that just \u003cem>feels\u003c/em> different, and not only in the dialogue. Jenna is a woman who chooses to have a baby but isn’t at all happy about it, a common dilemma not reflected enough in entertainment. \u003c/p>\n\u003cp>This is refreshing. It also lends the final scenes of \u003cem>Waitress\u003c/em> extra emotional weight, capturing the warmth \u003cem>and\u003c/em> the complexity inherent to the holiday season.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Waitress’ runs through Saturday, Jan. 18 at San Francisco Playhouse (450 Post St., San Francisco). \u003ca href=\"https://www.sfplayhouse.org/sfph/2024-2025-season/waitress/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What do you think would happen if \u003ca href=\"https://www.kqed.org/news/10939892/what-happens-to-raccoons-trapped-in-s-f\">raccoons\u003c/a> inherited the Earth?\u003c/p>\n\u003cp>San Francisco artist \u003ca href=\"https://www.instagram.com/andreajanebergen/?hl=en\">Andrea Bergen\u003c/a> posits that they’d be racing around on monster trucks, chowing down human snacks, slurping energy drinks and riding animatronic horses outside convenience stores. And if the content of her new exhibit, \u003cem>Modern Menagerie\u003c/em> — a group show at \u003ca href=\"https://drawingroominc.org/pages/the-annex\">The Drawing Room Annex\u003c/a> with \u003ca href=\"https://www.fuzzegrant.com/\">Fuzz E. Grant\u003c/a> and \u003ca href=\"http://richardmenendezfinearts.com/\">Richard Menendez\u003c/a> — is anything to go by, these trash pandas would also revel in hanging with their friends. (Those pals being possums, rats, pigeons and the occasional escaped zoo animal, naturally.)\u003c/p>\n\u003cp>[aside postid='arts_13968681']Bergen’s image of Earth in the future is one in which humanity has been erased, leaving behind tacky monuments to convenient living, and clearing a path for urban animals to run entirely unimpeded. Hers is a hypercolor, gleefully unhinged landscape where a rat can casually eat a Slim Jim while watching a fight between a seagull and a snake. This is a place where a (literal) vulture opts to raise its offspring inside a broken TV set. In this world, when aliens finally do invade, they concern themselves only with getting drunk on cheap liquor, letting their tiny green babies ride around on possums, and abducting cute dogs.\u003c/p>\n\u003cp>“This is kind of my way of dealing with the idea of climate change and how horrible it is,” Bergen tells KQED Arts, “and proposing this alternate future where everything is going to be okay — for the animals at least.”\u003c/p>\n\u003cfigure id=\"attachment_13968736\" class=\"wp-caption aligncenter\" style=\"max-width: 1506px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968736\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen.jpg\" alt=\"An artwork depicted a seagull wrestling with a snake on a hillside, while a rat watches on.\" width=\"1506\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen.jpg 1506w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen-800x1062.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen-1020x1355.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen-1157x1536.jpg 1157w\" sizes=\"auto, (max-width: 1506px) 100vw, 1506px\">\u003cfigcaption class=\"wp-caption-text\">‘Prickly Pear Showdown,’ 2024. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compounding the unusual nature of Bergen’s compositions are the materials she most likes to work with: paper and gel medium. The Oakland-born \u003ca href=\"https://www.kqed.org/arts/tag/california-college-of-the-arts\">California College of the Arts\u003c/a> graduate constructs her art by hand cutting intricate shapes one by one, out of colored paper. She does this using very sharp scissors, then lays those pieces down, slowly building them into complex and texturally wondrous scenes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s just more satisfying [for me] than painting,” Bergen explains. “I really wanted a graphic quality that I feel too impatient to achieve with paint. The paper gives an immediate saturation and opacity.”\u003c/p>\n\u003cp>Bergen does not, she reassures KQED Arts, ever pre-cut paper before she’s ready to apply it, and she very rarely uses blades to achieve her clean edges. This painstaking process creates minuscule details that work together to mind-bending overall effect.\u003c/p>\n\u003cfigure id=\"attachment_13968791\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas.jpg\" alt=\"A paper collage artwork featuring desert landscapes, a fire outbreak and raccoons, monkeys, big cats and possums behaving debaucherously.\" width=\"2000\" height=\"1467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-1536x1127.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-1920x1408.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Good, The Bad, and The Buccee’s’ by Andrea Bergen. \u003ccite>(Rae Alexandra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not all of Bergen’s intricate moves are immediately obvious to the viewer; they’re even tougher to capture and convey in photographs. In person though, her compositions act like a sort of \u003cem>Where’s Waldo?