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"content": "\u003cp>At a time when it seems political rhetoric couldn’t get more bitter or outrageous, it’s easy to see the world’s leaders and the people who support them in the worst possible light.\u003c/p>\n\u003cp>[aside postid='arts_13966481']But Netflix’s \u003cem>The Diplomat\u003c/em> offers a different vision of politics: one where sharp staffers are often the backseat drivers in government, and many of those involved are truly interested in improving lives — even when they do awful things along the way.\u003c/p>\n\u003cp>That’s the universe Netflix’s series thrives in, where \u003cem>The Americans\u003c/em> alum Keri Russell plays a hard-nosed, practical mid-level diplomat suddenly elevated to serve as ambassador to Britain, amid plans to groom her to become America’s next vice president.\u003c/p>\n\u003ch3>Starting season two with a bang\u003c/h3>\n\u003cp>As the show’s second season kicks off, Russell’s Ambassador Kate Wyler is dealing with the aftermath of a cliffhanger that ended the first season. Her husband — former ambassador Hal Wyler — along with her deputy, Stuart Hayford and another aide were caught in the blast of a car bomb while trying to meet with an official from the British government.\u003c/p>\n\u003cp>The official may have had information about who really initiated a deadly attack against a British aircraft carrier from the first season. But instead of learning more, Kate’s husband and two members of her staff were caught in another attack.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While British and American officials scamper to figure out exactly what happened, we see \u003cem>The Diplomat \u003c/em>ride a delicious, compelling line between serving up hefty slices of political drama and revealing the mournful humanity of co-workers trying to recover from a massively traumatic event.\u003c/p>\n\u003cp>Every performance here is golden. Rory Kinnear is particularly excellent as an egotistical blowhard of a British Prime minister, Nicol Trowbridge. Ali Ahn, currently earning raves for her performance as a witch on Disney+’s \u003cem>Agatha All Along\u003c/em>, shines here as CIA station chief Eidra Park — trying to offer savvy, effective support to Kate while not-so-secretly fretting about Kate’s deputy Stuart, with whom she had a relationship.\u003c/p>\n\u003cp>Rufus Sewell is magnetic as Kate’s husband Hal; she suspects he sees her ascension to vice president as his best route back to power, but he insists otherwise, testing their relationship. David Gyasi plays U.K. foreign secretary Austin Dennison as a precise-yet-passionate power player, focused on doing the right thing for Britain, even as he grows closer to Kate and her marriage frays.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J49VymjKJ8w\u003c/p>\n\u003cp>But it’s not until \u003cem>West Wing\u003c/em> alum Allison Janney arrives as current Vice President Grace Penn that we see the show’s drama really come alive. As a brilliant vice president who may be forced to step down because of a financial scandal involving her husband, Penn excels at maneuvering others into doing what she wants while leaving them convinced it was all their idea.\u003c/p>\n\u003cp>Some may have been concerned that Janney is playing a souped-up version of her \u003cem>West Wing \u003c/em>character, White House staffer C.J. Cregg. But ultimately, they don’t have much in common beyond a habit of speaking directly and a predilection for pantsuits.\u003c/p>\n\u003cfigure id=\"attachment_13967597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj.png\" alt=\"A middle aged woman with a blond bob stands, arms crossed, in front of a stately home. She is wearing a dark red pantsuit.\" width=\"2000\" height=\"1351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1020x689.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1536x1038.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1920x1297.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Allison Janney as Vice President Grace Penn. \u003ccite>(Alex Bailey/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A show centered on smart women leading\u003c/h3>\n\u003cp>What both of Janney’s characters do have in common, however, is that they are accomplished, effective women — making a difference in environments where their talents and achievements are often underestimated or overlooked.\u003c/p>\n\u003cp>Indeed, several storylines in \u003cem>The Diplomat \u003c/em>revolve around smart women deftly guiding powerful men into making better decisions than they could manage on their own. These men aren’t complete idiots, but also are not as smart as they believe — especially Trowbridge, a vociferous bully who leans heavily on several sharp-thinking women, including his wife.\u003c/p>\n\u003cp>[aside postid='arts_13965841']In a particularly pointed exchange, as Hal notes all the humiliating reasons why Penn should accept her fate and resign without damaging the president’s agenda, Kate responds with a telling line. “What do you think my husband would do if it was him?” she says to Penn. “Would he quit?”\u003c/p>\n\u003cp>The answer — that Hal naturally assumes the benefits he brings would outweigh any political cost — neatly outlines the specter of sexism which hangs over \u003cem>The Diplomat\u003c/em>. In a world free from that particular “ism,” you get the sense these women would actually occupy the seats of power, instead of acting as backseat drivers for the men who do.\u003c/p>\n\u003ch3>Complicated plots that pay off\u003c/h3>\n\u003cp>Compelling as all of this is, the plot gets even more complicated in the second season, as Kate and her team begin to sort what really happened in both the warship attack and the car bomb. New viewers trying to jump into the series now could be thoroughly confused — best to make sure you know the events of the first season before joining in for the second.\u003c/p>\n\u003cp>But once acclimated, you can sit back and enjoy a story set in a political universe where expertise is valued, competition plays out like a protracted, 3D chess game and several staffers caught in the middle truly believe in the possibility of using their offices to make life better for everyone.\u003c/p>\n\u003cp>Who knew a visceral, fast-paced series about a global political conspiracy could also — thanks to the terrible state of our real-world political clashes — feel like something of a fantasy?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Season 2 of ‘The Diplomat’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Netflix’s \u003cem>The Diplomat\u003c/em> offers a different vision of politics: one where sharp staffers are often the backseat drivers in government, and many of those involved are truly interested in improving lives — even when they do awful things along the way.\u003c/p>\n\u003cp>That’s the universe Netflix’s series thrives in, where \u003cem>The Americans\u003c/em> alum Keri Russell plays a hard-nosed, practical mid-level diplomat suddenly elevated to serve as ambassador to Britain, amid plans to groom her to become America’s next vice president.\u003c/p>\n\u003ch3>Starting season two with a bang\u003c/h3>\n\u003cp>As the show’s second season kicks off, Russell’s Ambassador Kate Wyler is dealing with the aftermath of a cliffhanger that ended the first season. Her husband — former ambassador Hal Wyler — along with her deputy, Stuart Hayford and another aide were caught in the blast of a car bomb while trying to meet with an official from the British government.\u003c/p>\n\u003cp>The official may have had information about who really initiated a deadly attack against a British aircraft carrier from the first season. But instead of learning more, Kate’s husband and two members of her staff were caught in another attack.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While British and American officials scamper to figure out exactly what happened, we see \u003cem>The Diplomat \u003c/em>ride a delicious, compelling line between serving up hefty slices of political drama and revealing the mournful humanity of co-workers trying to recover from a massively traumatic event.\u003c/p>\n\u003cp>Every performance here is golden. Rory Kinnear is particularly excellent as an egotistical blowhard of a British Prime minister, Nicol Trowbridge. Ali Ahn, currently earning raves for her performance as a witch on Disney+’s \u003cem>Agatha All Along\u003c/em>, shines here as CIA station chief Eidra Park — trying to offer savvy, effective support to Kate while not-so-secretly fretting about Kate’s deputy Stuart, with whom she had a relationship.\u003c/p>\n\u003cp>Rufus Sewell is magnetic as Kate’s husband Hal; she suspects he sees her ascension to vice president as his best route back to power, but he insists otherwise, testing their relationship. David Gyasi plays U.K. foreign secretary Austin Dennison as a precise-yet-passionate power player, focused on doing the right thing for Britain, even as he grows closer to Kate and her marriage frays.\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/J49VymjKJ8w'\n title='//www.youtube.com/embed/J49VymjKJ8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But it’s not until \u003cem>West Wing\u003c/em> alum Allison Janney arrives as current Vice President Grace Penn that we see the show’s drama really come alive. As a brilliant vice president who may be forced to step down because of a financial scandal involving her husband, Penn excels at maneuvering others into doing what she wants while leaving them convinced it was all their idea.\u003c/p>\n\u003cp>Some may have been concerned that Janney is playing a souped-up version of her \u003cem>West Wing \u003c/em>character, White House staffer C.J. Cregg. But ultimately, they don’t have much in common beyond a habit of speaking directly and a predilection for pantsuits.\u003c/p>\n\u003cfigure id=\"attachment_13967597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj.png\" alt=\"A middle aged woman with a blond bob stands, arms crossed, in front of a stately home. She is wearing a dark red pantsuit.\" width=\"2000\" height=\"1351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1020x689.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1536x1038.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1920x1297.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Allison Janney as Vice President Grace Penn. \u003ccite>(Alex Bailey/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A show centered on smart women leading\u003c/h3>\n\u003cp>What both of Janney’s characters do have in common, however, is that they are accomplished, effective women — making a difference in environments where their talents and achievements are often underestimated or overlooked.\u003c/p>\n\u003cp>Indeed, several storylines in \u003cem>The Diplomat \u003c/em>revolve around smart women deftly guiding powerful men into making better decisions than they could manage on their own. These men aren’t complete idiots, but also are not as smart as they believe — especially Trowbridge, a vociferous bully who leans heavily on several sharp-thinking women, including his wife.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a particularly pointed exchange, as Hal notes all the humiliating reasons why Penn should accept her fate and resign without damaging the president’s agenda, Kate responds with a telling line. “What do you think my husband would do if it was him?” she says to Penn. “Would he quit?”\u003c/p>\n\u003cp>The answer — that Hal naturally assumes the benefits he brings would outweigh any political cost — neatly outlines the specter of sexism which hangs over \u003cem>The Diplomat\u003c/em>. In a world free from that particular “ism,” you get the sense these women would actually occupy the seats of power, instead of acting as backseat drivers for the men who do.\u003c/p>\n\u003ch3>Complicated plots that pay off\u003c/h3>\n\u003cp>Compelling as all of this is, the plot gets even more complicated in the second season, as Kate and her team begin to sort what really happened in both the warship attack and the car bomb. New viewers trying to jump into the series now could be thoroughly confused — best to make sure you know the events of the first season before joining in for the second.\u003c/p>\n\u003cp>But once acclimated, you can sit back and enjoy a story set in a political universe where expertise is valued, competition plays out like a protracted, 3D chess game and several staffers caught in the middle truly believe in the possibility of using their offices to make life better for everyone.\u003c/p>\n\u003cp>Who knew a visceral, fast-paced series about a global political conspiracy could also — thanks to the terrible state of our real-world political clashes — feel like something of a fantasy?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Season 2 of ‘The Diplomat’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Disclaimer’ Is a Sprawling Thriller Built for the Streaming Age",
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"content": "\u003cp>Ever since streaming became a thing, I’ve wondered why more people who make TV don’t take advantage of its freedoms.\u003c/p>\n\u003cp>Sure, creatives talk often about how they’re making 10-hour movies. But that’s frequently just empty bluster to cover for projects which feel like skeletal ideas stretched over too many hours, or a jumble of plotpoints shoehorned uneasily into episodes aimed mostly at boosting engagement.\u003c/p>\n\u003cp>[aside postid='arts_13965841']And then a project comes along like Apple TV+’s \u003cem>Disclaimer\u003c/em>. This seven-episode series uses the breadth and sophistication of streaming to tell a tale which evolves steadily, appearing to be one thing before morphing into something else.\u003c/p>\n\u003cp>In the process, it subverts expectations to ask pointed questions of both the characters and its audience.\u003c/p>\n\u003ch3>A woman who has it all faces her deepest secret\u003c/h3>\n\u003cp>It all begins with Cate Blanchett’s character Catherine Ravenscroft. She’s a journalist and documentary filmmaker successful enough to earn a high-profile award presented by CNN star Christiane Amanpour one moment, and credibly fool a co-worker into thinking Jodie Foster will star in a movie adaptation the next.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She is the sort of high-achieving, work-focused alpha female that Blanchett plays so magnificently — see 2022’s Oscar-nominated \u003ca href=\"https://video.kqed.org/video/tar-hd4vxb/\">\u003cem>Tar\u003c/em>\u003c/a> — flanked by a well-meaning but feckless husband and an emotionally floundering son.\u003c/p>\n\u003cfigure id=\"attachment_13966484\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis.png\" alt=\"A man and woman stand in a kitchen with large windows talking to their adolescent son.\" width=\"2000\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-800x480.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1020x613.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1536x922.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1920x1153.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kodi Smit-McPhee plays Nicholas, Catherine’s son, while Sacha Baron Cohen plays her husband, Robert Ravenscroft. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Living a glamorously upper middle class life, Catherine is a character easy to envy and suspect — so when a novel shows up in her mail which presents a lightly fictionalized story of her extra-marital encounter with a young man decades ago, it’s tough to find sympathy for a woman who seems to have betrayed everyone in her life.\u003c/p>\n\u003cp>[aside postid='arts_13966239']The book, titled \u003cem>The Perfect Stranger\u003c/em>, comes prefaced with an ominous, um, disclaimer: “Any resemblance to persons living or dead is not a coincidence.”\u003c/p>\n\u003cp>The novel paints a picture of horrific self-absorption Catherine is desperate to keep hidden. It details how a woman had an affair with a young man who later drowned trying to save her son, leading the woman to tell police she didn’t know him to cover up their connection.\u003c/p>\n\u003cp>A journalist renowned for exposing others’ secrets seems to have a terrible one of her own.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=so6XoqZgbVM\u003c/p>\n\u003ch3>A story that moves carefully\u003c/h3>\n\u003cp>It is difficult to explain the many twists this narrative takes without dropping spoilers that will ruin the experience. And some may feel the plot — crafted with an auteur’s flair by writer/director Alfonso Cuarón, based on a 2015 novel by Renee Knight — is too predictable and outlandish to land with the power he so obviously intends.\u003c/p>\n\u003cp>[aside postid='arts_13965835']But I found myself swept away by Cuarón’s patient, attentive style. (You’ll spend way too much time wondering about the inner life of a cat which constantly pops up in Catherine’s home at the oddest moments, framed artfully by the director’s lens.) This is a story that moves carefully in revealing its secrets, but never completes an episode without delivering forward momentum, leaving you with new clues, bigger questions and a desire to learn more.\u003c/p>\n\u003cp>Cuarón, a Mexican filmmaker whose name is associated with ambitious movies like \u003cem>Gravity \u003c/em>and \u003cem>Roma\u003c/em>, assembles an ace cast here. Sacha Baron Cohen is convincingly emasculated as Catherine’s entitled husband Robert and Oscar nominee Kodi Smit-McPhee brings maximum emo energy as their drug-addled son, Nicholas.\u003c/p>\n\u003cp>But it is Kevin Kline who is the revelation, even though he’s turned in Oscar, Emmy and Tony-winning work for decades. An American often cast as the prototypical yank, here Kline expertly plays a quietly caustic British widower — retired private school teacher Stephen Brigstocke, devastated after the loss of his wife.\u003c/p>\n\u003cfigure id=\"attachment_13966485\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk.png\" alt=\"A man with white hair leans across a table in a dark bar or restaurant.\" width=\"2000\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-800x519.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1020x662.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-768x498.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1536x997.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1920x1246.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Kline as Stephen Brigstocke. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With an immaculate accent and disheveled style, Kline plays Brigstocke as a man grieving over a family life atomized by loss, stumbling on an ambitious, merciless plan for revenge.\u003c/p>\n\u003cp>He blames Catherine for the death of his son, which happened after the two met years ago. Brigstocke vows to make her pay, in part, by circulating the book.\u003c/p>\n\u003ch3>Shifting narrators bring different perspectives\u003c/h3>\n\u003cp>Even the narration is complicated here. While Kline’s character often reveals his thoughts by speaking directly to the viewer, Catherine’s ideas are rendered by an omniscient female narrator speaking \u003cem>about\u003c/em> her, sometimes sounding like the voice of the book itself. (And yes, it can be confusing, possibly on purpose). There are also flashbacks featuring Kline playing Brigstocke as a younger man and a different actress, Leila George, playing the younger version of Catherine.\u003c/p>\n\u003cp>[aside postid='arts_13966394']It all services a tale exploring the power of storytelling and the danger of assumptions leveraged to make us believe.\u003c/p>\n\u003cp>Yes, the ending is dramatic while spotlighting those ideas in stark terms — some may even find it overly manipulative and a little too pat.\u003c/p>\n\u003cp>But I reveled in a well-told tale that truly earned every second of its seven-episode length, allowing a master filmmaker the time, talent and resources to weave a story perfectly suited for the streaming space.\u003c/p>\n\u003cp>Here’s hoping a few other folks working in this industry are paying close attention.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Disclaimer’ is streaming now on Apple TV+.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ever since streaming became a thing, I’ve wondered why more people who make TV don’t take advantage of its freedoms.\u003c/p>\n\u003cp>Sure, creatives talk often about how they’re making 10-hour movies. But that’s frequently just empty bluster to cover for projects which feel like skeletal ideas stretched over too many hours, or a jumble of plotpoints shoehorned uneasily into episodes aimed mostly at boosting engagement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And then a project comes along like Apple TV+’s \u003cem>Disclaimer\u003c/em>. This seven-episode series uses the breadth and sophistication of streaming to tell a tale which evolves steadily, appearing to be one thing before morphing into something else.\u003c/p>\n\u003cp>In the process, it subverts expectations to ask pointed questions of both the characters and its audience.\u003c/p>\n\u003ch3>A woman who has it all faces her deepest secret\u003c/h3>\n\u003cp>It all begins with Cate Blanchett’s character Catherine Ravenscroft. She’s a journalist and documentary filmmaker successful enough to earn a high-profile award presented by CNN star Christiane Amanpour one moment, and credibly fool a co-worker into thinking Jodie Foster will star in a movie adaptation the next.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She is the sort of high-achieving, work-focused alpha female that Blanchett plays so magnificently — see 2022’s Oscar-nominated \u003ca href=\"https://video.kqed.org/video/tar-hd4vxb/\">\u003cem>Tar\u003c/em>\u003c/a> — flanked by a well-meaning but feckless husband and an emotionally floundering son.\u003c/p>\n\u003cfigure id=\"attachment_13966484\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis.png\" alt=\"A man and woman stand in a kitchen with large windows talking to their adolescent son.\" width=\"2000\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-800x480.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1020x613.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1536x922.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1920x1153.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kodi Smit-McPhee plays Nicholas, Catherine’s son, while Sacha Baron Cohen plays her husband, Robert Ravenscroft. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Living a glamorously upper middle class life, Catherine is a character easy to envy and suspect — so when a novel shows up in her mail which presents a lightly fictionalized story of her extra-marital encounter with a young man decades ago, it’s tough to find sympathy for a woman who seems to have betrayed everyone in her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The book, titled \u003cem>The Perfect Stranger\u003c/em>, comes prefaced with an ominous, um, disclaimer: “Any resemblance to persons living or dead is not a coincidence.”\u003c/p>\n\u003cp>The novel paints a picture of horrific self-absorption Catherine is desperate to keep hidden. It details how a woman had an affair with a young man who later drowned trying to save her son, leading the woman to tell police she didn’t know him to cover up their connection.\u003c/p>\n\u003cp>A journalist renowned for exposing others’ secrets seems to have a terrible one of her own.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/so6XoqZgbVM'\n title='//www.youtube.com/embed/so6XoqZgbVM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>A story that moves carefully\u003c/h3>\n\u003cp>It is difficult to explain the many twists this narrative takes without dropping spoilers that will ruin the experience. And some may feel the plot — crafted with an auteur’s flair by writer/director Alfonso Cuarón, based on a 2015 novel by Renee Knight — is too predictable and outlandish to land with the power he so obviously intends.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But I found myself swept away by Cuarón’s patient, attentive style. (You’ll spend way too much time wondering about the inner life of a cat which constantly pops up in Catherine’s home at the oddest moments, framed artfully by the director’s lens.) This is a story that moves carefully in revealing its secrets, but never completes an episode without delivering forward momentum, leaving you with new clues, bigger questions and a desire to learn more.\u003c/p>\n\u003cp>Cuarón, a Mexican filmmaker whose name is associated with ambitious movies like \u003cem>Gravity \u003c/em>and \u003cem>Roma\u003c/em>, assembles an ace cast here. Sacha Baron Cohen is convincingly emasculated as Catherine’s entitled husband Robert and Oscar nominee Kodi Smit-McPhee brings maximum emo energy as their drug-addled son, Nicholas.\u003c/p>\n\u003cp>But it is Kevin Kline who is the revelation, even though he’s turned in Oscar, Emmy and Tony-winning work for decades. An American often cast as the prototypical yank, here Kline expertly plays a quietly caustic British widower — retired private school teacher Stephen Brigstocke, devastated after the loss of his wife.\u003c/p>\n\u003cfigure id=\"attachment_13966485\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk.png\" alt=\"A man with white hair leans across a table in a dark bar or restaurant.\" width=\"2000\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-800x519.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1020x662.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-768x498.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1536x997.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1920x1246.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Kline as Stephen Brigstocke. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With an immaculate accent and disheveled style, Kline plays Brigstocke as a man grieving over a family life atomized by loss, stumbling on an ambitious, merciless plan for revenge.\u003c/p>\n\u003cp>He blames Catherine for the death of his son, which happened after the two met years ago. Brigstocke vows to make her pay, in part, by circulating the book.\u003c/p>\n\u003ch3>Shifting narrators bring different perspectives\u003c/h3>\n\u003cp>Even the narration is complicated here. While Kline’s character often reveals his thoughts by speaking directly to the viewer, Catherine’s ideas are rendered by an omniscient female narrator speaking \u003cem>about\u003c/em> her, sometimes sounding like the voice of the book itself. (And yes, it can be confusing, possibly on purpose). There are also flashbacks featuring Kline playing Brigstocke as a younger man and a different actress, Leila George, playing the younger version of Catherine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It all services a tale exploring the power of storytelling and the danger of assumptions leveraged to make us believe.\u003c/p>\n\u003cp>Yes, the ending is dramatic while spotlighting those ideas in stark terms — some may even find it overly manipulative and a little too pat.\u003c/p>\n\u003cp>But I reveled in a well-told tale that truly earned every second of its seven-episode length, allowing a master filmmaker the time, talent and resources to weave a story perfectly suited for the streaming space.\u003c/p>\n\u003cp>Here’s hoping a few other folks working in this industry are paying close attention.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Disclaimer’ is streaming now on Apple TV+.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "dating-in-the-bay-reckless-behavior-show-tubi",
"title": "Dating in the Bay Is a Recipe for Drama on ‘Reckless Behavior’",
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"headTitle": "Dating in the Bay Is a Recipe for Drama on ‘Reckless Behavior’ | KQED",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Dating in the Bay is a drama series waiting to happen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a place where the pursuit of love is impacted by everything from real poverty to fake players. Everyone seemingly knows everyone, and far too many people are either on the periphery of the entertainment industry or have one foot in the streets. It’s a region where, for many, money is tight, so space and time for love is nearly nonexistent. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Add the toxic yet universal elements of dating — lying and deceit, heartache and heartbreak — and you’ll understand what led San Leandro’s Michaela P. Shelton to create her scripted show, \u003cem>Reckless Behavior: The Series\u003c/em>.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13966301\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966301\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download.jpg\" alt=\"An image taken from 'Reckless Behavior,' a scripted show about dating in the Bay Area.\" width=\"1280\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-768x432.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Reckless Behavior,’ a scripted show about dating in the Bay Area. \u003ccite>(Courtesy of Michaela P. Shelton )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show has two seasons currently available on Tubi and is set to launch its third season with \u003ca href=\"https://www.eventbrite.com/e/reckless-behavior-the-pre-screen-tickets-1021727814397\" target=\"_blank\" rel=\"noopener\">a special pre-screening this Friday\u003c/a>. It highlights dating issues from the perspective of Michaela’s self-titled character. She’s a quintessential millennial in her late 20s, navigating the job market and maintaining a roof over her head, while staying tight with her friend circle and seeking a healthy romantic relationship.\u003c/p>\n\u003cp>The show is full of drama but grounded in the tone of a modern sitcom, with funny banter and some well-written shady scenarios. There are a few jaggedly delivered lines and a handful of truly awkward situations. While that serves as evidence that not everyone on the cast is a trained actor, it also showcases a wide range of Bay Area personalities \u003cspan style=\"font-weight: 400\">— \u003c/span>beyond the archetypes of hyphy gangsters and slick-talking pimps.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show also does its due diligence when it takes to a heavier tone, reminding viewers about the unsavory aspects of dating and socializing \u003cspan style=\"font-weight: 400\">—\u003c/span> drugs and alcohol, suicide attempts and depression, as well as stalking and physically abusive relationships.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shelton, co-founder of \u003ca href=\"https://queenmediacollective.com/author/queenmediacollective/\" target=\"_blank\" rel=\"noopener\">Queen Media Collective\u003c/a>, is a writer in real life as well as in the series. She says the idea started in 2015 as a radio show while she was a journalism student at San Jose State University. Three years later, \u003cem>Reckless Behavior\u003c/em> became the name of her blog, where she covered her own dating fiascos and spotlighted local artists on the rise. Both the blog and the radio show were inspired by “\u003c/span>the irrational decisions I’d make as a young adult,” says Shelton.\u003c/p>\n\u003cp>Although the show is centered on her post-college dating conundrums, Shelton says viewership has included her peers as well as people in their\u003cspan style=\"font-weight: 400\"> 40s and 50s. And the latter group has provided Shelton with some reassurance about her irrational decisions. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s been older folks reaching out and saying \u003c/span>\u003cspan style=\"font-weight: 400\">they’ve been through something similar,” says Shelton. \u003c/span>\u003cspan style=\"font-weight: 400\">“We were all once young and dumb, and trying to figure it out.”\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DWHKsCSbJXk\u003c/p>\n\u003cp>The fictional Michaela’s pursuit of love takes her to scenic Bay Area locations and well-known businesses, and the cast is full of recognizable faces from the local arts scene.\u003c/p>\n\u003cp>Rappers and comedians, models and tastemakers often show up as themselves and make brief cameos. Podcaster \u003ca href=\"https://www.instagram.com/shamari.ray.bell/\" target=\"_blank\" rel=\"noopener\">Shamari Ray Bell\u003c/a> and KMEL host \u003ca href=\"https://www.instagram.com/_gbizness/\" target=\"_blank\" rel=\"noopener\">Gary “G-Biz” Bizer\u003c/a> play two of the main characters. We also see beloved stoner and entrepreneur \u003ca href=\"https://www.kqed.org/arts/13909254/rightnowish-big-love-oopz\" target=\"_blank\" rel=\"noopener\">Oopz\u003c/a> and talented MC \u003ca href=\"https://www.kqed.org/arts/13853514/rightnowish-honey-gold-jasmines-superpowers-of-balance\" target=\"_blank\" rel=\"noopener\">Honey Gold Jasmine\u003c/a>, as well as popular travel vlogger \u003ca href=\"https://www.instagram.com/thebrandon510/\" target=\"_blank\" rel=\"noopener\">Brandon “Beejus” Robinson\u003c/a>, event host and poet \u003ca href=\"https://www.kqed.org/arts/13888257/gold-beams\" target=\"_blank\" rel=\"noopener\">Tayleur Crenshaw\u003c/a> (who produces events at KQED) and more.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“That’s intentional,” says Shelton, adding that she wanted to bring visibility to creatives who deserve more light. “I reached out to people and asked them if they had an interest in acting and expanding their skillset.” One of the many people who answered Shelton’s call was rapper and actor \u003ca href=\"https://www.instagram.com/tcarriermusic/\" target=\"_blank\" rel=\"noopener\">T. Carriér\u003c/a>. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13966314\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966314\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-scaled.jpg\" alt=\"Actor and rapper T. Carriér pays homage to Tupac by dressing in a similar fashion, as he poses for a photoshoot for his latest album.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Actor and rapper T. Carriér pays homage to Tupac by dressing in a similar fashion, as he poses for a photoshoot for his latest album. \u003ccite>(Latece Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Born in San Francisco and raised in Fairfield, Carriér has \u003c/span>been in the music game for over a decade, working as an artist and as a manager.\u003c/p>\n\u003cp>Under his label Black Money Music Group, he worked with artists like Sage The Gemini during his run of hits, “\u003ca href=\"https://www.youtube.com/watch?v=X8LUd51IuiA\" target=\"_blank\" rel=\"noopener\">Gas Pedal\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=-I-YY5p0uq8\" target=\"_blank\" rel=\"noopener\">Red Nose,\u003c/a>” as well as “\u003ca href=\"https://www.youtube.com/watch?v=80seHo0DHyo\" target=\"_blank\" rel=\"noopener\">Panoramic\u003c/a>” rapper Dmac and San Francisco’s \u003ca href=\"https://www.instagram.com/showy4mayor/?hl=en\" target=\"_blank\" rel=\"noopener\">Show Banga\u003c/a>.\u003c/p>\n\u003cp>Carriér was already into making hip-hop music when he got his first taste of acting as a student at Fairfield’s Armijo High School. He credits a former teacher, Mr. Brown, who Carriér describes as an “old school Broadway theatrical guy,” for pushing him to find other ways to showcase his talents. “\u003cspan style=\"font-weight: 400\">He introduced me to a lot of key factors of theater,” says Carriér during a recent phone call. “\u003c/span>\u003cspan style=\"font-weight: 400\">I started feeling like, let me learn more about this stuff.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Carriér got the opportunity to show his acting skills on the heels of releasing a music project a few years ago; he and Shelton originally connected because she wanted to write about his music. The two stayed in contact, and when it was time to turn her blog into a streaming series, Shelton reached out to Carriér again. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I\u003c/span>\u003cspan style=\"font-weight: 400\">‘d n\u003c/span>\u003cspan style=\"font-weight: 400\">ever heard someone doing that before, not locally,” Carriér says of Shelton’s dream to create a show. \u003c/span>\u003cspan style=\"font-weight: 400\">Carriér was excited to come onboard, but scheduling conflicts didn’t allow him to be as immersed in the first season as he would’ve liked. \u003c/span>\u003c/p>\n\u003cp>In the third season, \u003cspan style=\"font-weight: 400\">Carriér has a reoccurring role as a playboy-type rapper named Passion. And behind the scenes, Carriér worked alongside Shelton and assistant director \u003ca href=\"https://www.instagram.com/laurenrascoe/\" target=\"_blank\" rel=\"noopener\">Lauren Rascoe\u003c/a> to get hands-on experience as a director and producer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What’s more, Carriér says, is that the show has opened doors for him in the entertainment industry. This year, he’s done work with Keke Palmer’s KeyTV network and has worked on a spot for Reebok. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Because of this show,” says Carriér, “I’ve been able to showcase my talents and get more opportunities.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13966318\" class=\"wp-caption aligncenter\" style=\"max-width: 2248px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966318\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819.jpg\" alt=\"T. Carriér performing at The New Parish in Oakland.\" width=\"2248\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819.jpg 2248w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-1920x1281.jpg 1920w\" sizes=\"(max-width: 2248px) 100vw, 2248px\">\u003cfigcaption class=\"wp-caption-text\">T. Carriér performing at The New Parish in Oakland. \u003ccite>(Dominique Washington )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">This growth in the world of acting comes at a trying time for Carriér, who lost his mother this past summer. After her death, he recommitted himself to going hard for his family and pursuing his dreams of being an entertainer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Last month he dropped \u003ca href=\"https://distrokid.com/hyperfollow/tcarrir/strength?utm_campaign=website&utm_medium=Email+&utm_source=SendGrid\" target=\"_blank\" rel=\"noopener\">an eight-song EP titled \u003cem>Strength\u003c/em>\u003c/a>, and he’s on the verge of following up this month with another project called \u003cem>Focus\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With even more music and future acting gigs on the horizon, Carriér reflects on the driving force behind his latest push: “I promised [my mom], from this moment, that I got us. At this point I’m just trying to stand on that.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In a humble tone, he says his goal is to “demonstrate some sort of strength and resilience” for his family, as his mother’s passing left them all with a gaping hole. \u003c/span>\u003cspan style=\"font-weight: 400\">“Now I have to assume that role,” says Carriér. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Carriér’s determination to succeed in turn has supported Shelton’s dream of being a writer, and vice versa. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This symbiotic relationship illustrates how it’s bigger than a dramatic series about trashy dating experiences. It’s even bigger than putting on for the Bay. It’s honestly about fostering a supportive creative community and supporting one another as we move toward a common goal. There’s nothing \u003cem>reckless\u003c/em> about that. \u003c/span>\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The team behind ‘Reckless Behavior’ will hold a pre-screening of season three this Friday, Oct. 11, at Oakland’s Destiny Arts Center. \u003ca href=\"https://www.eventbrite.com/e/reckless-behavior-the-pre-screen-tickets-1021727814397\" target=\"_blank\" rel=\"noopener\">Details and tickets here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Dating in the Bay is a drama series waiting to happen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a place where the pursuit of love is impacted by everything from real poverty to fake players. Everyone seemingly knows everyone, and far too many people are either on the periphery of the entertainment industry or have one foot in the streets. It’s a region where, for many, money is tight, so space and time for love is nearly nonexistent. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Add the toxic yet universal elements of dating — lying and deceit, heartache and heartbreak — and you’ll understand what led San Leandro’s Michaela P. Shelton to create her scripted show, \u003cem>Reckless Behavior: The Series\u003c/em>.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13966301\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966301\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download.jpg\" alt=\"An image taken from 'Reckless Behavior,' a scripted show about dating in the Bay Area.\" width=\"1280\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/download-768x432.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Reckless Behavior,’ a scripted show about dating in the Bay Area. \u003ccite>(Courtesy of Michaela P. Shelton )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show has two seasons currently available on Tubi and is set to launch its third season with \u003ca href=\"https://www.eventbrite.com/e/reckless-behavior-the-pre-screen-tickets-1021727814397\" target=\"_blank\" rel=\"noopener\">a special pre-screening this Friday\u003c/a>. It highlights dating issues from the perspective of Michaela’s self-titled character. She’s a quintessential millennial in her late 20s, navigating the job market and maintaining a roof over her head, while staying tight with her friend circle and seeking a healthy romantic relationship.