\u003c/em> for grown-ups — except this time, the final goal is pure, hero-less anarchy and hedonistic chaos for the hell of it. And no wonder. The way Bergen designs her pieces is often off the cuff.\u003c/p>\n\u003cp>“I’ll block out the big things on the surface that I’m working on,” Bergen explains, “but then it’s improvisational. I just fill up the whole thing until it feels finished.”\u003c/p>\n\u003cfigure id=\"attachment_13968793\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968793\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1.jpg\" alt=\"A giant paper mache blue pigeon mid-flight with a pink donut around its neck.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Big Donut Pigeon’ by Andrea Bergen, hanging from the ceiling inside The Drawing Room Annex, San Francisco. \u003ccite>(Rae Alexandra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More recently, Bergen has expanded her output by creating highly unusual sculptures out of cardboard and papier-mâché. These figures are her artworks brought to surreal, hilarious, 3D life. \u003cem>Modern Menagerie\u003c/em> includes three giant flying pigeons carrying snacks to their destinations, a huge seated donkey, a wall-climbing tiger, a mischievous goat, a mandrill (with a very special bright red rear end), a raccoon eating a big burger and a bug-eyed, Monster Energy-drinking chihuahua.\u003c/p>\n\u003cp>“It’s kind of a distillation of humanity’s footprint on nature,” Bergen says, “and how I envision the future after we’re gone.”\u003c/p>\n\u003cp>If the animals do one day inherit the Earth and it’s anything like Bergen’s vision, their future will be uproarious.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://drawingroominc.org/pages/modern-menagerie\">Modern Menagerie\u003c/a>,’ featuring work by Andrea Bergen, Fuzz E. Grant and Richard Menendez opens at The Drawing Room Annex (599 Valencia St., San Francisco) on Nov. 30, 2024 at 5 p.m. The show runs through Jan. 12, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do you think would happen if \u003ca href=\"https://www.kqed.org/news/10939892/what-happens-to-raccoons-trapped-in-s-f\">raccoons\u003c/a> inherited the Earth?\u003c/p>\n\u003cp>San Francisco artist \u003ca href=\"https://www.instagram.com/andreajanebergen/?hl=en\">Andrea Bergen\u003c/a> posits that they’d be racing around on monster trucks, chowing down human snacks, slurping energy drinks and riding animatronic horses outside convenience stores. And if the content of her new exhibit, \u003cem>Modern Menagerie\u003c/em> — a group show at \u003ca href=\"https://drawingroominc.org/pages/the-annex\">The Drawing Room Annex\u003c/a> with \u003ca href=\"https://www.fuzzegrant.com/\">Fuzz E. Grant\u003c/a> and \u003ca href=\"http://richardmenendezfinearts.com/\">Richard Menendez\u003c/a> — is anything to go by, these trash pandas would also revel in hanging with their friends. (Those pals being possums, rats, pigeons and the occasional escaped zoo animal, naturally.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bergen’s image of Earth in the future is one in which humanity has been erased, leaving behind tacky monuments to convenient living, and clearing a path for urban animals to run entirely unimpeded. Hers is a hypercolor, gleefully unhinged landscape where a rat can casually eat a Slim Jim while watching a fight between a seagull and a snake. This is a place where a (literal) vulture opts to raise its offspring inside a broken TV set. In this world, when aliens finally do invade, they concern themselves only with getting drunk on cheap liquor, letting their tiny green babies ride around on possums, and abducting cute dogs.\u003c/p>\n\u003cp>“This is kind of my way of dealing with the idea of climate change and how horrible it is,” Bergen tells KQED Arts, “and proposing this alternate future where everything is going to be okay — for the animals at least.”\u003c/p>\n\u003cfigure id=\"attachment_13968736\" class=\"wp-caption aligncenter\" style=\"max-width: 1506px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968736\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen.jpg\" alt=\"An artwork depicted a seagull wrestling with a snake on a hillside, while a rat watches on.\" width=\"1506\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen.jpg 1506w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen-800x1062.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen-1020x1355.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen-768x1020.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Bergen-1157x1536.jpg 1157w\" sizes=\"auto, (max-width: 1506px) 100vw, 1506px\">\u003cfigcaption class=\"wp-caption-text\">‘Prickly Pear Showdown,’ 2024. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Compounding the unusual nature of Bergen’s compositions are the materials she most likes to work with: paper and gel medium. The Oakland-born \u003ca href=\"https://www.kqed.org/arts/tag/california-college-of-the-arts\">California College of the Arts\u003c/a> graduate constructs her art by hand cutting intricate shapes one by one, out of colored paper. She does this using very sharp scissors, then lays those pieces down, slowly building them into complex and texturally wondrous scenes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s just more satisfying [for me] than painting,” Bergen explains. “I really wanted a graphic quality that I feel too impatient to achieve with paint. The paper gives an immediate saturation and opacity.”\u003c/p>\n\u003cp>Bergen does not, she reassures KQED Arts, ever pre-cut paper before she’s ready to apply it, and she very rarely uses blades to achieve her clean edges. This painstaking process creates minuscule details that work together to mind-bending overall effect.\u003c/p>\n\u003cfigure id=\"attachment_13968791\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968791\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas.jpg\" alt=\"A paper collage artwork featuring desert landscapes, a fire outbreak and raccoons, monkeys, big cats and possums behaving debaucherously.\" width=\"2000\" height=\"1467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-1020x748.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-768x563.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-1536x1127.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/lo-gas-1920x1408.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘The Good, The Bad, and The Buccee’s’ by Andrea Bergen. \u003ccite>(Rae Alexandra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not all of Bergen’s intricate moves are immediately obvious to the viewer; they’re even tougher to capture and convey in photographs. In person though, her compositions act like a sort of \u003cem>Where’s Waldo?\u003c/em> for grown-ups — except this time, the final goal is pure, hero-less anarchy and hedonistic chaos for the hell of it. And no wonder. The way Bergen designs her pieces is often off the cuff.\u003c/p>\n\u003cp>“I’ll block out the big things on the surface that I’m working on,” Bergen explains, “but then it’s improvisational. I just fill up the whole thing until it feels finished.”\u003c/p>\n\u003cfigure id=\"attachment_13968793\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968793\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1.jpg\" alt=\"A giant paper mache blue pigeon mid-flight with a pink donut around its neck.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/pigeon-donut-2-1-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Big Donut Pigeon’ by Andrea Bergen, hanging from the ceiling inside The Drawing Room Annex, San Francisco. \u003ccite>(Rae Alexandra/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More recently, Bergen has expanded her output by creating highly unusual sculptures out of cardboard and papier-mâché. These figures are her artworks brought to surreal, hilarious, 3D life. \u003cem>Modern Menagerie\u003c/em> includes three giant flying pigeons carrying snacks to their destinations, a huge seated donkey, a wall-climbing tiger, a mischievous goat, a mandrill (with a very special bright red rear end), a raccoon eating a big burger and a bug-eyed, Monster Energy-drinking chihuahua.\u003c/p>\n\u003cp>“It’s kind of a distillation of humanity’s footprint on nature,” Bergen says, “and how I envision the future after we’re gone.”\u003c/p>\n\u003cp>If the animals do one day inherit the Earth and it’s anything like Bergen’s vision, their future will be uproarious.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://drawingroominc.org/pages/modern-menagerie\">Modern Menagerie\u003c/a>,’ featuring work by Andrea Bergen, Fuzz E. Grant and Richard Menendez opens at The Drawing Room Annex (599 Valencia St., San Francisco) on Nov. 30, 2024 at 5 p.m. The show runs through Jan. 12, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the first real signs that \u003cem>Queer\u003c/em> is going to be an unconventional movie is when Daniel Craig in a linen suit saunters through Mexico City during the early ‘50s and the soundtrack blasts a song by Nirvana.\u003c/p>\n\u003cp>It’s a pretty nifty way to explain this story of a man unmoored by time, geography and himself. Craig plays William Lee, an American hiding out in Mexico who spends his time going from bar to bar, knocking back tequila or mescal.\u003c/p>\n\u003cp>[aside postid='arts_13968738']Why is he hiding out? For one thing, he’s a junkie and Mexico is more permissive about heroin use than the States at this time. He’s also gay when being gay was considered abhorrent and Mexico was, again, more permissive. Lee is part of a wealthy expat contingent that fritters away the days stewed in liquor and gossip.\u003c/p>\n\u003cp>He doesn’t just sound like a William S. Burroughs hero, he’s partly Burroughs himself — \u003cem>Queer\u003c/em> was a confessional novella written long before his breakthrough novel \u003cem>Naked Lunch\u003c/em>. So buckle up. You’re going to see some weird stuff.\u003c/p>\n\u003cp>\u003cem>Queer\u003c/em> is best when it’s a character study of Lee, who in Craig’s hands is charming, selfish, arrogant, abrasive, foppish and sometimes unable to read a room. It’s a million miles from 007, even if Lee carries a pistol. Craig allows us to see the yearning for real love that Lee numbs with shot glasses and needles. That Nirvana song is “Come as You Are.