\u003c/p>\n\u003cp>The show is full of drama but grounded in the tone of a modern sitcom, with funny banter and some well-written shady scenarios. There are a few jaggedly delivered lines and a handful of truly awkward situations. While that serves as evidence that not everyone on the cast is a trained actor, it also showcases a wide range of Bay Area personalities \u003cspan style=\"font-weight: 400\">— \u003c/span>beyond the archetypes of hyphy gangsters and slick-talking pimps.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show also does its due diligence when it takes to a heavier tone, reminding viewers about the unsavory aspects of dating and socializing \u003cspan style=\"font-weight: 400\">—\u003c/span> drugs and alcohol, suicide attempts and depression, as well as stalking and physically abusive relationships.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Shelton, co-founder of \u003ca href=\"https://queenmediacollective.com/author/queenmediacollective/\" target=\"_blank\" rel=\"noopener\">Queen Media Collective\u003c/a>, is a writer in real life as well as in the series. She says the idea started in 2015 as a radio show while she was a journalism student at San Jose State University. Three years later, \u003cem>Reckless Behavior\u003c/em> became the name of her blog, where she covered her own dating fiascos and spotlighted local artists on the rise. Both the blog and the radio show were inspired by “\u003c/span>the irrational decisions I’d make as a young adult,” says Shelton.\u003c/p>\n\u003cp>Although the show is centered on her post-college dating conundrums, Shelton says viewership has included her peers as well as people in their\u003cspan style=\"font-weight: 400\"> 40s and 50s. And the latter group has provided Shelton with some reassurance about her irrational decisions. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s been older folks reaching out and saying \u003c/span>\u003cspan style=\"font-weight: 400\">they’ve been through something similar,” says Shelton. \u003c/span>\u003cspan style=\"font-weight: 400\">“We were all once young and dumb, and trying to figure it out.”\u003c/span>\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/DWHKsCSbJXk'\n title='//www.youtube.com/embed/DWHKsCSbJXk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The fictional Michaela’s pursuit of love takes her to scenic Bay Area locations and well-known businesses, and the cast is full of recognizable faces from the local arts scene.\u003c/p>\n\u003cp>Rappers and comedians, models and tastemakers often show up as themselves and make brief cameos. Podcaster \u003ca href=\"https://www.instagram.com/shamari.ray.bell/\" target=\"_blank\" rel=\"noopener\">Shamari Ray Bell\u003c/a> and KMEL host \u003ca href=\"https://www.instagram.com/_gbizness/\" target=\"_blank\" rel=\"noopener\">Gary “G-Biz” Bizer\u003c/a> play two of the main characters. We also see beloved stoner and entrepreneur \u003ca href=\"https://www.kqed.org/arts/13909254/rightnowish-big-love-oopz\" target=\"_blank\" rel=\"noopener\">Oopz\u003c/a> and talented MC \u003ca href=\"https://www.kqed.org/arts/13853514/rightnowish-honey-gold-jasmines-superpowers-of-balance\" target=\"_blank\" rel=\"noopener\">Honey Gold Jasmine\u003c/a>, as well as popular travel vlogger \u003ca href=\"https://www.instagram.com/thebrandon510/\" target=\"_blank\" rel=\"noopener\">Brandon “Beejus” Robinson\u003c/a>, event host and poet \u003ca href=\"https://www.kqed.org/arts/13888257/gold-beams\" target=\"_blank\" rel=\"noopener\">Tayleur Crenshaw\u003c/a> (who produces events at KQED) and more.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“That’s intentional,” says Shelton, adding that she wanted to bring visibility to creatives who deserve more light. “I reached out to people and asked them if they had an interest in acting and expanding their skillset.” One of the many people who answered Shelton’s call was rapper and actor \u003ca href=\"https://www.instagram.com/tcarriermusic/\" target=\"_blank\" rel=\"noopener\">T. Carriér\u003c/a>. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13966314\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966314\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-scaled.jpg\" alt=\"Actor and rapper T. Carriér pays homage to Tupac by dressing in a similar fashion, as he poses for a photoshoot for his latest album.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/41341648-617B-49A9-A194-DB6FDA93DA3F-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Actor and rapper T. Carriér pays homage to Tupac by dressing in a similar fashion, as he poses for a photoshoot for his latest album. \u003ccite>(Latece Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Born in San Francisco and raised in Fairfield, Carriér has \u003c/span>been in the music game for over a decade, working as an artist and as a manager.\u003c/p>\n\u003cp>Under his label Black Money Music Group, he worked with artists like Sage The Gemini during his run of hits, “\u003ca href=\"https://www.youtube.com/watch?v=X8LUd51IuiA\" target=\"_blank\" rel=\"noopener\">Gas Pedal\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=-I-YY5p0uq8\" target=\"_blank\" rel=\"noopener\">Red Nose,\u003c/a>” as well as “\u003ca href=\"https://www.youtube.com/watch?v=80seHo0DHyo\" target=\"_blank\" rel=\"noopener\">Panoramic\u003c/a>” rapper Dmac and San Francisco’s \u003ca href=\"https://www.instagram.com/showy4mayor/?hl=en\" target=\"_blank\" rel=\"noopener\">Show Banga\u003c/a>.\u003c/p>\n\u003cp>Carriér was already into making hip-hop music when he got his first taste of acting as a student at Fairfield’s Armijo High School. He credits a former teacher, Mr. Brown, who Carriér describes as an “old school Broadway theatrical guy,” for pushing him to find other ways to showcase his talents. “\u003cspan style=\"font-weight: 400\">He introduced me to a lot of key factors of theater,” says Carriér during a recent phone call. “\u003c/span>\u003cspan style=\"font-weight: 400\">I started feeling like, let me learn more about this stuff.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Carriér got the opportunity to show his acting skills on the heels of releasing a music project a few years ago; he and Shelton originally connected because she wanted to write about his music. The two stayed in contact, and when it was time to turn her blog into a streaming series, Shelton reached out to Carriér again. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I\u003c/span>\u003cspan style=\"font-weight: 400\">‘d n\u003c/span>\u003cspan style=\"font-weight: 400\">ever heard someone doing that before, not locally,” Carriér says of Shelton’s dream to create a show. \u003c/span>\u003cspan style=\"font-weight: 400\">Carriér was excited to come onboard, but scheduling conflicts didn’t allow him to be as immersed in the first season as he would’ve liked. \u003c/span>\u003c/p>\n\u003cp>In the third season, \u003cspan style=\"font-weight: 400\">Carriér has a reoccurring role as a playboy-type rapper named Passion. And behind the scenes, Carriér worked alongside Shelton and assistant director \u003ca href=\"https://www.instagram.com/laurenrascoe/\" target=\"_blank\" rel=\"noopener\">Lauren Rascoe\u003c/a> to get hands-on experience as a director and producer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What’s more, Carriér says, is that the show has opened doors for him in the entertainment industry. This year, he’s done work with Keke Palmer’s KeyTV network and has worked on a spot for Reebok. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Because of this show,” says Carriér, “I’ve been able to showcase my talents and get more opportunities.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13966318\" class=\"wp-caption aligncenter\" style=\"max-width: 2248px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966318\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819.jpg\" alt=\"T. Carriér performing at The New Parish in Oakland.\" width=\"2248\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819.jpg 2248w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-2048x1367.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_0819-1920x1281.jpg 1920w\" sizes=\"(max-width: 2248px) 100vw, 2248px\">\u003cfigcaption class=\"wp-caption-text\">T. Carriér performing at The New Parish in Oakland. \u003ccite>(Dominique Washington )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">This growth in the world of acting comes at a trying time for Carriér, who lost his mother this past summer. After her death, he recommitted himself to going hard for his family and pursuing his dreams of being an entertainer. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Last month he dropped \u003ca href=\"https://distrokid.com/hyperfollow/tcarrir/strength?utm_campaign=website&utm_medium=Email+&utm_source=SendGrid\" target=\"_blank\" rel=\"noopener\">an eight-song EP titled \u003cem>Strength\u003c/em>\u003c/a>, and he’s on the verge of following up this month with another project called \u003cem>Focus\u003c/em>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With even more music and future acting gigs on the horizon, Carriér reflects on the driving force behind his latest push: “I promised [my mom], from this moment, that I got us. At this point I’m just trying to stand on that.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In a humble tone, he says his goal is to “demonstrate some sort of strength and resilience” for his family, as his mother’s passing left them all with a gaping hole. \u003c/span>\u003cspan style=\"font-weight: 400\">“Now I have to assume that role,” says Carriér. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Carriér’s determination to succeed in turn has supported Shelton’s dream of being a writer, and vice versa. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This symbiotic relationship illustrates how it’s bigger than a dramatic series about trashy dating experiences. It’s even bigger than putting on for the Bay. It’s honestly about fostering a supportive creative community and supporting one another as we move toward a common goal. There’s nothing \u003cem>reckless\u003c/em> about that. \u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The team behind ‘Reckless Behavior’ will hold a pre-screening of season three this Friday, Oct. 11, at Oakland’s Destiny Arts Center. \u003ca href=\"https://www.eventbrite.com/e/reckless-behavior-the-pre-screen-tickets-1021727814397\" target=\"_blank\" rel=\"noopener\">Details and tickets here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Industry’ Got Pulpier, Nastier and Better in Season 3",
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"content": "\u003cp>\u003cem>This piece contains spoilers for \u003c/em>Industry \u003cem>Season 3\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>Even by the standards of an inherently stressful show like \u003ca href=\"https://www.npr.org/2024/08/07/nx-s1-5064320/hbo-industry-season-3\">HBO’s \u003cem>Industry\u003c/em>\u003c/a>, Sunday night’s Season 3 finale was an absolutely diabolical doozy, the kind of conclusion that makes you sit up in your seat and yell at the screen, \u003cem>“Holy ****!!!”\u003c/em>\u003c/p>\n\u003cp>Scrappy and utterly ruthless trader \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now/\">Harper\u003c/a> (Myha’la) managed to claw her way into a partnership with a mega-powerful and equally unscrupulous financier while scratching everyone in her path. Try as she might’ve to avoid it, socialite Yasmin (Marisa Abela) stepped fully into her fate by getting engaged to the man-child tech billionaire Sir Henry Muck (Kit Harington, aka \u003ca href=\"https://www.npr.org/2016/04/22/475261626/we-know-nothing-about-jon-snow-as-game-of-thrones-returns\">Jon Snow\u003c/a>), breaking Robert’s heart in the process. And time was finally up for managing director Eric (Ken Leung), as he was told by Pierpoint & Co.’s CFO that “there’s no business need” for him now that the company’s been bought by Egyptian investment firm Al-Mi’raj.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fV6BGl2YA04\u003c/p>\n\u003cp>From the beginning, Mickey Down and Konrad Kay’s \u003cem>Industry \u003c/em>has explored familiar — though no less enticing — prestige-TV themes around survival in a cutthroat workplace and ever-compromised morals among the filthy rich and those aspiring to be filthy rich. It’s often somewhat lazily compared to \u003cem>Succession\u003c/em>, and has sometimes courted or at least acknowledged the comparison. (Eric to Rishi in Season 2: “\u003ca href=\"https://www.tiktok.com/@hbo/video/7146623348439649578?lang=en\">Any particular reason you’re dressed as Kendall Roy?\u003c/a>”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But \u003cem>Industry \u003c/em>is in its own lane, pulpier and seedier than the classical overtures of the Roy family, and Season 3 really leaned into the muck for the better. In the sixth episode, frenemies Harper and Yas engaged in a scathing war of words which climaxed in a ferocious exchange of slaps; it was a long time coming, and the daggers they hurled at one another were top-notch, \u003cem>Dynasty\u003c/em>-esque, worthy of a primetime Shonda Rhimes melodrama.\u003c/p>\n\u003cp>[aside postid='arts_13965835']And in the finale, Rishi (Sagar Radia), the uncouth Alpha-male trader who’s emerged from the show’s periphery, suffered the bleakest of consequences, for an out-of-control gambling addiction: His estranged wife was murdered right in front of him by the loan shark he’s indebted to.\u003c/p>\n\u003cp>In fact, death loomed over this season in several ways. The most protracted and melodramatic among them was the ripped-from-the-headlines plot concerning Yas’s repulsive dad Charles, whose character appears to be drawn from the bios of both \u003ca href=\"https://www.kqed.org/arts/13882981/epstein-confidante-ghislaine-maxwell-is-unlike-any-enabler-weve-seen-before\">Jeffrey Epstein and Ghislaine Maxwell\u003c/a>’s media magnate father Robert Maxwell. The series cultivated an air of suspicion surrounding Charles’ disappearance from the party yacht, doling out the details of what occurred in piecemeal flashbacks over the course of several episodes.\u003c/p>\n\u003cfigure id=\"attachment_13965849\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965849\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas.png\" alt=\"A white man and woman walk the grounds of a stately home.\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-1536x1022.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-1920x1278.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Robert (Harry Lawtey) and Yasmin (Marisa Abela). \u003ccite>(Simon Ridgway/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yas was on the yacht with him that day, despite claiming to want “nothing to do with him” at the end of Season 2 once she learned about his pattern of inappropriate affairs with younger women. (Including her childhood nanny, a teen at the time.) Maybe, as she very guiltily “joked” to Robert at one point, she killed him; or maybe, like the British tabloids suggested, she’d helped him hide out to avoid dealing with the consequences of his embezzlement. In the end, Yas didn’t push Charles overboard that yacht, but she did watch him drown without trying to save him. That’s \u003cem>dark\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13964217']This is the kind of sweeps-week storyline (remember those?) that could elicit groans for seeming cheaply manipulative, but \u003cem>Industry \u003c/em>is a show where everyone and everything is connected and no relationship, no matter how unhinged, is superfluous. Harper’s presence aboard the yacht and her knowledge of what went down adds color to their rocky history as former adversaries at Pierpoint and on-and-off again friends; it’s meaningful that one of the show’s most \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now/\">unabashedly opportunistic characters\u003c/a> cared enough to keep Yas’ secret.\u003c/p>\n\u003cp>Which is why it’s poetic (and disappointing) that Yas ultimately wound up getting engaged to a version of her father – Henry, like Charles, was accused of sleeping with his employees. The continuous comforts of material luxury and guaranteed financial security proved too alluring to relinquish. One of \u003cem>Industry\u003c/em>’s most engrossing recurring subjects is generational divides — and their limits. The show is an early depiction of Gen Z in the corporate space, and characters’ actions show that for all the relatively progressive ideals of youth, the influence of elders (and capitalism) is strong.\u003c/p>\n\u003cfigure id=\"attachment_13965850\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965850\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken.png\" alt=\"A middle aged Asian man stands in the lobby of a glass office building.\" width=\"2000\" height=\"1327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-1536x1019.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-1920x1274.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ken Leung as Eric. \u003ccite>(Simon Ridgway/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Eric spent much of this season lecturing the younger cohort in his orbit — former mentee Harper, Yas, and even millennial Rishi — about “ethics” and the very dangerous risks they were taking in the business. Yet this is the same guy who intimidatingly carries a baseball bat around the sales floor, does coke with his direct reports (he hooked up with Yas’ lawyer!), and on more than one occasion has exploited and sabotaged his colleagues to stay afloat at Pierpoint.\u003c/p>\n\u003cp>[aside postid='arts_13963775']When he admonished Harper for treating everyone, including Yas, as collateral on her road to domination, it was refreshing to hear Harper make plain \u003cem>Industry\u003c/em>’s M.O.: “Everything you do on the floor communicates an ideology that people are a means to an end! I enact \u003cem>your\u003c/em> philosophy and you have the nerve to come into my office and call \u003cem>me\u003c/em> a bad person?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They’re both right, of course. And that’s the beauty of \u003cem>Industry\u003c/em>, which has been mercifully renewed for a fourth season. It’s a show less concerned with characters who are easily “likable” or “despicable.” What matters is they are individuals with clear ambitions and unique strategies for getting what they aim for — and this makes them endlessly watchable.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This piece contains spoilers for \u003c/em>Industry \u003cem>Season 3\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>Even by the standards of an inherently stressful show like \u003ca href=\"https://www.npr.org/2024/08/07/nx-s1-5064320/hbo-industry-season-3\">HBO’s \u003cem>Industry\u003c/em>\u003c/a>, Sunday night’s Season 3 finale was an absolutely diabolical doozy, the kind of conclusion that makes you sit up in your seat and yell at the screen, \u003cem>“Holy ****!!!”\u003c/em>\u003c/p>\n\u003cp>Scrappy and utterly ruthless trader \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now/\">Harper\u003c/a> (Myha’la) managed to claw her way into a partnership with a mega-powerful and equally unscrupulous financier while scratching everyone in her path. Try as she might’ve to avoid it, socialite Yasmin (Marisa Abela) stepped fully into her fate by getting engaged to the man-child tech billionaire Sir Henry Muck (Kit Harington, aka \u003ca href=\"https://www.npr.org/2016/04/22/475261626/we-know-nothing-about-jon-snow-as-game-of-thrones-returns\">Jon Snow\u003c/a>), breaking Robert’s heart in the process. And time was finally up for managing director Eric (Ken Leung), as he was told by Pierpoint & Co.’s CFO that “there’s no business need” for him now that the company’s been bought by Egyptian investment firm Al-Mi’raj.\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/fV6BGl2YA04'\n title='//www.youtube.com/embed/fV6BGl2YA04'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From the beginning, Mickey Down and Konrad Kay’s \u003cem>Industry \u003c/em>has explored familiar — though no less enticing — prestige-TV themes around survival in a cutthroat workplace and ever-compromised morals among the filthy rich and those aspiring to be filthy rich. It’s often somewhat lazily compared to \u003cem>Succession\u003c/em>, and has sometimes courted or at least acknowledged the comparison. (Eric to Rishi in Season 2: “\u003ca href=\"https://www.tiktok.com/@hbo/video/7146623348439649578?lang=en\">Any particular reason you’re dressed as Kendall Roy?