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One day that real love suddenly appears in the form of the younger Eugene Allerton (a superb, icy Drew Starkey), who unlocks something in Lee. Could Eugene be the one to make Lee whole? Could they ride off into the sunset? Don’t be silly. This is a Burroughs story.\u003c/p>\n\u003cp>Eugene is on-again, off-again, sometimes loving Lee and sometimes preferring a woman’s company. Part of Eugene seems to dislike Lee or being seen with him. Lee’s voracious need — shown with vigorous lovemaking scenes — is overpowering.\u003c/p>\n\u003cp>One scene has the two men walking down a street and Eugene subtly shakes off the older man’s hand on his shoulder. “Is he a queer?” Lee asks a friend. “I can’t tell.” One drunken night he approaches his source of adoration and confesses he wants to speak without speaking. He soon will try.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ltinrfX03S4\u003c/p>\n\u003cp>Director Luca Guadagnino and screenwriter Justin Kuritzkes, who teamed up for \u003cem>Challengers\u003c/em>, face enormous challenges in adapting Burroughs’s words to the screen and yet they manage it, lyrically.\u003c/p>\n\u003cp>[aside postid='arts_13968600']There is a single-take scene in which Lee assembles the equipment necessary to inject himself with heroin and the camera watches as he gets high, slowing his body down to become a sort of pathetic statue at the kitchen table.\u003c/p>\n\u003cp>Symbols — a wriggling bug, snakes and mirrors — combine with trippy techniques meant to show Lee’s interior life, like his arm superimposed onto a scene tenderly touching his paramour when, in reality, it is hanging still. And there is a late moment of surreal beauty as the lovers climb into each other’s bodies, hands under the skin.\u003c/p>\n\u003cp>\u003cem>Queer\u003c/em> — broken up into three chapters and an epilogue — gets trippier in the later stages, when Lee and Eugene leave Mexico in search of a South American plant that apparently gives users telepathic powers. Lee is clearly trying to find a shortcut into the soul, bypassing the messiness of human interactions. “You think it can fix things for you,” he is told.\u003c/p>\n\u003cp>But this part isn’t well integrated with the first half, almost like a movie fragment, and the filmmakers fumble an attempt to deal with the death of Burroughs’ wife, Joan Vollmer. Guadagnino seems to unnecessarily channel Stanley Kubrick as the movie wobbles to its end, with scenes filled with deafening sound, then pregnant silence and an artificial momentousness.\u003c/p>\n\u003cp>[aside postid='arts_13968446']The score by Trent Reznor and Atticus Ross is vibrant but it gets a chef’s kiss with the addition of songs by Prince, New Order and Lydia Mendoza, mixed with contemporary songs by Benny Goodman, Eddie Cantor, Frankie Lane and Cole Porter.\u003c/p>\n\u003cp>The weight of it all comes down to Craig, and he’s a wonder in a fedora, dirt stains on his linen pants. \u003cem>Queer\u003c/em> is a reminder of how good an actor he is and how brave he can be — naked, needy and noxious. You’ll be shaken and stirred.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Queer’ opens in Bay Area theaters on Dec. 5, 2024 and nationwide on Dec. 13.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Why is he hiding out? For one thing, he’s a junkie and Mexico is more permissive about heroin use than the States at this time. He’s also gay when being gay was considered abhorrent and Mexico was, again, more permissive. Lee is part of a wealthy expat contingent that fritters away the days stewed in liquor and gossip.\u003c/p>\n\u003cp>He doesn’t just sound like a William S. Burroughs hero, he’s partly Burroughs himself — \u003cem>Queer\u003c/em> was a confessional novella written long before his breakthrough novel \u003cem>Naked Lunch\u003c/em>. So buckle up. You’re going to see some weird stuff.\u003c/p>\n\u003cp>\u003cem>Queer\u003c/em> is best when it’s a character study of Lee, who in Craig’s hands is charming, selfish, arrogant, abrasive, foppish and sometimes unable to read a room. It’s a million miles from 007, even if Lee carries a pistol. Craig allows us to see the yearning for real love that Lee numbs with shot glasses and needles. That Nirvana song is “Come as You Are.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One day that real love suddenly appears in the form of the younger Eugene Allerton (a superb, icy Drew Starkey), who unlocks something in Lee. Could Eugene be the one to make Lee whole? Could they ride off into the sunset? Don’t be silly. This is a Burroughs story.\u003c/p>\n\u003cp>Eugene is on-again, off-again, sometimes loving Lee and sometimes preferring a woman’s company. Part of Eugene seems to dislike Lee or being seen with him. Lee’s voracious need — shown with vigorous lovemaking scenes — is overpowering.\u003c/p>\n\u003cp>One scene has the two men walking down a street and Eugene subtly shakes off the older man’s hand on his shoulder. “Is he a queer?” Lee asks a friend. “I can’t tell.” One drunken night he approaches his source of adoration and confesses he wants to speak without speaking. He soon will try.\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/ltinrfX03S4'\n title='//www.youtube.com/embed/ltinrfX03S4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director Luca Guadagnino and screenwriter Justin Kuritzkes, who teamed up for \u003cem>Challengers\u003c/em>, face enormous challenges in adapting Burroughs’s words to the screen and yet they manage it, lyrically.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is a single-take scene in which Lee assembles the equipment necessary to inject himself with heroin and the camera watches as he gets high, slowing his body down to become a sort of pathetic statue at the kitchen table.\u003c/p>\n\u003cp>Symbols — a wriggling bug, snakes and mirrors — combine with trippy techniques meant to show Lee’s interior life, like his arm superimposed onto a scene tenderly touching his paramour when, in reality, it is hanging still. And there is a late moment of surreal beauty as the lovers climb into each other’s bodies, hands under the skin.\u003c/p>\n\u003cp>\u003cem>Queer\u003c/em> — broken up into three chapters and an epilogue — gets trippier in the later stages, when Lee and Eugene leave Mexico in search of a South American plant that apparently gives users telepathic powers. Lee is clearly trying to find a shortcut into the soul, bypassing the messiness of human interactions. “You think it can fix things for you,” he is told.\u003c/p>\n\u003cp>But this part isn’t well integrated with the first half, almost like a movie fragment, and the filmmakers fumble an attempt to deal with the death of Burroughs’ wife, Joan Vollmer. Guadagnino seems to unnecessarily channel Stanley Kubrick as the movie wobbles to its end, with scenes filled with deafening sound, then pregnant silence and an artificial momentousness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The score by Trent Reznor and Atticus Ross is vibrant but it gets a chef’s kiss with the addition of songs by Prince, New Order and Lydia Mendoza, mixed with contemporary songs by Benny Goodman, Eddie Cantor, Frankie Lane and Cole Porter.\u003c/p>\n\u003cp>The weight of it all comes down to Craig, and he’s a wonder in a fedora, dirt stains on his linen pants. \u003cem>Queer\u003c/em> is a reminder of how good an actor he is and how brave he can be — naked, needy and noxious. You’ll be shaken and stirred.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Queer’ opens in Bay Area theaters on Dec. 5, 2024 and nationwide on Dec. 13.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Women Make ‘Their Mark’ in Elegant BAMPFA Show",
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"content": "\u003cp>I am of two minds when it comes to public museums exhibiting private collections. One mind grumbles, the other respects.\u003c/p>\n\u003cp>Collectors with the funds to support their art-buying habits can accumulate incredible amounts of work by “great” artists (see the \u003ca href=\"https://www.sfmoma.org/artists-artworks/fisher-collection/\">Fisher Collection\u003c/a> at the San Francisco Museum of Modern Art). They are free to pursue their desires as they see fit, without the democratizing goal of fleshing out a museum’s holdings \u003ci>beyond\u003c/i> those “great” artists (see again, the Fisher Collection).\u003c/p>\n\u003cp>Collectors can also lean into niche fields (see Eli Leon’s \u003ca href=\"https://bampfa.org/news/bampfa-receives-historic-bequest-nearly-three-thousand-quilts-african-american-artists\">African American quilts\u003c/a>, now donated to the Berkeley Art Museum and Pacific Film Archive; Pamela and Richard Kramlich’s focus on \u003ca href=\"https://www.kramlichcollection.org/\">time-based media\u003c/a>; or Rene di Rosa’s penchant for \u003ca href=\"https://www.dirosaart.org/about/history/\">funk art\u003c/a>). Such focus allows them to enact monomaniacal, sometimes visionary approaches to preserving art that might otherwise be undervalued, or even lost to time. \u003c/p>\n\u003cp>All to say: it’s complicated. Which brings us to \u003ci>\u003ca href=\"https://bampfa.org/making-their-mark\">Making Their Mark: Works from the Shah Garg Collection\u003c/a>\u003c/i>, on view at BAMPFA through April 20, 2025.\u003c/p>\n\u003cfigure id=\"attachment_13968700\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000.jpg\" alt=\"woman in bright red dress poses in front of high pedestal with ceramics and sculptures on it\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Komal Shah poses in front the ‘Craft is Art’ section of ‘Making Their Mark’ at BAMPFA. \u003ccite>(Drew Altizer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Making Their Mark\u003c/i> is, hands down, a lovely show. The Shah Garg Collection, created by Bay Area philanthropist Komal Shah and her husband Gaurav Garg, has turned acquiring art into a political statement about the earnings gap between white men and … everyone else. And this presentation of over 70 women artists proves gender has nothing to do with the quality, scale or material of one’s artistic output.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Which we hopefully all know. But it’s always nice to witness that fact with one’s own eyeballs.\u003c/p>\n\u003cp>The show is filled with monumental pieces, in terms of both size and art historical import. Dominating the former, Mary Weatherford’s \u003ci>Light Falling Like a Broken Chain; Paradise\u003c/i> (2021) is a 24-foot-wide swirl of luminous, rainbow-hued Flashe on linen, a painting of immense physicality that conjures images of giant, soaking-wet brushes.