\u003c/a>”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But \u003cem>Industry \u003c/em>is in its own lane, pulpier and seedier than the classical overtures of the Roy family, and Season 3 really leaned into the muck for the better. In the sixth episode, frenemies Harper and Yas engaged in a scathing war of words which climaxed in a ferocious exchange of slaps; it was a long time coming, and the daggers they hurled at one another were top-notch, \u003cem>Dynasty\u003c/em>-esque, worthy of a primetime Shonda Rhimes melodrama.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And in the finale, Rishi (Sagar Radia), the uncouth Alpha-male trader who’s emerged from the show’s periphery, suffered the bleakest of consequences, for an out-of-control gambling addiction: His estranged wife was murdered right in front of him by the loan shark he’s indebted to.\u003c/p>\n\u003cp>In fact, death loomed over this season in several ways. The most protracted and melodramatic among them was the ripped-from-the-headlines plot concerning Yas’s repulsive dad Charles, whose character appears to be drawn from the bios of both \u003ca href=\"https://www.kqed.org/arts/13882981/epstein-confidante-ghislaine-maxwell-is-unlike-any-enabler-weve-seen-before\">Jeffrey Epstein and Ghislaine Maxwell\u003c/a>’s media magnate father Robert Maxwell. The series cultivated an air of suspicion surrounding Charles’ disappearance from the party yacht, doling out the details of what occurred in piecemeal flashbacks over the course of several episodes.\u003c/p>\n\u003cfigure id=\"attachment_13965849\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965849\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas.png\" alt=\"A white man and woman walk the grounds of a stately home.\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-1536x1022.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/yas-1920x1278.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Robert (Harry Lawtey) and Yasmin (Marisa Abela). \u003ccite>(Simon Ridgway/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yas was on the yacht with him that day, despite claiming to want “nothing to do with him” at the end of Season 2 once she learned about his pattern of inappropriate affairs with younger women. (Including her childhood nanny, a teen at the time.) Maybe, as she very guiltily “joked” to Robert at one point, she killed him; or maybe, like the British tabloids suggested, she’d helped him hide out to avoid dealing with the consequences of his embezzlement. In the end, Yas didn’t push Charles overboard that yacht, but she did watch him drown without trying to save him. That’s \u003cem>dark\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is the kind of sweeps-week storyline (remember those?) that could elicit groans for seeming cheaply manipulative, but \u003cem>Industry \u003c/em>is a show where everyone and everything is connected and no relationship, no matter how unhinged, is superfluous. Harper’s presence aboard the yacht and her knowledge of what went down adds color to their rocky history as former adversaries at Pierpoint and on-and-off again friends; it’s meaningful that one of the show’s most \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now/\">unabashedly opportunistic characters\u003c/a> cared enough to keep Yas’ secret.\u003c/p>\n\u003cp>Which is why it’s poetic (and disappointing) that Yas ultimately wound up getting engaged to a version of her father – Henry, like Charles, was accused of sleeping with his employees. The continuous comforts of material luxury and guaranteed financial security proved too alluring to relinquish. One of \u003cem>Industry\u003c/em>’s most engrossing recurring subjects is generational divides — and their limits. The show is an early depiction of Gen Z in the corporate space, and characters’ actions show that for all the relatively progressive ideals of youth, the influence of elders (and capitalism) is strong.\u003c/p>\n\u003cfigure id=\"attachment_13965850\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965850\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken.png\" alt=\"A middle aged Asian man stands in the lobby of a glass office building.\" width=\"2000\" height=\"1327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-1536x1019.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/ken-1920x1274.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ken Leung as Eric. \u003ccite>(Simon Ridgway/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Eric spent much of this season lecturing the younger cohort in his orbit — former mentee Harper, Yas, and even millennial Rishi — about “ethics” and the very dangerous risks they were taking in the business. Yet this is the same guy who intimidatingly carries a baseball bat around the sales floor, does coke with his direct reports (he hooked up with Yas’ lawyer!), and on more than one occasion has exploited and sabotaged his colleagues to stay afloat at Pierpoint.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When he admonished Harper for treating everyone, including Yas, as collateral on her road to domination, it was refreshing to hear Harper make plain \u003cem>Industry\u003c/em>’s M.O.: “Everything you do on the floor communicates an ideology that people are a means to an end! I enact \u003cem>your\u003c/em> philosophy and you have the nerve to come into my office and call \u003cem>me\u003c/em> a bad person?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They’re both right, of course. And that’s the beauty of \u003cem>Industry\u003c/em>, which has been mercifully renewed for a fourth season. It’s a show less concerned with characters who are easily “likable” or “despicable.” What matters is they are individuals with clear ambitions and unique strategies for getting what they aim for — and this makes them endlessly watchable.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "snl-best-impersonations-of-politicians-kamala-harris-maya-rudolph-tina-fey-palin",
"title": "‘SNL’ Has Always Taken on Politics. Here’s What Works – and Why",
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"content": "\u003cp>As a comedy nerd who has watched \u003cem>Saturday Night Live\u003c/em> since I stumbled on a rerun of the debut episode back in the mid-1970s, I’m convinced \u003cem>SNL\u003c/em> has had a profound impact on how America views politics.\u003c/p>\n\u003cp>But the show has seemingly struggled in recent years, as the absurdity of modern politics has caught up to satire. Former president Donald Trump’s references to myths about Haitian immigrants eating pets, his running mate JD Vance’s comments about women without children, Vice President Kamala Harris having to defend stories about working at McDonald’s as a youth — it all seems like stuff which would have been in sketches years ago, instead of real life.\u003c/p>\n\u003cp>[aside postid='arts_13965683']As a historic election looms, and the show begins its landmark 50th season this week, \u003cem>SNL\u003c/em> faces an ongoing challenge: to make America laugh — and think differently — about a political world which has gotten stranger than anyone could have predicted when the show debuted back in 1975.\u003c/p>\n\u003cp>Already, the show’s been on summer hiatus for the year’s three most seismic political events: President Joe Biden’s terrible debate performance against former president Donald Trump, Biden’s eventual decision to step aside for Vice President Kamala Harris and Harris’ domineering debate performance against Trump. So they’ll need to hit the ground running from the very start of the new season.\u003c/p>\n\u003ch3>A political impact from the beginning\u003c/h3>\n\u003cp>I decided to bounce some of my harebrained theories about \u003cem>SNL\u003c/em>’s impact over time off Al Franken, who wrote some of the show’s earliest political skits and worked there for many years as a writer and performer, before serving nearly ten years as a U.S. senator from Minnesota.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(Franken \u003ca href=\"https://www.npr.org/2017/12/07/568909860/sen-al-franken-to-make-announcement-amid-calls-for-him-to-resign\">\u003cu>resigned from the Senate in 2018\u003c/u>\u003c/a> amid allegations of misconduct from several women who accused him of touching or kissing them in inappropriate ways. He has denied some allegations, said he remembers others differently, apologized for making some women feel uncomfortable and \u003ca href=\"https://www.newyorker.com/magazine/2019/07/29/the-case-of-al-franken\">\u003cu>said he regrets resigning the office\u003c/u>\u003c/a>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nEIpAIqzbTg\u003c/p>\n\u003cp>When it came to political satire, Franken says he and his fellow \u003cem>SNL\u003c/em> writers had a pretty simple goal: Craft stuff that would be funny for people who knew both a little — and a lot — about politics.\u003c/p>\n\u003cp>“We didn’t try to be liberal or conservative,” says Franken, who worked on the show in various stints from 1975, during its very first season, to 1995, helping write classic sketches featuring Dan Aykroyd as President Richard Nixon during his last days in office and Dana Carvey as both George H.W. Bush and Ross Perot in a debate.\u003c/p>\n\u003cp>[aside postid='arts_13965548']Quoting another legendary \u003cem>SNL\u003c/em> writer, Jim Downey, he adds, “We just tried to do stuff … that would reward people for knowing stuff, but not punish them for not … Sketches that would be funny to everyone, but we were also trying to put in things that, really, really, smart people could go, ‘Oh I see. They put that in there for me.’”\u003c/p>\n\u003ch3>‘SNL’ shapes our view of politicians through impressions\u003c/h3>\n\u003cp>When \u003cem>Saturday Night Live\u003c/em> nails an impression of a politician, it manages a unique alchemy — elevating the thing about that person that is so funny it can pretty much define them in the public’s mind. Often, it is something people already suspected about the politician, crystallizing how the public feels about their policies or candidacies.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vSOLz1YBFG0&t=77s\u003c/p>\n\u003cp>When John McCain announced Sarah Palin as his running mate in 2008, Tina Fey produced a devastating take on the vice-presidential candidate as a superficial dimwit given to folksy-sounding word salads in speeches and interviews. Some people even assumed the politician actually said “I can see Russia from my house” — one of the jokes Fey’s Palin announces during a speech that the real Palin never said.\u003c/p>\n\u003cp>Think Gerald Ford was a clumsy dolt? That might be because that’s how Chevy Chase \u003ca href=\"https://youtu.be/nEIpAIqzbTg?si=RV7AOhoy6NgmFPK3\">\u003cu>played him\u003c/u>\u003c/a> in the show’s first season, even though Ford was a former champion athlete. Aykroyd handled Nixon and Jimmy Carter — nailing Nixon’s shifty villany and Carter’s wide smile and youth appeal, despite wearing a mustache neither politician had. Dana Carvey’s take on George H.W. Bush as a stiff patrician given to flailing his arms widely also led people to confuse Carvey’s jokes with things the real-life president said and did.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-Ooq_j89WOw\u003c/p>\n\u003cp>And there was Darrell Hammond’s take on Al Gore during a debate sketch in 2000, playing Gore as an oblivious technocrat obsessed with the word “lockbox” to a crushing effect. “I think [that sketch] elected Bush,” says Franken, recalling how Gore’s team reportedly used the sketch to coach the vice president on future debate performances.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zDgRRVpemLo\u003c/p>\n\u003ch3>But sometimes impressions aren’t enough\u003c/h3>\n\u003cp>Because so much of the show’s political insight comes from impressions, it creates problems when SNL can’t find the right approach. The show never really found a great caricature of Joe Biden, despite having everyone from Jason Sudeikis to Woody Harrelson and Jim Carrey play him.\u003c/p>\n\u003cp>When I say they had similar problems with Barack Obama, Franken agrees. “[It] was like trying to climb a smooth, vertical wall,” he says of lampooning Obama. “He had nothing to really grab onto. You could do an impression of his voice … but there [weren’t] really a lot of footholds there.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FEH9iqWm_xQ\u003c/p>\n\u003cp>The problem with Donald Trump may be the opposite: too many footholds. Alec Baldwin nailed Trump’s scowling self-obsession, while James Austin Johnson captures the former president’s \u003ca href=\"https://youtu.be/R3N6Iqp8QIk?si=SbMxBNUjiMuCthQo\">\u003cu>stream of consciousness patter\u003c/u>\u003c/a>, though finding things funnier or more absurd than what he’s actually done in real life remains a challenge.\u003c/p>\n\u003cp>This weekend at least, Maya Rudolph was ready to nail Harris’ coolly efficient power.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pg4Z1M_GjhQ\u003c/p>\n\u003ch3>Helping the audience process political ideas beyond impressions\u003c/h3>\n\u003cp>There have been impactful \u003cem>SNL\u003c/em> sketches which speak to political ideas beyond lampooning politicians, often in the name of helping the audience process potent ideas.\u003c/p>\n\u003cp>One of my favorites is a bit from 2016, where Dave Chappelle and Chris Rock are sitting in an election watch party surrounded by white people. As Trump’s election is confirmed, the white folks are shocked that America elected a candidate with such obvious race and sexism issues, while Rock and Chappelle — as Black men familiar with America’s hypocrisies — are not.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SHG0ezLiVGc&t=158s\u003c/p>\n\u003ch3>When politicians appear as themselves\u003c/h3>\n\u003cp>Particularly before the rise of social media, the best way a politician could try to get ahead of how \u003cem>SNL\u003c/em> portrayed them was to appear as themselves in the show’s sketches. Obama, Palin, Hillary Clinton, and even Nikki Haley used this tactic, popping up to look like good sports while pushing back subtly against the most insulting parts of the parodies.\u003c/p>\n\u003cp>McCain, who called \u003cem>Saturday Night Live\u003c/em> creator and showrunner Lorne Michaels\u003ca href=\"https://x.com/senjohnmccain/status/402184925756928000\">\u003cu> a friend\u003c/u>\u003c/a>, delivered one of the most notable cameos. He kicked off the \u003cem>SNL\u003c/em> episode right before the presidential election in November 2008 with an appearance where the senator — flanked by Fey as Palin and his actual wife, Cindy — hawked fake merchandise on the QVC home shopping channel, deftly presaging when Trump would \u003ca href=\"https://www.newsweek.com/donald-trump-watches-bibles-coins-1960247\">\u003cu>do it for real\u003c/u>\u003c/a> with his own Bibles and luxury watches.\u003c/p>\n\u003cp>https://youtu.be/pix6pJUW5-s?si=P1V3MCCJ7xgALbqp\u003c/p>\n\u003cp>But one of the most infamous political cameos is also the show’s earliest, when Ron Nessen, then press secretary for Ford, hosted the show in 1976 and got his boss to pre-tape saying the show’s legendary opening phrase, “Live from New York, It’s Saturday Night.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Franken says he impulsively asked Nessen to host the show at an event for Ford — later, he says, Michaels reminded him that handing out host invites was not his job — but they didn’t really ease up on the president for the episode. “We had way too much fun with them and the Ford family was not appreciative,” Franken adds. “And I think right after that he lost in South Carolina to Reagan … They hated it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a comedy nerd who has watched \u003cem>Saturday Night Live\u003c/em> since I stumbled on a rerun of the debut episode back in the mid-1970s, I’m convinced \u003cem>SNL\u003c/em> has had a profound impact on how America views politics.\u003c/p>\n\u003cp>But the show has seemingly struggled in recent years, as the absurdity of modern politics has caught up to satire. Former president Donald Trump’s references to myths about Haitian immigrants eating pets, his running mate JD Vance’s comments about women without children, Vice President Kamala Harris having to defend stories about working at McDonald’s as a youth — it all seems like stuff which would have been in sketches years ago, instead of real life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a historic election looms, and the show begins its landmark 50th season this week, \u003cem>SNL\u003c/em> faces an ongoing challenge: to make America laugh — and think differently — about a political world which has gotten stranger than anyone could have predicted when the show debuted back in 1975.\u003c/p>\n\u003cp>Already, the show’s been on summer hiatus for the year’s three most seismic political events: President Joe Biden’s terrible debate performance against former president Donald Trump, Biden’s eventual decision to step aside for Vice President Kamala Harris and Harris’ domineering debate performance against Trump. So they’ll need to hit the ground running from the very start of the new season.\u003c/p>\n\u003ch3>A political impact from the beginning\u003c/h3>\n\u003cp>I decided to bounce some of my harebrained theories about \u003cem>SNL\u003c/em>’s impact over time off Al Franken, who wrote some of the show’s earliest political skits and worked there for many years as a writer and performer, before serving nearly ten years as a U.S. senator from Minnesota.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(Franken \u003ca href=\"https://www.npr.org/2017/12/07/568909860/sen-al-franken-to-make-announcement-amid-calls-for-him-to-resign\">\u003cu>resigned from the Senate in 2018\u003c/u>\u003c/a> amid allegations of misconduct from several women who accused him of touching or kissing them in inappropriate ways. He has denied some allegations, said he remembers others differently, apologized for making some women feel uncomfortable and \u003ca href=\"https://www.newyorker.com/magazine/2019/07/29/the-case-of-al-franken\">\u003cu>said he regrets resigning the office\u003c/u>\u003c/a>.)\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/nEIpAIqzbTg'\n title='//www.youtube.com/embed/nEIpAIqzbTg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When it came to political satire, Franken says he and his fellow \u003cem>SNL\u003c/em> writers had a pretty simple goal: Craft stuff that would be funny for people who knew both a little — and a lot — about politics.\u003c/p>\n\u003cp>“We didn’t try to be liberal or conservative,” says Franken, who worked on the show in various stints from 1975, during its very first season, to 1995, helping write classic sketches featuring Dan Aykroyd as President Richard Nixon during his last days in office and Dana Carvey as both George H.W. Bush and Ross Perot in a debate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Quoting another legendary \u003cem>SNL\u003c/em> writer, Jim Downey, he adds, “We just tried to do stuff … that would reward people for knowing stuff, but not punish them for not … Sketches that would be funny to everyone, but we were also trying to put in things that, really, really, smart people could go, ‘Oh I see. They put that in there for me.’”\u003c/p>\n\u003ch3>‘SNL’ shapes our view of politicians through impressions\u003c/h3>\n\u003cp>When \u003cem>Saturday Night Live\u003c/em> nails an impression of a politician, it manages a unique alchemy — elevating the thing about that person that is so funny it can pretty much define them in the public’s mind. Often, it is something people already suspected about the politician, crystallizing how the public feels about their policies or candidacies.\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/vSOLz1YBFG0'\n title='//www.youtube.com/embed/vSOLz1YBFG0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When John McCain announced Sarah Palin as his running mate in 2008, Tina Fey produced a devastating take on the vice-presidential candidate as a superficial dimwit given to folksy-sounding word salads in speeches and interviews. Some people even assumed the politician actually said “I can see Russia from my house” — one of the jokes Fey’s Palin announces during a speech that the real Palin never said.\u003c/p>\n\u003cp>Think Gerald Ford was a clumsy dolt? That might be because that’s how Chevy Chase \u003ca href=\"https://youtu.be/nEIpAIqzbTg?si=RV7AOhoy6NgmFPK3\">\u003cu>played him\u003c/u>\u003c/a> in the show’s first season, even though Ford was a former champion athlete. Aykroyd handled Nixon and Jimmy Carter — nailing Nixon’s shifty villany and Carter’s wide smile and youth appeal, despite wearing a mustache neither politician had. Dana Carvey’s take on George H.W. Bush as a stiff patrician given to flailing his arms widely also led people to confuse Carvey’s jokes with things the real-life president said and did.