\u003c/p>\n\u003cfigure id=\"attachment_13968703\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150.jpg\" alt=\"two giant colorful abstract expressionist paintings and a bright green punched monolith sculpture\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13968703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Making Their Mark’ with work (L to R) by Joan Mitchell, Mary Weatherford and Aria Dean. \u003ccite>(Kelly Sullivan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of the latter, the show opens with Janet Sobel’s much humbler \u003ci>Untitled\u003c/i> (1946), an all-over composition of dripped paint mixed with sand. A simply rendered face peers through her dynamic squiggles of black, red and cornflower blue. We learn that Jackson Pollock saw Sobel’s work in the early 1940s, before his \u003ca href=\"https://www.moma.org/collection/works/80170\">1946 foray into drip painting\u003c/a>. A woman in the background, indeed. \u003c/p>\n\u003cp>It’s some of the older pieces in \u003ci>Making Their Mark\u003c/i> that are the most exciting to see, and the majority of those are contained within the “Luminous Abstraction” section of the show. Here we get Leonore Tawney’s elegant black-and-ivory weaving \u003ci>Inquisition\u003c/i> (1961), Rosemarie Castoro’s languid sculptural relief \u003ci>Gentless (Brushstroke)\u003c/i> (1972), a 1978 Howardena Pindell and a 1969 pour piece from Lynda Benglis. \u003c/p>\n\u003cp>Yes, there are examples in \u003ci>Making Their Mark\u003c/i> of women working in small-scale, craft-adjacent ways, or creating depictions of their own bodily experiences, but there’s more of a “yes, and” emphasis here. Yes, an elegant Toshiko Takaezu ceramic vessel, \u003ci>and\u003c/i> a Simone Leigh bronze. Yes, an eyeball-sizzling Freedom Quilting Bee piece, \u003ci>and\u003c/i> Jacquline Humphries’ digitally enlarged, stenciled canvas pattern.\u003c/p>\n\u003cfigure id=\"attachment_13968704\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000.jpg\" alt=\"Large red, green, yellow and blue quilt with zig-zag pattern next to two paintings, one black and one white with a few colorful small squares.\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13968704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Making Their Mark’ at BAMPFA with the Freedom Quilting Bee’s ‘Pattern to Joseph’s Coat,’ at left and Mary Heilmann’s ‘San Francisco (Night)’ and ‘San Francisco (Day)’ at right. \u003ccite>(Kelly Sullivan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Shah Garg Collection has a certain taste, but to our benefit, that is good taste. The collection tends toward the colorful and the abstract, and indulges in a variety of delicious textures. Its focus, while slightly more narrow than “all art,” leaves plenty of room for curators Cecilia Alemani (of the High Line) and Margot Norton (BAMPFA’s chief curator) to arrange the selected work into slightly unruly, yet educational groupings.\u003c/p>\n\u003cp>This exhibition also marks the beginning of a significant relationship between the Shah Garg Foundation and the museum, which includes the launch of a Women Artists Research Fund and the promised donation of “select artworks” to BAMPFA’s permanent collection. Part of me bristles at the ethically gray area of exhibiting the collection of a major museum donor, and yet this project feels more pure than your average pay-to-play. \u003c/p>\n\u003cp>Some day, hopefully, we won’t need such corrective measures.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/making-their-mark\">Making Their Mark: Works from the Shah Garg Collection\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive through April 20, 2025.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I am of two minds when it comes to public museums exhibiting private collections. One mind grumbles, the other respects.\u003c/p>\n\u003cp>Collectors with the funds to support their art-buying habits can accumulate incredible amounts of work by “great” artists (see the \u003ca href=\"https://www.sfmoma.org/artists-artworks/fisher-collection/\">Fisher Collection\u003c/a> at the San Francisco Museum of Modern Art). They are free to pursue their desires as they see fit, without the democratizing goal of fleshing out a museum’s holdings \u003ci>beyond\u003c/i> those “great” artists (see again, the Fisher Collection).\u003c/p>\n\u003cp>Collectors can also lean into niche fields (see Eli Leon’s \u003ca href=\"https://bampfa.org/news/bampfa-receives-historic-bequest-nearly-three-thousand-quilts-african-american-artists\">African American quilts\u003c/a>, now donated to the Berkeley Art Museum and Pacific Film Archive; Pamela and Richard Kramlich’s focus on \u003ca href=\"https://www.kramlichcollection.org/\">time-based media\u003c/a>; or Rene di Rosa’s penchant for \u003ca href=\"https://www.dirosaart.org/about/history/\">funk art\u003c/a>). Such focus allows them to enact monomaniacal, sometimes visionary approaches to preserving art that might otherwise be undervalued, or even lost to time. \u003c/p>\n\u003cp>All to say: it’s complicated. Which brings us to \u003ci>\u003ca href=\"https://bampfa.org/making-their-mark\">Making Their Mark: Works from the Shah Garg Collection\u003c/a>\u003c/i>, on view at BAMPFA through April 20, 2025.\u003c/p>\n\u003cfigure id=\"attachment_13968700\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000.jpg\" alt=\"woman in bright red dress poses in front of high pedestal with ceramics and sculptures on it\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2202-bampfa-241026_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Komal Shah poses in front the ‘Craft is Art’ section of ‘Making Their Mark’ at BAMPFA. \u003ccite>(Drew Altizer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>Making Their Mark\u003c/i> is, hands down, a lovely show. The Shah Garg Collection, created by Bay Area philanthropist Komal Shah and her husband Gaurav Garg, has turned acquiring art into a political statement about the earnings gap between white men and … everyone else. And this presentation of over 70 women artists proves gender has nothing to do with the quality, scale or material of one’s artistic output.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Which we hopefully all know. But it’s always nice to witness that fact with one’s own eyeballs.\u003c/p>\n\u003cp>The show is filled with monumental pieces, in terms of both size and art historical import. Dominating the former, Mary Weatherford’s \u003ci>Light Falling Like a Broken Chain; Paradise\u003c/i> (2021) is a 24-foot-wide swirl of luminous, rainbow-hued Flashe on linen, a painting of immense physicality that conjures images of giant, soaking-wet brushes.\u003c/p>\n\u003cfigure id=\"attachment_13968703\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150.jpg\" alt=\"two giant colorful abstract expressionist paintings and a bright green punched monolith sculpture\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13968703\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10150-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Making Their Mark’ with work (L to R) by Joan Mitchell, Mary Weatherford and Aria Dean. \u003ccite>(Kelly Sullivan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of the latter, the show opens with Janet Sobel’s much humbler \u003ci>Untitled\u003c/i> (1946), an all-over composition of dripped paint mixed with sand. A simply rendered face peers through her dynamic squiggles of black, red and cornflower blue. We learn that Jackson Pollock saw Sobel’s work in the early 1940s, before his \u003ca href=\"https://www.moma.org/collection/works/80170\">1946 foray into drip painting\u003c/a>. A woman in the background, indeed. \u003c/p>\n\u003cp>It’s some of the older pieces in \u003ci>Making Their Mark\u003c/i> that are the most exciting to see, and the majority of those are contained within the “Luminous Abstraction” section of the show. Here we get Leonore Tawney’s elegant black-and-ivory weaving \u003ci>Inquisition\u003c/i> (1961), Rosemarie Castoro’s languid sculptural relief \u003ci>Gentless (Brushstroke)\u003c/i> (1972), a 1978 Howardena Pindell and a 1969 pour piece from Lynda Benglis. \u003c/p>\n\u003cp>Yes, there are examples in \u003ci>Making Their Mark\u003c/i> of women working in small-scale, craft-adjacent ways, or creating depictions of their own bodily experiences, but there’s more of a “yes, and” emphasis here. Yes, an elegant Toshiko Takaezu ceramic vessel, \u003ci>and\u003c/i> a Simone Leigh bronze. Yes, an eyeball-sizzling Freedom Quilting Bee piece, \u003ci>and\u003c/i> Jacquline Humphries’ digitally enlarged, stenciled canvas pattern.\u003c/p>\n\u003cfigure id=\"attachment_13968704\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000.jpg\" alt=\"Large red, green, yellow and blue quilt with zig-zag pattern next to two paintings, one black and one white with a few colorful small squares.\" width=\"2000\" height=\"1500\" class=\"size-full wp-image-13968704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/2024_10_28_BAMPFA_SG10191_2000-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Making Their Mark’ at BAMPFA with the Freedom Quilting Bee’s ‘Pattern to Joseph’s Coat,’ at left and Mary Heilmann’s ‘San Francisco (Night)’ and ‘San Francisco (Day)’ at right. \u003ccite>(Kelly Sullivan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Shah Garg Collection has a certain taste, but to our benefit, that is good taste. The collection tends toward the colorful and the abstract, and indulges in a variety of delicious textures. Its focus, while slightly more narrow than “all art,” leaves plenty of room for curators Cecilia Alemani (of the High Line) and Margot Norton (BAMPFA’s chief curator) to arrange the selected work into slightly unruly, yet educational groupings.\u003c/p>\n\u003cp>This exhibition also marks the beginning of a significant relationship between the Shah Garg Foundation and the museum, which includes the launch of a Women Artists Research Fund and the promised donation of “select artworks” to BAMPFA’s permanent collection. Part of me bristles at the ethically gray area of exhibiting the collection of a major museum donor, and yet this project feels more pure than your average pay-to-play. \u003c/p>\n\u003cp>Some day, hopefully, we won’t need such corrective measures.