\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/-Ooq_j89WOw'\n title='//www.youtube.com/embed/-Ooq_j89WOw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And there was Darrell Hammond’s take on Al Gore during a debate sketch in 2000, playing Gore as an oblivious technocrat obsessed with the word “lockbox” to a crushing effect. “I think [that sketch] elected Bush,” says Franken, recalling how Gore’s team reportedly used the sketch to coach the vice president on future debate performances.\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/zDgRRVpemLo'\n title='//www.youtube.com/embed/zDgRRVpemLo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>But sometimes impressions aren’t enough\u003c/h3>\n\u003cp>Because so much of the show’s political insight comes from impressions, it creates problems when SNL can’t find the right approach. The show never really found a great caricature of Joe Biden, despite having everyone from Jason Sudeikis to Woody Harrelson and Jim Carrey play him.\u003c/p>\n\u003cp>When I say they had similar problems with Barack Obama, Franken agrees. “[It] was like trying to climb a smooth, vertical wall,” he says of lampooning Obama. “He had nothing to really grab onto. You could do an impression of his voice … but there [weren’t] really a lot of footholds there.”\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/FEH9iqWm_xQ'\n title='//www.youtube.com/embed/FEH9iqWm_xQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The problem with Donald Trump may be the opposite: too many footholds. Alec Baldwin nailed Trump’s scowling self-obsession, while James Austin Johnson captures the former president’s \u003ca href=\"https://youtu.be/R3N6Iqp8QIk?si=SbMxBNUjiMuCthQo\">\u003cu>stream of consciousness patter\u003c/u>\u003c/a>, though finding things funnier or more absurd than what he’s actually done in real life remains a challenge.\u003c/p>\n\u003cp>This weekend at least, Maya Rudolph was ready to nail Harris’ coolly efficient power.\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/pg4Z1M_GjhQ'\n title='//www.youtube.com/embed/pg4Z1M_GjhQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Helping the audience process political ideas beyond impressions\u003c/h3>\n\u003cp>There have been impactful \u003cem>SNL\u003c/em> sketches which speak to political ideas beyond lampooning politicians, often in the name of helping the audience process potent ideas.\u003c/p>\n\u003cp>One of my favorites is a bit from 2016, where Dave Chappelle and Chris Rock are sitting in an election watch party surrounded by white people. As Trump’s election is confirmed, the white folks are shocked that America elected a candidate with such obvious race and sexism issues, while Rock and Chappelle — as Black men familiar with America’s hypocrisies — are not.\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/SHG0ezLiVGc'\n title='//www.youtube.com/embed/SHG0ezLiVGc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>When politicians appear as themselves\u003c/h3>\n\u003cp>Particularly before the rise of social media, the best way a politician could try to get ahead of how \u003cem>SNL\u003c/em> portrayed them was to appear as themselves in the show’s sketches. Obama, Palin, Hillary Clinton, and even Nikki Haley used this tactic, popping up to look like good sports while pushing back subtly against the most insulting parts of the parodies.\u003c/p>\n\u003cp>McCain, who called \u003cem>Saturday Night Live\u003c/em> creator and showrunner Lorne Michaels\u003ca href=\"https://x.com/senjohnmccain/status/402184925756928000\">\u003cu> a friend\u003c/u>\u003c/a>, delivered one of the most notable cameos. He kicked off the \u003cem>SNL\u003c/em> episode right before the presidential election in November 2008 with an appearance where the senator — flanked by Fey as Palin and his actual wife, Cindy — hawked fake merchandise on the QVC home shopping channel, deftly presaging when Trump would \u003ca href=\"https://www.newsweek.com/donald-trump-watches-bibles-coins-1960247\">\u003cu>do it for real\u003c/u>\u003c/a> with his own Bibles and luxury watches.\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/pix6pJUW5-s'\n title='//www.youtube.com/embed/pix6pJUW5-s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But one of the most infamous political cameos is also the show’s earliest, when Ron Nessen, then press secretary for Ford, hosted the show in 1976 and got his boss to pre-tape saying the show’s legendary opening phrase, “Live from New York, It’s Saturday Night.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Franken says he impulsively asked Nessen to host the show at an event for Ford — later, he says, Michaels reminded him that handing out host invites was not his job — but they didn’t really ease up on the president for the episode. “We had way too much fun with them and the Ford family was not appreciative,” Franken adds. “And I think right after that he lost in South Carolina to Reagan … They hated it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Maggie Smith, Scene-Stealing Actor Famed for ‘Downton Abbey’ and Harry Potter, Dies at 89",
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"content": "\u003cp>Maggie Smith, the masterful, scene-stealing actor who won an Oscar for 1969 film \u003cem>The Prime of Miss Jean Brodie\u003c/em> and gained new fans in the 21st century as the dowager Countess of Grantham in \u003cem>Downton Abbey\u003c/em> and Professor Minerva McGonagall in the Harry Potter films, died Friday. She was 89.\u003c/p>\n\u003cp>Smith’s sons, Chris Larkin and Toby Stephens, said in a statement that Smith died early Friday in a London hospital.\u003c/p>\n\u003cp>“She leaves two sons and five loving grandchildren who are devastated by the loss of their extraordinary mother and grandmother,” they said in a statement issued through publicist Clair Dobbs.\u003c/p>\n\u003cp>Smith was frequently rated the preeminent British female performer of a generation that included Vanessa Redgrave and Judi Dench, with two Oscars, a clutch of Academy Award nominations and a shelf full of acting trophies.\u003c/p>\n\u003cp>She remained in demand even in her later years, despite her lament that “when you get into the granny era, you’re lucky to get anything.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Smith drily summarized her later roles as “a gallery of grotesques,” including Professor McGonagall. Asked why she took the role, she quipped: “Harry Potter is my pension.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2Tpb1XyqGOQ\u003c/p>\n\u003cp>Richard Eyre, who directed Smith in a television production of \u003cem>Suddenly, Last Summer\u003c/em>, said she was “intellectually the smartest actress I’ve ever worked with. You have to get up very, very early in the morning to outwit Maggie Smith.”\u003c/p>\n\u003cp>\u003cem>Jean Brodie\u003c/em>, in which she played a dangerously charismatic Edinburgh schoolteacher, brought her the Academy Award for best actress, and the British Academy Film Award (BAFTA) as well.\u003c/p>\n\u003cp>Smith added a supporting actress Oscar for \u003cem>California Suite\u003c/em> in 1978, Golden Globes for \u003cem>California Suite\u003c/em> and \u003cem>A Room with a View\u003c/em>, and BAFTAs for lead actress in \u003cem>A Private Function\u003c/em> in 1984, \u003cem>A Room with a View\u003c/em> in 1986 and \u003cem>The Lonely Passion of Judith Hearne\u003c/em> in 1988.\u003c/p>\n\u003cp>She also received Academy Award nominations as a supporting actress in \u003cem>Othello\u003c/em>, \u003cem>Travels with My Aunt\u003c/em>, \u003cem>A Room with a View\u003c/em> and \u003cem>Gosford Park\u003c/em>, and a BAFTA award for supporting actress in \u003cem>Tea with Mussolini\u003c/em>. On stage, she won a Tony in 1990 for \u003cem>Lettice and Lovage\u003c/em>.\u003c/p>\n\u003cp>From 2010, she was the acid-tongued Violet Crawley, Dowager Countess of Grantham, in hit TV period drama \u003cem>Downton Abbey\u003c/em>, a role that won her legions of fans, three Emmy Awards, a Golden Globe and a host of other awards nominations.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-kobB4Q5qO8\u003c/p>\n\u003cp>But she chafed at television fame. When the show’s run ended in 2016, Smith said she was relieved. “It’s freedom,” she told The Associated Press.\u003c/p>\n\u003cp>“Not until \u003cem>Downton Abbey\u003c/em> was I well-known or stopped in the street and asked for one of those terrible photographs,” she said.\u003c/p>\n\u003cp>She continued acting well into her 80s, in films including the big-screen spinoff to \u003cem>Downton Abbey\u003c/em> in 2019, its 2022 sequel \u003cem>Downton Abbey: A New Era\u003c/em> and 2023 release \u003cem>The Miracle Club\u003c/em>.\u003c/p>\n\u003cp>Smith had a reputation for being difficult, and sometimes upstaging others.\u003c/p>\n\u003cp>Richard Burton remarked that Smith didn’t just take over a scene in \u003cem>The VIPs\u003c/em> with him: “She commits grand larceny.” However, the director Peter Hall found that Smith wasn’t “remotely difficult unless she’s among idiots. She’s very hard on herself, and I don’t think she sees any reason why she shouldn’t be hard on other people, too.”\u003c/p>\n\u003cp>Smith conceded that she could be impatient at times.\u003c/p>\n\u003cp>“It’s true I don’t tolerate fools, but then they don’t tolerate me, so I am spiky,” Smith said. “Maybe that’s why I’m quite good at playing spiky elderly ladies.”\u003c/p>\n\u003cp>Critic Frank Rich, in a \u003cem>New York Times\u003c/em> review of \u003cem>Lettice and Lovage\u003c/em>, praised Smith as “the stylized classicist who can italicize a line as prosaic as ‘Have you no marmalade?’ until it sounds like a freshly minted epigram by Coward or Wilde.”\u003c/p>\n\u003cp>Smith famously drew laughs from a prosaic line — “This haddock is disgusting” — in a 1964 revival of Noel Coward’s \u003cem>Hay Fever\u003c/em>.\u003c/p>\n\u003cp>She repeated the gift for one-liners in \u003cem>Downton Abbey\u003c/em>, when the tradition-bound Violet witheringly asked, “What is a weekend?”\u003c/p>\n\u003cp>Fellow actors paid tribute to her on Friday. Hugh Bonneville, who played the son of Smith’s character in \u003cem>Downton Abbey\u003c/em>, said “anyone who ever shared a scene with Maggie will attest to her sharp eye, sharp wit and formidable talent.”\u003c/p>\n\u003cp>“She was a true legend of her generation and thankfully will live on in so many magnificent screen performances,” he said in a statement.\u003c/p>\n\u003cp>https://twitter.com/RobLowe/status/1839668066793423319\u003c/p>\n\u003cp>Rob Lowe, who co-starred with her in \u003cem>Suddenly, Last Summer\u003c/em>, said the experience was “unforgettable … sharing a two-shot was like being paired with a lion.”\u003c/p>\n\u003cp>“She could eat anyone alive, and often did. But funny, and great company. And suffered no fools. We will never see another. God speed, Ms. Smith!” Lowe wrote on X.\u003c/p>\n\u003cp>Prime Minister Keir Starmer called Smith “a true national treasure whose work will be cherished for generations to come.”\u003c/p>\n\u003cp>Margaret Natalie Smith was born in Ilford, on the eastern edge of London, on Dec. 28, 1934. She summed up her life briefly: “One went to school, one wanted to act, one started to act, one’s still acting.”\u003c/p>\n\u003cp>Her father was assigned in 1939 to wartime duty in Oxford, where her theater studies at the Oxford Playhouse School led to a busy apprenticeship.\u003c/p>\n\u003cp>“I did so many things, you know, round the universities there … If you were kind of clever enough and I suppose quick enough, you could almost do weekly rep because all the colleges were doing different productions at different times,” she said in a BBC interview.\u003c/p>\n\u003cp>She took Maggie as her stage name because another Margaret Smith was active in the theater.\u003c/p>\n\u003cp>Laurence Olivier spotted her talent, invited her to be part of his original National Theatre company and cast her as his co-star in a 1965 film adaptation of \u003cem>Othello\u003c/em>.\u003c/p>\n\u003cp>Smith said two directors, Ingmar Bergman and William Gaskill, both in National Theatre productions, were important influences.\u003c/p>\n\u003cp>Alan Bennett, preparing to film the monologue “A Bed Among the Lentils,” said he was wary of Smith’s reputation for becoming bored. As the actor Jeremy Brett put it, “she starts divinely and then goes off, rather like a cheese.”\u003c/p>\n\u003cp>“So the fact that we only just had enough time to do it was an absolute blessing really because she was so fresh and just so into it,” said Bennett. He also wrote a starring role for Smith in \u003cem>The Lady in the Van\u003c/em>, as Miss Shepherd, a redoubtable woman who lived for years in her vehicle on Bennett’s London driveway.\u003c/p>\n\u003cp>However extravagant she may have been on stage or before the cameras, Smith was known to be intensely private.\u003c/p>\n\u003cp>“She never wanted to talk about acting. Acting was something she was terrified to talk about because if she did, it would disappear,” said Simon Callow, who performed with her in \u003cem>A Room with a View\u003c/em>.\u003c/p>\n\u003cp>Smith was made a Dame Commander of the British Empire, the equivalent of a knight, in 1990.\u003c/p>\n\u003cp>She married fellow actor Robert Stephens in 1967. They had two sons, Christopher and Toby — who both grew up to be actors — and divorced in 1975. The same year she married the writer Beverley Cross, who died in 1998.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Hilary Fox in London contributed to this story. Associated Press writer Robert Barr contributed biographical material to this obituary before his death in 2018.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maggie Smith, the masterful, scene-stealing actor who won an Oscar for 1969 film \u003cem>The Prime of Miss Jean Brodie\u003c/em> and gained new fans in the 21st century as the dowager Countess of Grantham in \u003cem>Downton Abbey\u003c/em> and Professor Minerva McGonagall in the Harry Potter films, died Friday. She was 89.\u003c/p>\n\u003cp>Smith’s sons, Chris Larkin and Toby Stephens, said in a statement that Smith died early Friday in a London hospital.\u003c/p>\n\u003cp>“She leaves two sons and five loving grandchildren who are devastated by the loss of their extraordinary mother and grandmother,” they said in a statement issued through publicist Clair Dobbs.\u003c/p>\n\u003cp>Smith was frequently rated the preeminent British female performer of a generation that included Vanessa Redgrave and Judi Dench, with two Oscars, a clutch of Academy Award nominations and a shelf full of acting trophies.\u003c/p>\n\u003cp>She remained in demand even in her later years, despite her lament that “when you get into the granny era, you’re lucky to get anything.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Smith drily summarized her later roles as “a gallery of grotesques,” including Professor McGonagall. Asked why she took the role, she quipped: “Harry Potter is my pension.”\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/2Tpb1XyqGOQ'\n title='//www.youtube.com/embed/2Tpb1XyqGOQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Richard Eyre, who directed Smith in a television production of \u003cem>Suddenly, Last Summer\u003c/em>, said she was “intellectually the smartest actress I’ve ever worked with. You have to get up very, very early in the morning to outwit Maggie Smith.”\u003c/p>\n\u003cp>\u003cem>Jean Brodie\u003c/em>, in which she played a dangerously charismatic Edinburgh schoolteacher, brought her the Academy Award for best actress, and the British Academy Film Award (BAFTA) as well.\u003c/p>\n\u003cp>Smith added a supporting actress Oscar for \u003cem>California Suite\u003c/em> in 1978, Golden Globes for \u003cem>California Suite\u003c/em> and \u003cem>A Room with a View\u003c/em>, and BAFTAs for lead actress in \u003cem>A Private Function\u003c/em> in 1984, \u003cem>A Room with a View\u003c/em> in 1986 and \u003cem>The Lonely Passion of Judith Hearne\u003c/em> in 1988.\u003c/p>\n\u003cp>She also received Academy Award nominations as a supporting actress in \u003cem>Othello\u003c/em>, \u003cem>Travels with My Aunt\u003c/em>, \u003cem>A Room with a View\u003c/em> and \u003cem>Gosford Park\u003c/em>, and a BAFTA award for supporting actress in \u003cem>Tea with Mussolini\u003c/em>. On stage, she won a Tony in 1990 for \u003cem>Lettice and Lovage\u003c/em>.\u003c/p>\n\u003cp>From 2010, she was the acid-tongued Violet Crawley, Dowager Countess of Grantham, in hit TV period drama \u003cem>Downton Abbey\u003c/em>, a role that won her legions of fans, three Emmy Awards, a Golden Globe and a host of other awards nominations.\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/-kobB4Q5qO8'\n title='//www.youtube.com/embed/-kobB4Q5qO8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But she chafed at television fame. When the show’s run ended in 2016, Smith said she was relieved. “It’s freedom,” she told The Associated Press.\u003c/p>\n\u003cp>“Not until \u003cem>Downton Abbey\u003c/em> was I well-known or stopped in the street and asked for one of those terrible photographs,” she said.\u003c/p>\n\u003cp>She continued acting well into her 80s, in films including the big-screen spinoff to \u003cem>Downton Abbey\u003c/em> in 2019, its 2022 sequel \u003cem>Downton Abbey: A New Era\u003c/em> and 2023 release \u003cem>The Miracle Club\u003c/em>.\u003c/p>\n\u003cp>Smith had a reputation for being difficult, and sometimes upstaging others.\u003c/p>\n\u003cp>Richard Burton remarked that Smith didn’t just take over a scene in \u003cem>The VIPs\u003c/em> with him: “She commits grand larceny.” However, the director Peter Hall found that Smith wasn’t “remotely difficult unless she’s among idiots. She’s very hard on herself, and I don’t think she sees any reason why she shouldn’t be hard on other people, too.”\u003c/p>\n\u003cp>Smith conceded that she could be impatient at times.\u003c/p>\n\u003cp>“It’s true I don’t tolerate fools, but then they don’t tolerate me, so I am spiky,” Smith said. “Maybe that’s why I’m quite good at playing spiky elderly ladies.”\u003c/p>\n\u003cp>Critic Frank Rich, in a \u003cem>New York Times\u003c/em> review of \u003cem>Lettice and Lovage\u003c/em>, praised Smith as “the stylized classicist who can italicize a line as prosaic as ‘Have you no marmalade?’ until it sounds like a freshly minted epigram by Coward or Wilde.”\u003c/p>\n\u003cp>Smith famously drew laughs from a prosaic line — “This haddock is disgusting” — in a 1964 revival of Noel Coward’s \u003cem>Hay Fever\u003c/em>.\u003c/p>\n\u003cp>She repeated the gift for one-liners in \u003cem>Downton Abbey\u003c/em>, when the tradition-bound Violet witheringly asked, “What is a weekend?”\u003c/p>\n\u003cp>Fellow actors paid tribute to her on Friday. Hugh Bonneville, who played the son of Smith’s character in \u003cem>Downton Abbey\u003c/em>, said “anyone who ever shared a scene with Maggie will attest to her sharp eye, sharp wit and formidable talent.”\u003c/p>\n\u003cp>“She was a true legend of her generation and thankfully will live on in so many magnificent screen performances,” he said in a statement.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Rob Lowe, who co-starred with her in \u003cem>Suddenly, Last Summer\u003c/em>, said the experience was “unforgettable … sharing a two-shot was like being paired with a lion.”\u003c/p>\n\u003cp>“She could eat anyone alive, and often did. But funny, and great company. And suffered no fools. We will never see another. God speed, Ms. Smith!” Lowe wrote on X.\u003c/p>\n\u003cp>Prime Minister Keir Starmer called Smith “a true national treasure whose work will be cherished for generations to come.”\u003c/p>\n\u003cp>Margaret Natalie Smith was born in Ilford, on the eastern edge of London, on Dec. 28, 1934. She summed up her life briefly: “One went to school, one wanted to act, one started to act, one’s still acting.”\u003c/p>\n\u003cp>Her father was assigned in 1939 to wartime duty in Oxford, where her theater studies at the Oxford Playhouse School led to a busy apprenticeship.\u003c/p>\n\u003cp>“I did so many things, you know, round the universities there … If you were kind of clever enough and I suppose quick enough, you could almost do weekly rep because all the colleges were doing different productions at different times,” she said in a BBC interview.\u003c/p>\n\u003cp>She took Maggie as her stage name because another Margaret Smith was active in the theater.\u003c/p>\n\u003cp>Laurence Olivier spotted her talent, invited her to be part of his original National Theatre company and cast her as his co-star in a 1965 film adaptation of \u003cem>Othello\u003c/em>.\u003c/p>\n\u003cp>Smith said two directors, Ingmar Bergman and William Gaskill, both in National Theatre productions, were important influences.\u003c/p>\n\u003cp>Alan Bennett, preparing to film the monologue “A Bed Among the Lentils,” said he was wary of Smith’s reputation for becoming bored. As the actor Jeremy Brett put it, “she starts divinely and then goes off, rather like a cheese.”\u003c/p>\n\u003cp>“So the fact that we only just had enough time to do it was an absolute blessing really because she was so fresh and just so into it,” said Bennett. He also wrote a starring role for Smith in \u003cem>The Lady in the Van\u003c/em>, as Miss Shepherd, a redoubtable woman who lived for years in her vehicle on Bennett’s London driveway.\u003c/p>\n\u003cp>However extravagant she may have been on stage or before the cameras, Smith was known to be intensely private.\u003c/p>\n\u003cp>“She never wanted to talk about acting. Acting was something she was terrified to talk about because if she did, it would disappear,” said Simon Callow, who performed with her in \u003cem>A Room with a View\u003c/em>.\u003c/p>\n\u003cp>Smith was made a Dame Commander of the British Empire, the equivalent of a knight, in 1990.\u003c/p>\n\u003cp>She married fellow actor Robert Stephens in 1967. They had two sons, Christopher and Toby — who both grew up to be actors — and divorced in 1975. The same year she married the writer Beverley Cross, who died in 1998.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Hilary Fox in London contributed to this story. Associated Press writer Robert Barr contributed biographical material to this obituary before his death in 2018.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We are at the apex of \u003cem>Saturday Night Live\u003c/em> appreciation. Now entering its 50th year, \u003cem>SNL\u003c/em> has never been more unquestioned as a bedrock American institution. The many years of cowbells, Californians, mom jeans, Totino’s, unfrozen caveman lawyers and vans down by the river have more than established \u003cem>SNL\u003c/em> as hallowed late-night ground and a comedy citadel.\u003c/p>\n\u003cp>[aside postid='arts_13965368']So it’s maybe appropriate that Jason Reitman’s big-screen ode, \u003cem>Saturday Night\u003c/em>, should arrive, amid all of the tributes, to remind of the show’s original revolutionary force. Reitman’s film is set in the 90 minutes leading up to showtime before the first episode aired Oct. 11, 1975.\u003c/p>\n\u003cp>The atmosphere is hectic. The mood is anxious. And through cigarette smoke and backstage swirl rushes Lorne Michaels (Gabriel LaBelle), who’s trying to launch a new kind of show that even he can’t quite explain.\u003c/p>\n\u003cp>\u003cem>Saturday Night\u003c/em>, which opens in theaters Friday and expands in the coming weeks, isn’t a realistic tick-tock of how Michaels did it. And, while it boasts a number of fine performances, I wouldn’t recommend it for anyone hoping to see an illuminating portrait of the original Not Ready for Prime Time Players.\u003c/p>\n\u003cp>[aside postid='arts_13965270']No, Reitman’s movie is striving for a myth of \u003cem>Saturday Night Live\u003c/em>. Michaels’ quest in the film — and though he never strays farther than around the corner from 30 Rock, it is a quest — is not just to marshal together a live show on this particular night, it’s to overcome a cigar-chomping old guard of network television. (Milton Berle is skulking about, even Johnny Carson phones in.) In their eyes, Michaels is, to paraphrase Ned Beatty in \u003cem>Network\u003c/em>, meddling with the primal forces of nature.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In mythologizing this generational battle, \u003cem>Saturday Night\u003c/em> is a blistering barn-burner. In most other ways (cue the Debbie Downer trombone), it’s less good. Reitman, who penned the script with Gil Kenan, is too wide-eyed about the glory days of \u003cem>SNL\u003c/em> to bring much acute insight to what was happening 50 years ago. And his film may be too spread thin by a clown car’s worth of big personalities. But in the movie’s primary goal, capturing a spirit of revolution that once might have seized barricades but instead flocks to Studio 8H, \u003cem>Saturday Night\u003c/em> at least deserves a Spartan cheer.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iZ9O_tl5Npk\u003c/p>\n\u003cp>A clock ticking down to showtime runs as ominously as it might in \u003cem>MacGruber\u003c/em> throughout \u003cem>Saturday Night\u003c/em>. Nothing is close to ready for air. John Belushi (Matt Wood) hasn’t signed his contract. Twenty-eight gallons of fake blood are missing. And, most pressing of all, the network is poised to air a Carson rerun if things don’t take shape. An executive pleading for a script is told, “It’s not that kind of show.”\u003c/p>\n\u003cp>[aside postid='arts_13964034']What kind is it? Michaels, himself, is uncertain. He’s gathered together a “circus of rejects,” most of them then unknown to the public. There is Gilda Radner (Ella Hunt), Chevy Chase (Cory Michael Smith), Garrett Morris (Lamorne Morris), Jane Curtin (Kim Matula) and Dan Aykroyd (Dylan O’Brien). Also in the mix are Jim Henson (Nicholas Braun), who spends much of the movie complaining about the untoward things the cast has been doing to Big Bird, Andy Kaufman (Braun again), Billy Crystal (Nicholas Podany) and the night’s host, George Carlin (Matthew Rhys).\u003c/p>\n\u003cp>Most of them pass too quickly to make too much of an impression, though a few are good in their moments — notably Smith, playing up Chase’s braggadocio, O’Brien and Morris. Garrett Morris, the cast’s lone Black member, is in a quandary over his role — because of his race and because he was a playwright before being cast. Though \u003cem>SNL\u003c/em> was revolutionary, it hardly arrived a finished product. Morris here is a reminder of the show’s sometimes — and ongoing — not always easy relationship to diversity, in race and gender.\u003c/p>\n\u003cp>It also wasn’t always such a break from what came before. When Chase faces off with Berle in a contest over Chase’s fiancee, Jacqueline Carlin (Kaia Gerber) — one of the movie’s few truly charged scenes — they seem more alike than either would like to admit.\u003c/p>\n\u003cp>It’s not a great sign for \u003cem>Saturday Night\u003c/em> how much better the old guard is than the young cast. Along with Simmons’ Berle is Willem Dafoe’s NBC executive David Tebet. He provides the movie its most \u003cem>Network\u003c/em>-flavored drama, seeing “a prophet” in Michaels and, despite wavering skepticism, urging him to be “an unbending force of seismic disturbance.” Also in the mix — and a reminder that the suits had newbies, too — is Dick Ebersol (a refreshingly genuine Cooper Hoffman), a believer in Michaels but only up to a point.\u003c/p>\n\u003cp>Ultimately, this is Michaels’ show, and he’s played winningly by LaBelle, the \u003cem>Fabelmans\u003c/em> star, even if the characterization, like much of \u003cem>Saturday Night\u003c/em>, is a little thin. Sometimes by his side, as he races to get the show ready is the writer and Michaels’ then-wife, Rosie Shuster (the excellent Rachel Sennott), who you want more of.\u003c/p>\n\u003cp>[aside postid='arts_13965103']It seems to be an unfortunate truth that dramatizations of \u003cem>Saturday Night Live\u003c/em> inevitably kill it of laughter. That’s true here just as it was in Aaron Sorkin’s \u003cem>Studio 60 on the Sunset Strip\u003c/em>. The exception to that, of course, is Tina Fey’s \u003cem>30 Rock\u003c/em>, which was smart enough to abandon all the \u003cem>SNL\u003c/em> mythology and focus on what’s funny.\u003c/p>\n\u003cp>This \u003cem>Saturday Night\u003c/em> may have a legacy of its own; a lot of this cast, I suspect, will be around for a long time. And, ultimately, when the show finally comes together, it’s galvanizing. The cleverest thing about Reitman’s film is that it ends, rousingly, just where \u003cem>SNL\u003c/em> starts.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Saturday Night’ is out now across the Bay Area. It is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So it’s maybe appropriate that Jason Reitman’s big-screen ode, \u003cem>Saturday Night\u003c/em>, should arrive, amid all of the tributes, to remind of the show’s original revolutionary force. Reitman’s film is set in the 90 minutes leading up to showtime before the first episode aired Oct. 11, 1975.\u003c/p>\n\u003cp>The atmosphere is hectic. The mood is anxious. And through cigarette smoke and backstage swirl rushes Lorne Michaels (Gabriel LaBelle), who’s trying to launch a new kind of show that even he can’t quite explain.\u003c/p>\n\u003cp>\u003cem>Saturday Night\u003c/em>, which opens in theaters Friday and expands in the coming weeks, isn’t a realistic tick-tock of how Michaels did it. And, while it boasts a number of fine performances, I wouldn’t recommend it for anyone hoping to see an illuminating portrait of the original Not Ready for Prime Time Players.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>No, Reitman’s movie is striving for a myth of \u003cem>Saturday Night Live\u003c/em>. Michaels’ quest in the film — and though he never strays farther than around the corner from 30 Rock, it is a quest — is not just to marshal together a live show on this particular night, it’s to overcome a cigar-chomping old guard of network television. (Milton Berle is skulking about, even Johnny Carson phones in.) In their eyes, Michaels is, to paraphrase Ned Beatty in \u003cem>Network\u003c/em>, meddling with the primal forces of nature.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In mythologizing this generational battle, \u003cem>Saturday Night\u003c/em> is a blistering barn-burner. In most other ways (cue the Debbie Downer trombone), it’s less good. Reitman, who penned the script with Gil Kenan, is too wide-eyed about the glory days of \u003cem>SNL\u003c/em> to bring much acute insight to what was happening 50 years ago. And his film may be too spread thin by a clown car’s worth of big personalities. But in the movie’s primary goal, capturing a spirit of revolution that once might have seized barricades but instead flocks to Studio 8H, \u003cem>Saturday Night\u003c/em> at least deserves a Spartan cheer.\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/iZ9O_tl5Npk'\n title='//www.youtube.com/embed/iZ9O_tl5Npk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A clock ticking down to showtime runs as ominously as it might in \u003cem>MacGruber\u003c/em> throughout \u003cem>Saturday Night\u003c/em>. Nothing is close to ready for air. John Belushi (Matt Wood) hasn’t signed his contract. Twenty-eight gallons of fake blood are missing. And, most pressing of all, the network is poised to air a Carson rerun if things don’t take shape. An executive pleading for a script is told, “It’s not that kind of show.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What kind is it? Michaels, himself, is uncertain. He’s gathered together a “circus of rejects,” most of them then unknown to the public. There is Gilda Radner (Ella Hunt), Chevy Chase (Cory Michael Smith), Garrett Morris (Lamorne Morris), Jane Curtin (Kim Matula) and Dan Aykroyd (Dylan O’Brien). Also in the mix are Jim Henson (Nicholas Braun), who spends much of the movie complaining about the untoward things the cast has been doing to Big Bird, Andy Kaufman (Braun again), Billy Crystal (Nicholas Podany) and the night’s host, George Carlin (Matthew Rhys).\u003c/p>\n\u003cp>Most of them pass too quickly to make too much of an impression, though a few are good in their moments — notably Smith, playing up Chase’s braggadocio, O’Brien and Morris. Garrett Morris, the cast’s lone Black member, is in a quandary over his role — because of his race and because he was a playwright before being cast. Though \u003cem>SNL\u003c/em> was revolutionary, it hardly arrived a finished product. Morris here is a reminder of the show’s sometimes — and ongoing — not always easy relationship to diversity, in race and gender.\u003c/p>\n\u003cp>It also wasn’t always such a break from what came before. When Chase faces off with Berle in a contest over Chase’s fiancee, Jacqueline Carlin (Kaia Gerber) — one of the movie’s few truly charged scenes — they seem more alike than either would like to admit.\u003c/p>\n\u003cp>It’s not a great sign for \u003cem>Saturday Night\u003c/em> how much better the old guard is than the young cast. Along with Simmons’ Berle is Willem Dafoe’s NBC executive David Tebet. He provides the movie its most \u003cem>Network\u003c/em>-flavored drama, seeing “a prophet” in Michaels and, despite wavering skepticism, urging him to be “an unbending force of seismic disturbance.” Also in the mix — and a reminder that the suits had newbies, too — is Dick Ebersol (a refreshingly genuine Cooper Hoffman), a believer in Michaels but only up to a point.\u003c/p>\n\u003cp>Ultimately, this is Michaels’ show, and he’s played winningly by LaBelle, the \u003cem>Fabelmans\u003c/em> star, even if the characterization, like much of \u003cem>Saturday Night\u003c/em>, is a little thin. Sometimes by his side, as he races to get the show ready is the writer and Michaels’ then-wife, Rosie Shuster (the excellent Rachel Sennott), who you want more of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It seems to be an unfortunate truth that dramatizations of \u003cem>Saturday Night Live\u003c/em> inevitably kill it of laughter. That’s true here just as it was in Aaron Sorkin’s \u003cem>Studio 60 on the Sunset Strip\u003c/em>. The exception to that, of course, is Tina Fey’s \u003cem>30 Rock\u003c/em>, which was smart enough to abandon all the \u003cem>SNL\u003c/em> mythology and focus on what’s funny.\u003c/p>\n\u003cp>This \u003cem>Saturday Night\u003c/em> may have a legacy of its own; a lot of this cast, I suspect, will be around for a long time. And, ultimately, when the show finally comes together, it’s galvanizing. The cleverest thing about Reitman’s film is that it ends, rousingly, just where \u003cem>SNL\u003c/em> starts.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Saturday Night’ is out now across the Bay Area. It is released nationwide on Oct. 11, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland singer Dee Dee Simon’s story is an example of divine timing.\u003c/p>\n\u003cp>She’s impressing judges in Hollywood \u003cem>and\u003c/em> healing people in prison, all while following God’s plan, she says. After years of sitting on her vocal gifts, she’s finally letting her light shine, showing the world her talent and reaping the rewards. Plus, she’s keeping her day job.\u003c/p>\n\u003cp>On the heels of winning last November’s \u003cem>\u003ca href=\"https://www.apollotheater.org/posts/20000-winner-of-apollos-amateur-night-is-dee-dee-simon\" target=\"_blank\" rel=\"noopener\">Amateur Night at The Apollo\u003c/a>\u003c/em> — earning a $20,000 check and joining a winner’s circle that spans Ella Fitzgerald to H.E.R. — Dee Dee Simon was contacted by \u003cem>America’s Got Talent\u003c/em>.\u003c/p>\n\u003cp>After singing for the judging panel of Simon Cowell, Heidi Klum, Sofia Vergara and Howie Mandel, the singer says, “they all gave me a standing ovation and pushed me forward to go and be in the live show.”\u003c/p>\n\u003cfigure id=\"attachment_13964247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13964247\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-800x828.jpg\" alt=\"Oakland singer Dee Dee Simon on stage showing off her vocal abilities. \" width=\"800\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-800x828.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-1020x1056.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-768x795.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-1484x1536.jpg 1484w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook.jpg 1732w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland singer Dee Dee Simon on stage at Freight & Salvage in Berkeley. \u003ccite>(Courtesy of Dee Dee Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On stage, Simon showed and proved throughout the competition, and \u003ca href=\"https://www.youtube.com/watch?v=Xv-TLKKveRw\" target=\"_blank\" rel=\"noopener\">her amazing performance of Teddy Swim’s “Lose Control”\u003c/a> garnered thunderous applause from the studio audience. The four judges were moved as well, and Heidi Klum rang the show’s golden buzzer, automatically propelling Simon to the competition’s final round, which airs on Tuesday, Sept. 17.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Simon says that initially, it was her voice that impressed the judges. But when they found out about her day job, they were floored.\u003c/p>\n\u003cp>“It became more intriguing to them that I work here,” says Simon during a recent phone call from San Quentin, at work as she talked. “Because I’ve been a death row nurse for 10 years.”\u003c/p>\n\u003cp>[aside postID='arts_13962094']Simon has \u003ca href=\"https://www.youtube.com/watch?v=UUClrf65tKM\" target=\"_blank\" rel=\"noopener\">worked at San Quentin\u003c/a> for 19 years total. Around the time she got hired, a coworker learned about her vocal abilities and asked her to sing on the prison yard during a “Peace Day” event.\u003c/p>\n\u003cp>“I didn’t really notice the politics at the time,” says Simon, discussing the makeup of the groups sitting together on the yard during the event. Nonetheless, she took to the stage and grabbed the microphone. “I started singing ‘Killing Me Softly,'” Simon says, referring to The Fugees 1996 remake of the classic Roberta Flack record.\u003c/p>\n\u003cp>By the time Simon got to the second verse, the different groups in the audience had started fighting each other. As the incident escalated, she quickly pivoted from vocalist to trained nurse: “I had to step off the stage and triage patients.”\u003c/p>\n\u003cp>Simon never sang at the prison again — until earlier this year, just after winning \u003cem>Amateur Night at The Apollo\u003c/em>. This time, her performance was met with a much calmer response.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YxmAPxN104o\u003c/p>\n\u003cp>In the past two decades, Simon has seen the prison go through significant transitions.\u003c/p>\n\u003cp>In 2006, just after she was hired, the healthcare situation was so dire inside the State of California’s overcrowded prison system that \u003ca href=\"https://www.prisonlegalnews.org/news/2006/mar/15/federal-court-seizes-california-prisons-medical-care-appoints-receiver-with-unprecedented-powers/\" target=\"_blank\" rel=\"noopener\">it was placed under federal receivership\u003c/a>. In 2020, the COVID-19 pandemic posed an even more urgent threat to residents of the state’s prisons, especially at San Quentin.\u003c/p>\n\u003cp>“It was scary,” says Simon, recalling the pandemic. In addition to overcrowding, the prison faced a shortage of Personal Protective Equipment (PPE) for healthcare providers. Plus, incarcerated people were being transferred to San Quentin from other institutions. “These guys showed up with COVID,” says Simon, “and when they got here, it went bonkers.”\u003c/p>\n\u003cp>[aside postID='arts_13962624']In May of this year, \u003ca href=\"https://apnews.com/article/california-prisons-covid-deaths-supreme-court-3e1f3554760e2c91c7b5546706cc487d\" target=\"_blank\" rel=\"noopener\">the U.S. Supreme Court decided\u003c/a> that, due to a botched transfer of people from the California Institution for Men in Chino to San Quentin in 2020, the California Department of Corrections and Rehabilitation could potentially be held responsible for the deaths of 29 people, including one officer.\u003c/p>\n\u003cp>Looking to usher in a new era at the institution, Gov. Newsom last year announced San Quentin’s new name, the “\u003ca href=\"https://www.gov.ca.gov/2023/03/17/san-quentin-transformation/\" target=\"_blank\" rel=\"noopener\">San Quentin Rehabilitation Center.\u003c/a>” Simon says the changes are subtle, if even noticeable at all. She mostly works with the same people. The one major difference is that the former death row inmates are now lifers.\u003c/p>\n\u003cp>“Trying to integrate them into the general population can be tricky. They’ve been by themselves in another unit,” says Simon. “But I still see them. As far as patients, I just work with the general population more now.”\u003c/p>\n\u003cp>[aside postID='arts_13926813']Before becoming a clinical nurse and working with hundreds of men behind bars, Simon was a licensed social worker. The common thread between her work and her passion for singing, Simon says, is the ability to heal.