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://bampfa.org/making-their-mark\">Making Their Mark: Works from the Shah Garg Collection\u003c/a>’ is on view at the Berkeley Art Museum and Pacific Film Archive through April 20, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13968658\" class=\"wp-caption aligncenter\" style=\"max-width: 752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968658\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03%E2%80%AFAM.png\" alt=\"A book cover showing an illustration of a woman's face upside down. Only the nose, mouth and neck are visible.\" width=\"752\" height=\"1132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03 AM.png 752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03 AM-160x241.png 160w\" sizes=\"(max-width: 752px) 100vw, 752px\">\u003cfigcaption class=\"wp-caption-text\">‘This Is Why We Can’t Have Nice Things’ by Naomi Wood. \u003ccite>(Phoenix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naomi Wood, an English author not yet well known in the U.S., has written three historical novels, including the well-regarded \u003cem>Mrs. Hemingway\u003c/em>, about the four wives of Ernest Hemingway. During the Covid lockdowns, when her kids were confined at home and she had less time to herself, she turned to the short story form. The result, \u003cem>This Is Why We Can’t Have Nice Things\u003c/em>, is an astonishingly good debut collection that often incorporates the bizarre, life-altering reality of the pandemic into the plots.\u003c/p>\n\u003cp>[aside postid='arts_13968593']The main characters tend to be 30-something women trying to have it all. Kids, relationships, satisfying careers — the “seductive slipstream of productivity.” They also strive to be good citizens of an ailing planet and have sex with their partners more than once in a blue moon.\u003c/p>\n\u003cp>In “Comorbidities,” which won the 2023 BBC National Short Story Award, a couple with young children tries to spice up their marriage by making a sex tape. In an abundance of caution, the man pauses the action to read up on digital security and adjust his devices. Hours later, when the glow has worn off, the woman has a panic attack, worrying it might somehow end up in the “deadly slime of the internet.”\u003c/p>\n\u003cp>Her female protagonists happen to be a lusty bunch, enjoying sex in flavors that some might consider kinky. But once the little ones arrive, everything changes. Fathers might leave, but these mothers wouldn’t dream of it. “They’re the grand love affair, in the end. The kids. No one else,” says a character in the story “A/A/A/A.”\u003c/p>\n\u003cp>But don’t think for a minute that they’re selfless or saintly. Feminism has freed them to enter the 21st century labor market and take on high-powered jobs, where they prove to be just as scheming, selfish and manipulative as the men.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Recently, I had started to notice my bad energy, and I began to follow it, wondering where it would take me,” says the main character in “Wedding Day.” And where was that? To a scheme to disrupt her ex-boyfriend’s wedding by insisting he leave the party early to bring their daughter home for her bedtime. But revenge is bittersweet because once he is back in the apartment they used to share, she is overcome with painful memories of their powerful erotic attraction.\u003c/p>\n\u003cp>[aside postid='arts_13968272']For all their flaws — and they have lots of them — the women in these delectable stories are insanely fun to be with because they are so fully imagined and true to the way we live now.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This Is Why We Can’t Have Nice Things by Naomi Wood is out now, via Phoenix.\u003c/em>\u003c/p>\n\n",
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"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"id": "baycurious",
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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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},
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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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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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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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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"meta": {
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"source": "WNYC"
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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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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"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. ",
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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"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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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
},
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