\u003c/p>\n\u003cp>As a kid in East Oakland, Simon learned to sing using her hairbrush as a microphone in her bedroom, and by performing at her mom’s house parties. She eventually found a choir at Mills Grove Christian Church in East Oakland, where she honed her craft. A singer as well as a writer, Simon says music is her form of self-care. “I have to sing,” says Simon. “That’s mandatory, or I’ll die.”\u003c/p>\n\u003cfigure id=\"attachment_13964246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13964246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-800x925.jpg\" alt=\"Dee Dee Simon\" width=\"800\" height=\"925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-800x925.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-1020x1180.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-768x888.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-1328x1536.jpg 1328w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook.jpg 1715w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dee Simon. \u003ccite>(Courtesy of Dee Dee Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now that she’s sharing her vocals with the world, Simon is \u003cem>living\u003c/em>.\u003c/p>\n\u003cp>After one of her episodes of \u003cem>America’s Got Talent\u003c/em> aired earlier this summer, she went to work the next day and was met with a round of applause from the incarcerated men as she entered the housing unit. Coworkers visited her office, asking for photos. “I have people from outside,” Simon says, “who I don’t know, calling San Quentin to say, ‘Is Dee Dee Simon there?’”\u003c/p>\n\u003cp>On the cusp of the \u003cem>America’s Got Talent\u003c/em> season finale — the biggest evening of her career — Simon is grateful for the support from people at San Quentin, as well as everyone who has helped and prayed for her. If she wins (finale results air on Sept. 24), she wants to uplift the work of the \u003ca href=\"https://www.alz.org/\">Alzheimers Association\u003c/a>. She also wants to be an example to other artists, specifically little Black girls coming up.\u003c/p>\n\u003cp>“I want them to know that they don’t have to do something against their morals to make it,” says Simon. “Everything will happen on their own time.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The final round of Season 19 of \u003cem>America’s Got Talent\u003c/em> airs on Tuesday, Sept. 17; final results will be aired on Tuesday, Sept. 24. \u003ca href=\"https://www.nbc.com/nbc-insider/how-agt-2024-works-season-19\" target=\"_blank\" rel=\"noopener\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland singer Dee Dee Simon’s story is an example of divine timing.\u003c/p>\n\u003cp>She’s impressing judges in Hollywood \u003cem>and\u003c/em> healing people in prison, all while following God’s plan, she says. After years of sitting on her vocal gifts, she’s finally letting her light shine, showing the world her talent and reaping the rewards. Plus, she’s keeping her day job.\u003c/p>\n\u003cp>On the heels of winning last November’s \u003cem>\u003ca href=\"https://www.apollotheater.org/posts/20000-winner-of-apollos-amateur-night-is-dee-dee-simon\" target=\"_blank\" rel=\"noopener\">Amateur Night at The Apollo\u003c/a>\u003c/em> — earning a $20,000 check and joining a winner’s circle that spans Ella Fitzgerald to H.E.R. — Dee Dee Simon was contacted by \u003cem>America’s Got Talent\u003c/em>.\u003c/p>\n\u003cp>After singing for the judging panel of Simon Cowell, Heidi Klum, Sofia Vergara and Howie Mandel, the singer says, “they all gave me a standing ovation and pushed me forward to go and be in the live show.”\u003c/p>\n\u003cfigure id=\"attachment_13964247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13964247\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-800x828.jpg\" alt=\"Oakland singer Dee Dee Simon on stage showing off her vocal abilities. \" width=\"800\" height=\"828\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-800x828.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-1020x1056.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-768x795.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook-1484x1536.jpg 1484w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_092427_Facebook.jpg 1732w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland singer Dee Dee Simon on stage at Freight & Salvage in Berkeley. \u003ccite>(Courtesy of Dee Dee Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On stage, Simon showed and proved throughout the competition, and \u003ca href=\"https://www.youtube.com/watch?v=Xv-TLKKveRw\" target=\"_blank\" rel=\"noopener\">her amazing performance of Teddy Swim’s “Lose Control”\u003c/a> garnered thunderous applause from the studio audience. The four judges were moved as well, and Heidi Klum rang the show’s golden buzzer, automatically propelling Simon to the competition’s final round, which airs on Tuesday, Sept. 17.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Simon says that initially, it was her voice that impressed the judges. But when they found out about her day job, they were floored.\u003c/p>\n\u003cp>“It became more intriguing to them that I work here,” says Simon during a recent phone call from San Quentin, at work as she talked. “Because I’ve been a death row nurse for 10 years.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Simon has \u003ca href=\"https://www.youtube.com/watch?v=UUClrf65tKM\" target=\"_blank\" rel=\"noopener\">worked at San Quentin\u003c/a> for 19 years total. Around the time she got hired, a coworker learned about her vocal abilities and asked her to sing on the prison yard during a “Peace Day” event.\u003c/p>\n\u003cp>“I didn’t really notice the politics at the time,” says Simon, discussing the makeup of the groups sitting together on the yard during the event. Nonetheless, she took to the stage and grabbed the microphone. “I started singing ‘Killing Me Softly,'” Simon says, referring to The Fugees 1996 remake of the classic Roberta Flack record.\u003c/p>\n\u003cp>By the time Simon got to the second verse, the different groups in the audience had started fighting each other. As the incident escalated, she quickly pivoted from vocalist to trained nurse: “I had to step off the stage and triage patients.”\u003c/p>\n\u003cp>Simon never sang at the prison again — until earlier this year, just after winning \u003cem>Amateur Night at The Apollo\u003c/em>. This time, her performance was met with a much calmer response.\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/YxmAPxN104o'\n title='//www.youtube.com/embed/YxmAPxN104o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the past two decades, Simon has seen the prison go through significant transitions.\u003c/p>\n\u003cp>In 2006, just after she was hired, the healthcare situation was so dire inside the State of California’s overcrowded prison system that \u003ca href=\"https://www.prisonlegalnews.org/news/2006/mar/15/federal-court-seizes-california-prisons-medical-care-appoints-receiver-with-unprecedented-powers/\" target=\"_blank\" rel=\"noopener\">it was placed under federal receivership\u003c/a>. In 2020, the COVID-19 pandemic posed an even more urgent threat to residents of the state’s prisons, especially at San Quentin.\u003c/p>\n\u003cp>“It was scary,” says Simon, recalling the pandemic. In addition to overcrowding, the prison faced a shortage of Personal Protective Equipment (PPE) for healthcare providers. Plus, incarcerated people were being transferred to San Quentin from other institutions. “These guys showed up with COVID,” says Simon, “and when they got here, it went bonkers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In May of this year, \u003ca href=\"https://apnews.com/article/california-prisons-covid-deaths-supreme-court-3e1f3554760e2c91c7b5546706cc487d\" target=\"_blank\" rel=\"noopener\">the U.S. Supreme Court decided\u003c/a> that, due to a botched transfer of people from the California Institution for Men in Chino to San Quentin in 2020, the California Department of Corrections and Rehabilitation could potentially be held responsible for the deaths of 29 people, including one officer.\u003c/p>\n\u003cp>Looking to usher in a new era at the institution, Gov. Newsom last year announced San Quentin’s new name, the “\u003ca href=\"https://www.gov.ca.gov/2023/03/17/san-quentin-transformation/\" target=\"_blank\" rel=\"noopener\">San Quentin Rehabilitation Center.\u003c/a>” Simon says the changes are subtle, if even noticeable at all. She mostly works with the same people. The one major difference is that the former death row inmates are now lifers.\u003c/p>\n\u003cp>“Trying to integrate them into the general population can be tricky. They’ve been by themselves in another unit,” says Simon. “But I still see them. As far as patients, I just work with the general population more now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Before becoming a clinical nurse and working with hundreds of men behind bars, Simon was a licensed social worker. The common thread between her work and her passion for singing, Simon says, is the ability to heal.\u003c/p>\n\u003cp>As a kid in East Oakland, Simon learned to sing using her hairbrush as a microphone in her bedroom, and by performing at her mom’s house parties. She eventually found a choir at Mills Grove Christian Church in East Oakland, where she honed her craft. A singer as well as a writer, Simon says music is her form of self-care. “I have to sing,” says Simon. “That’s mandatory, or I’ll die.”\u003c/p>\n\u003cfigure id=\"attachment_13964246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13964246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-800x925.jpg\" alt=\"Dee Dee Simon\" width=\"800\" height=\"925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-800x925.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-1020x1180.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-768x888.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook-1328x1536.jpg 1328w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot_20240913_093321_Facebook.jpg 1715w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dee Simon. \u003ccite>(Courtesy of Dee Dee Simon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now that she’s sharing her vocals with the world, Simon is \u003cem>living\u003c/em>.\u003c/p>\n\u003cp>After one of her episodes of \u003cem>America’s Got Talent\u003c/em> aired earlier this summer, she went to work the next day and was met with a round of applause from the incarcerated men as she entered the housing unit. Coworkers visited her office, asking for photos. “I have people from outside,” Simon says, “who I don’t know, calling San Quentin to say, ‘Is Dee Dee Simon there?’”\u003c/p>\n\u003cp>On the cusp of the \u003cem>America’s Got Talent\u003c/em> season finale — the biggest evening of her career — Simon is grateful for the support from people at San Quentin, as well as everyone who has helped and prayed for her. If she wins (finale results air on Sept. 24), she wants to uplift the work of the \u003ca href=\"https://www.alz.org/\">Alzheimers Association\u003c/a>. She also wants to be an example to other artists, specifically little Black girls coming up.\u003c/p>\n\u003cp>“I want them to know that they don’t have to do something against their morals to make it,” says Simon. “Everything will happen on their own time.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The final round of Season 19 of \u003cem>America’s Got Talent\u003c/em> airs on Tuesday, Sept. 17; final results will be aired on Tuesday, Sept. 24. \u003ca href=\"https://www.nbc.com/nbc-insider/how-agt-2024-works-season-19\" target=\"_blank\" rel=\"noopener\">More information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The 76th annual Emmy Awards were handed out Sunday at the Peacock Theater in downtown Los Angeles.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13953066/new-shogun-series-review-fx-james-clavell\">\u003cem>Shōgun\u003c/em>\u003c/a> set a single season record for most wins with 18. \u003cem>Shogun\u003c/em> won best drama series, and Hiroyuki Sanada and Anna Sawai won acting awards for their roles.\u003c/p>\n\u003cp>[aside postid='arts_13964232']\u003ca href=\"https://www.kqed.org/arts/13897119/a-comedic-generational-divide-gets-bridged-in-hbos-hacks\">\u003cem>Hacks\u003c/em>\u003c/a> won the award for best comedy series. \u003ca href=\"https://www.kqed.org/arts/13963546/nava-mau-baby-reindeer-emmy-awards-nomination-interview-you-netflix\">\u003cem>Baby Reindeer\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a> won four awards apiece.\u003c/p>\n\u003cp>Early winners included Ebon Moss-Bachrach, Jeremy Allen White and Liza Colón-Zayas, who won awards for their work in the comedy series \u003cem>The Bear\u003c/em>.\u003c/p>\n\u003cp>Stars presenting Emmys to their peers included: Billy Crystal, Viola Davis, Selena Gomez, Steve Martin, Maya Rudolph and Martin Sheen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Several actors and shows, including Rudolph, won last week. Rudolph won her sixth Emmy Award at last weekend’s Creative Arts Emmys for her voice work on \u003cem>Big Mouth\u003c/em>. Jamie Lee Curtis also picked up a supporting actress Emmy last weekend for her appearance on \u003cem>The Bear\u003c/em>.\u003c/p>\n\u003cp>Here’s a list of winners at Sunday’s Emmys:\u003c/p>\n\u003cp>\u003cstrong>Drama series\u003c/strong>\u003cbr>\n\u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Comedy series\u003c/strong>\u003cbr>\n\u003cem>Hacks\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Limited, anthology series, movie\u003c/strong>\u003cbr>\n\u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actor in a drama series\u003c/strong>\u003cbr>\nHiroyuki Sanada, \u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actress in a drama series\u003c/strong>\u003cbr>\nAnna Sawai, \u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actor in a drama series\u003c/strong>\u003cbr>\nBilly Crudup, \u003cem>The Morning Show\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actress in a drama series\u003c/strong>\u003cbr>\nElizabeth Debicki, \u003cem>The Crown\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actor in a comedy series\u003c/strong>\u003cbr>\nJeremy Allen White, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actress in a comedy series\u003c/strong>\u003cbr>\nJean Smart, \u003cem>Hacks\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actress in a comedy series\u003c/strong>\u003cbr>\nLiza Colón-Zayas, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actor in a comedy series\u003c/strong>\u003cbr>\nEbon Moss-Bachrach, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actor in a limited, anthology series or movie\u003c/strong>\u003cbr>\nRichard Gadd, \u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actress in a limited, anthology series or movie\u003c/strong>\u003cbr>\nJodie Foster, \u003cem>True Detective: Night Country\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actress limited, anthology series or movie\u003c/strong>\u003cbr>\nJessica Gunning, \u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actor in a limited, anthology series or movie\u003c/strong>\u003cbr>\nLamorne Morris, \u003cem>Fargo\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Reality competition program\u003c/strong>\u003cbr>\n\u003cem>The Traitors\u003c/em>, Peacock\u003c/p>\n\u003cp>\u003cstrong>Scripted variety series\u003c/strong>\u003cbr>\n\u003cem>Last Week Tonight with John Oliver\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Talk series\u003c/strong>\u003cbr>\n\u003cem>The Daily Show\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a variety special\u003c/strong>\u003cbr>\nAlex Edelman, \u003cem>Just for Us\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a comedy series\u003c/strong>\u003cbr>\nLucia Aniello, Paul W. Downs and Jen Statsky, \u003cem>Hacks\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a drama series\u003c/strong>\u003cbr>\nWill Smith, \u003cem>Slow Horses\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a limited series, anthology or movie\u003c/strong>\u003cbr>\nRichard Gadd, \u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing for a limited or anthology series\u003c/strong>\u003cbr>\nSteven Zaillian, \u003cem>Ripley\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing for a comedy series\u003c/strong>\u003cbr>\nChristopher Storer, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing for a drama series\u003c/strong>\u003cbr>\nFrederick E.O. Toye, \u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Governors award\u003c/strong>\u003cbr>\nGreg Berlanti\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 76th annual Emmy Awards were handed out Sunday at the Peacock Theater in downtown Los Angeles.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13953066/new-shogun-series-review-fx-james-clavell\">\u003cem>Shōgun\u003c/em>\u003c/a> set a single season record for most wins with 18. \u003cem>Shogun\u003c/em> won best drama series, and Hiroyuki Sanada and Anna Sawai won acting awards for their roles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ca href=\"https://www.kqed.org/arts/13897119/a-comedic-generational-divide-gets-bridged-in-hbos-hacks\">\u003cem>Hacks\u003c/em>\u003c/a> won the award for best comedy series. \u003ca href=\"https://www.kqed.org/arts/13963546/nava-mau-baby-reindeer-emmy-awards-nomination-interview-you-netflix\">\u003cem>Baby Reindeer\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a> won four awards apiece.\u003c/p>\n\u003cp>Early winners included Ebon Moss-Bachrach, Jeremy Allen White and Liza Colón-Zayas, who won awards for their work in the comedy series \u003cem>The Bear\u003c/em>.\u003c/p>\n\u003cp>Stars presenting Emmys to their peers included: Billy Crystal, Viola Davis, Selena Gomez, Steve Martin, Maya Rudolph and Martin Sheen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Several actors and shows, including Rudolph, won last week. Rudolph won her sixth Emmy Award at last weekend’s Creative Arts Emmys for her voice work on \u003cem>Big Mouth\u003c/em>. Jamie Lee Curtis also picked up a supporting actress Emmy last weekend for her appearance on \u003cem>The Bear\u003c/em>.\u003c/p>\n\u003cp>Here’s a list of winners at Sunday’s Emmys:\u003c/p>\n\u003cp>\u003cstrong>Drama series\u003c/strong>\u003cbr>\n\u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Comedy series\u003c/strong>\u003cbr>\n\u003cem>Hacks\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Limited, anthology series, movie\u003c/strong>\u003cbr>\n\u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actor in a drama series\u003c/strong>\u003cbr>\nHiroyuki Sanada, \u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actress in a drama series\u003c/strong>\u003cbr>\nAnna Sawai, \u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actor in a drama series\u003c/strong>\u003cbr>\nBilly Crudup, \u003cem>The Morning Show\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actress in a drama series\u003c/strong>\u003cbr>\nElizabeth Debicki, \u003cem>The Crown\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actor in a comedy series\u003c/strong>\u003cbr>\nJeremy Allen White, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actress in a comedy series\u003c/strong>\u003cbr>\nJean Smart, \u003cem>Hacks\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actress in a comedy series\u003c/strong>\u003cbr>\nLiza Colón-Zayas, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actor in a comedy series\u003c/strong>\u003cbr>\nEbon Moss-Bachrach, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actor in a limited, anthology series or movie\u003c/strong>\u003cbr>\nRichard Gadd, \u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Actress in a limited, anthology series or movie\u003c/strong>\u003cbr>\nJodie Foster, \u003cem>True Detective: Night Country\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actress limited, anthology series or movie\u003c/strong>\u003cbr>\nJessica Gunning, \u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Supporting actor in a limited, anthology series or movie\u003c/strong>\u003cbr>\nLamorne Morris, \u003cem>Fargo\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Reality competition program\u003c/strong>\u003cbr>\n\u003cem>The Traitors\u003c/em>, Peacock\u003c/p>\n\u003cp>\u003cstrong>Scripted variety series\u003c/strong>\u003cbr>\n\u003cem>Last Week Tonight with John Oliver\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Talk series\u003c/strong>\u003cbr>\n\u003cem>The Daily Show\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a variety special\u003c/strong>\u003cbr>\nAlex Edelman, \u003cem>Just for Us\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a comedy series\u003c/strong>\u003cbr>\nLucia Aniello, Paul W. Downs and Jen Statsky, \u003cem>Hacks\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a drama series\u003c/strong>\u003cbr>\nWill Smith, \u003cem>Slow Horses\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Writing for a limited series, anthology or movie\u003c/strong>\u003cbr>\nRichard Gadd, \u003cem>Baby Reindeer\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing for a limited or anthology series\u003c/strong>\u003cbr>\nSteven Zaillian, \u003cem>Ripley\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing for a comedy series\u003c/strong>\u003cbr>\nChristopher Storer, \u003cem>The Bear\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Directing for a drama series\u003c/strong>\u003cbr>\nFrederick E.O. Toye, \u003cem>Shōgun\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Governors award\u003c/strong>\u003cbr>\nGreg Berlanti\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "5 Big Takeaways From the 2024 Emmy Awards",
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"content": "\u003cp>The Emmy Awards on Sunday night didn’t offer up one single show that outperformed all the rest. Instead, a few shows split most of the major categories, without too many surprises. (There was perhaps one). Hosts Eugene and Dan Levy did their best to keep things moving, and as always, everyone was very thankful. Here are a few takeaways from the ceremony and the Emmy season.\u003c/p>\n\u003ch3>‘Shōgun’ was the sweeping historical drama that swept the top categories.\u003c/h3>\n\u003cfigure id=\"attachment_13964235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun.png\" alt=\"A large group of men and women in evening wear on an awards stage.\" width=\"2000\" height=\"1309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1536x1005.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1920x1257.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The team from ‘Shōgun’ accepts the Emmy award for outstanding drama series. \u003ccite>(Phil McCarten/Invision/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Shōgun \u003c/em>is the biggest Emmy winner this year, after 14 awards last weekend at the Creative Arts ceremony and four on Sunday night. The show took home outstanding drama series, in addition to awards for lead actor Hiroyuki Sanada, lead actress Anna Sawai, and director Frederick E.O. Toye.\u003c/p>\n\u003cp>Sweeping historical epics are not as popular as they once were, and over and over, FX and Hulu were praised for being willing to support an expensive period piece that was largely in Japanese with subtitles. It’s going to be interesting to see whether there is any effort in the next couple of years to pursue these sweeping epic series like the ones that used to air in the ’70s and ’80s, like \u003cem>North and South \u003c/em>or \u003cem>The Thorn Birds\u003c/em>.\u003c/p>\n\u003ch3>It’s hard to make an exciting awards show when it’s too soon after the last show.\u003c/h3>\n\u003cp>The last Emmy Awards \u003ca href=\"https://www.npr.org/2024/01/16/1224865471/emmys-awards-succession-beef-the-bear\">\u003cu>were only in January of this year\u003c/u>\u003c/a>, after being delayed by the actors’ and writers’ strikes. Thus, we just did all of the celebrating of beloved shows, the saluting of people who are in \u003cem>The Bear \u003c/em>and \u003cem>Hacks\u003c/em>, and discussions of how important television is to people. It might seem like the difference between a year and 8.5 months isn’t that much, but it did indeed feel like we just did this, and it felt a little lifeless as a result. Not because there’s anything wrong with the winners, but just because … you know, we just did this.\u003c/p>\n\u003ch3>‘Baby Reindeer’ cleaned up, and its creator hopes it will prove a point.\u003c/h3>\n\u003cfigure id=\"attachment_13964236\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer.png\" alt=\"A white man in a tuxedo holds up two awards triumphantly.\" width=\"2000\" height=\"1340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-1020x683.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-768x515.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-1536x1029.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-1920x1286.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richard Gadd, winner of the outstanding limited or anthology series for ‘Baby Reindeer.’ \u003ccite>(Robyn Beck/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Netflix series created by Richard Gadd won awards for lead actor, supporting actress, writing, and outstanding limited series. It may be in the \u003ca href=\"https://www.npr.org/2024/09/13/nx-s1-5104147/baby-reindeer-netflix-martha-lawsuit\">\u003cu>middle of a lawsuit\u003c/u>\u003c/a> from the woman who says she inspired the stalker played by Jessica Gunning, but that didn’t bother Emmy voters, who gave Gadd three opportunities to make speeches. He took the opportunity to point out that the show didn’t have established intellectual property, didn’t have established stars, and became a hit anyway. It would be lovely to think that Netflix — and other outlets — will take the lesson that risks can pay off.\u003c/p>\n\u003ch3>‘Hacks’ came up big, and ‘The Bear’ may have run into a category problem.\u003c/h3>\n\u003cfigure id=\"attachment_13964237\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964237\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean.png\" alt=\"A mature woman in an evening gown stands on stage holding an award before a large audience.\" width=\"2000\" height=\"1375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-800x550.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-1020x701.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-768x528.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-1536x1056.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-1920x1320.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jean Smart won the Emmy for outstanding lead actress in a comedy series for her performance in ‘Hacks.’ \u003ccite>(Danny Moloshok/Invision/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Bear\u003c/em>, which was a sensation at the Emmys in January, did very well in the comedy categories. It won for lead actor (Jeremy Allen White), it won for supporting actor (Ebon Moss Bachrach), it won for supporting actress (Liza Colón-Zayas), and it won for directing, for the episode “Fishes.” (Keep in mind that these are awards for season two, not the most recent season.) The one acting category in which \u003cem>The Bear\u003c/em> didn’t win was lead actress, where Ayo Edebiri lost to Jean Smart after winning in the supporting actress category last year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was a bit of a sign of things to come during the ceremony: \u003cem>Hacks \u003c/em>also picked up the critical award for comedy writing (for the episode “Bulletproof”). And then, unlike at the most recent Emmys, \u003cem>The Bear \u003c/em>did not win outstanding comedy series; \u003cem>Hacks \u003c/em>did. Given that there was a biting joke in the monologue from hosts Eugene and Dan Levy about the widespread sense that \u003cem>The Bear \u003c/em>doesn’t belong in the comedy category in the first place, and given the laugh it got, it may be that some people who were perfectly happy to reward the wonderful performances on the show were ultimately hesitant to give the award for outstanding comedy series to something they don’t consider a comedy.\u003c/p>\n\u003ch3>The shtick between awards was … fine?\u003c/h3>\n\u003cfigure id=\"attachment_13964238\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads.png\" alt=\"A Black man, a Latino man and a white man, all wearing nice suits, sit on a leather couch together.\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-1920x1279.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">TV dads Damon Wayans, left, George Lopez and Jesse Tyler Ferguson presented the Emmy Award for Outstanding lead actor in a comedy series. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>As with many awards shows, Emmys night featured a recurring bit between awards presentations. This evening featured a series of groups of actors who had some connection to each other: TV moms, TV dads, TV doctors, TV lawyers, TV coaches. There was even a pairing of Ron Howard and Henry Winkler to mark the 50th (!!) anniversary of \u003cem>Happy Days\u003c/em>. But these moments always seem to be somehow less than the sum of their parts, and this year was no exception. There are a lot of TV dads; just picking three and having them present together on a set that looks like a living room to deliver patter that sounds exactly like the patter on every other awards show doesn’t really celebrate anything except whoever booked the talent for the telecast. One point for having Winkler punch the jukebox on the diner set to get it to play, though, just like Fonzie used to do. That was fun.\u003c/p>\n\n",
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"excerpt": "‘The Bear,’ ‘Shogun’ and ‘Baby Reindeer’ split most of the major categories, while Eugene and Dan Levy did their best as hosts.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Emmy Awards on Sunday night didn’t offer up one single show that outperformed all the rest. Instead, a few shows split most of the major categories, without too many surprises. (There was perhaps one). Hosts Eugene and Dan Levy did their best to keep things moving, and as always, everyone was very thankful. Here are a few takeaways from the ceremony and the Emmy season.\u003c/p>\n\u003ch3>‘Shōgun’ was the sweeping historical drama that swept the top categories.\u003c/h3>\n\u003cfigure id=\"attachment_13964235\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964235\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun.png\" alt=\"A large group of men and women in evening wear on an awards stage.\" width=\"2000\" height=\"1309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1536x1005.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/shogun-1920x1257.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The team from ‘Shōgun’ accepts the Emmy award for outstanding drama series. \u003ccite>(Phil McCarten/Invision/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Shōgun \u003c/em>is the biggest Emmy winner this year, after 14 awards last weekend at the Creative Arts ceremony and four on Sunday night. The show took home outstanding drama series, in addition to awards for lead actor Hiroyuki Sanada, lead actress Anna Sawai, and director Frederick E.O. Toye.\u003c/p>\n\u003cp>Sweeping historical epics are not as popular as they once were, and over and over, FX and Hulu were praised for being willing to support an expensive period piece that was largely in Japanese with subtitles. It’s going to be interesting to see whether there is any effort in the next couple of years to pursue these sweeping epic series like the ones that used to air in the ’70s and ’80s, like \u003cem>North and South \u003c/em>or \u003cem>The Thorn Birds\u003c/em>.\u003c/p>\n\u003ch3>It’s hard to make an exciting awards show when it’s too soon after the last show.\u003c/h3>\n\u003cp>The last Emmy Awards \u003ca href=\"https://www.npr.org/2024/01/16/1224865471/emmys-awards-succession-beef-the-bear\">\u003cu>were only in January of this year\u003c/u>\u003c/a>, after being delayed by the actors’ and writers’ strikes. Thus, we just did all of the celebrating of beloved shows, the saluting of people who are in \u003cem>The Bear \u003c/em>and \u003cem>Hacks\u003c/em>, and discussions of how important television is to people. It might seem like the difference between a year and 8.5 months isn’t that much, but it did indeed feel like we just did this, and it felt a little lifeless as a result. Not because there’s anything wrong with the winners, but just because … you know, we just did this.\u003c/p>\n\u003ch3>‘Baby Reindeer’ cleaned up, and its creator hopes it will prove a point.\u003c/h3>\n\u003cfigure id=\"attachment_13964236\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964236\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer.png\" alt=\"A white man in a tuxedo holds up two awards triumphantly.\" width=\"2000\" height=\"1340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-1020x683.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-768x515.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-1536x1029.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/reindeer-1920x1286.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Richard Gadd, winner of the outstanding limited or anthology series for ‘Baby Reindeer.’ \u003ccite>(Robyn Beck/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Netflix series created by Richard Gadd won awards for lead actor, supporting actress, writing, and outstanding limited series. It may be in the \u003ca href=\"https://www.npr.org/2024/09/13/nx-s1-5104147/baby-reindeer-netflix-martha-lawsuit\">\u003cu>middle of a lawsuit\u003c/u>\u003c/a> from the woman who says she inspired the stalker played by Jessica Gunning, but that didn’t bother Emmy voters, who gave Gadd three opportunities to make speeches. He took the opportunity to point out that the show didn’t have established intellectual property, didn’t have established stars, and became a hit anyway. It would be lovely to think that Netflix — and other outlets — will take the lesson that risks can pay off.\u003c/p>\n\u003ch3>‘Hacks’ came up big, and ‘The Bear’ may have run into a category problem.\u003c/h3>\n\u003cfigure id=\"attachment_13964237\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964237\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean.png\" alt=\"A mature woman in an evening gown stands on stage holding an award before a large audience.\" width=\"2000\" height=\"1375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-800x550.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-1020x701.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-768x528.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-1536x1056.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/jean-1920x1320.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jean Smart won the Emmy for outstanding lead actress in a comedy series for her performance in ‘Hacks.’ \u003ccite>(Danny Moloshok/Invision/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Bear\u003c/em>, which was a sensation at the Emmys in January, did very well in the comedy categories. It won for lead actor (Jeremy Allen White), it won for supporting actor (Ebon Moss Bachrach), it won for supporting actress (Liza Colón-Zayas), and it won for directing, for the episode “Fishes.” (Keep in mind that these are awards for season two, not the most recent season.) The one acting category in which \u003cem>The Bear\u003c/em> didn’t win was lead actress, where Ayo Edebiri lost to Jean Smart after winning in the supporting actress category last year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was a bit of a sign of things to come during the ceremony: \u003cem>Hacks \u003c/em>also picked up the critical award for comedy writing (for the episode “Bulletproof”). And then, unlike at the most recent Emmys, \u003cem>The Bear \u003c/em>did not win outstanding comedy series; \u003cem>Hacks \u003c/em>did. Given that there was a biting joke in the monologue from hosts Eugene and Dan Levy about the widespread sense that \u003cem>The Bear \u003c/em>doesn’t belong in the comedy category in the first place, and given the laugh it got, it may be that some people who were perfectly happy to reward the wonderful performances on the show were ultimately hesitant to give the award for outstanding comedy series to something they don’t consider a comedy.\u003c/p>\n\u003ch3>The shtick between awards was … fine?\u003c/h3>\n\u003cfigure id=\"attachment_13964238\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964238\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads.png\" alt=\"A Black man, a Latino man and a white man, all wearing nice suits, sit on a leather couch together.\" width=\"2000\" height=\"1332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-1536x1023.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/dads-1920x1279.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">TV dads Damon Wayans, left, George Lopez and Jesse Tyler Ferguson presented the Emmy Award for Outstanding lead actor in a comedy series. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>As with many awards shows, Emmys night featured a recurring bit between awards presentations. This evening featured a series of groups of actors who had some connection to each other: TV moms, TV dads, TV doctors, TV lawyers, TV coaches. There was even a pairing of Ron Howard and Henry Winkler to mark the 50th (!!) anniversary of \u003cem>Happy Days\u003c/em>. But these moments always seem to be somehow less than the sum of their parts, and this year was no exception. There are a lot of TV dads; just picking three and having them present together on a set that looks like a living room to deliver patter that sounds exactly like the patter on every other awards show doesn’t really celebrate anything except whoever booked the talent for the telecast. One point for having Winkler punch the jukebox on the diner set to get it to play, though, just like Fonzie used to do. That was fun.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Maybe you’ve heard: They’re making another Batman-without-Batman show.\u003c/p>\n\u003cp>I know, right? \u003cem>Another \u003c/em>one.\u003c/p>\n\u003cp>As a concept, Batman-without-Batman is a big slobbery tennis ball, and the culture is the Golden Retriever who keeps dropping it in your lap and looking up at you expectantly. Who could blame you for shooing the mutt away, right? Enough is enough.\u003c/p>\n\u003cp>Consider: First there was \u003ca href=\"https://www.imdb.com/title/tt0312098/\">\u003cem>\u003cu>Birds of Prey\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt3749900/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Gotham\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt1043813/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Titans\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt8712204/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Batwoman\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt16418896/?ref_=fn_al_tt_2\">\u003cem>\u003cu>Gotham Knights\u003c/u>\u003c/em>\u003c/a>. Somewhere in there, they made a \u003ca href=\"https://www.imdb.com/title/tt8425532/?ref_=fn_al_tt_1\">\u003cu>whole, entire show about Batman’s butler\u003c/u>\u003c/a>. \u003cem>Before he became his butler\u003c/em>.\u003c/p>\n\u003cp>There have been Batman without Batman movies, too. The ham-handed \u003ca href=\"https://www.imdb.com/title/tt7286456/\">\u003cem>\u003cu>Joker\u003c/u>\u003c/em>\u003c/a>, of course. And its upcoming \u003ca href=\"https://www.imdb.com/title/tt11315808/?ref_=fn_al_tt_2\">\u003cu>sequel\u003c/u>\u003c/a>. \u003ca href=\"https://www.imdb.com/title/tt1386697/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Suicide Squad\u003c/u>\u003c/em>\u003c/a>, and its \u003ca href=\"https://www.imdb.com/title/tt6334354/?ref_=fn_al_tt_2\">\u003cu>sequel, or reboot, or whatever\u003c/u>\u003c/a>. The \u003ca href=\"https://www.imdb.com/title/tt7713068/?ref_=nm_flmg_t_8_act\">\u003cem>\u003cu>Birds of Prey\u003c/u>\u003c/em>\u003c/a> one. That \u003ca href=\"https://www.imdb.com/title/tt6718412/\">\u003cem>\u003cu>Batgirl\u003c/u>\u003c/em>\u003c/a> one that got shelved.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And now they’re making \u003cem>The Penguin\u003c/em>. Yeah: A whole show about the very C-listiest of C-list Batman villains. What’s next? \u003ca href=\"https://villains.lol/penny-plunderer/\">\u003cem>\u003cu>Penny Plunderer: The Rock Opera\u003c/u>\u003c/em>\u003c/a>?\u003c/p>\n\u003cp>[aside postid='arts_13963967']Maybe you’ve heard about this latest entry in the weirdly burgeoning Everything But the Bat genre, and you said, “I’ma pass.” Perfectly understandable. Reasonable, even.\u003c/p>\n\u003cp>Then maybe you heard that this \u003cem>The Penguin \u003c/em>show was tied into \u003ca href=\"https://www.imdb.com/title/tt1877830/\">\u003cu>the latest Batman movie\u003c/u>\u003c/a>, directed by Matt Reeves. And maybe you liked that 2022 movie a bit, inasmuch as it felt like a clean break from what came before, and it had a solid take. Robert Pattinson was a more emo, wounded version of Batsy. The world of Gotham more rich and seedy. And now that you think of it, Colin Farrell’s choice to bury his toothsome face under pounds of latex and play that movie’s Penguin as a volatile mob underboss with a “dese-and-dose” Brooklyn accent thicker than bolognese — that was a big swing, and it was pretty funny.\u003c/p>\n\u003cp>I’m here to tell you — and no one is more surprised than me, I \u003cem>assure \u003c/em>you — that if you skipped \u003cem>The Penguin\u003c/em>, you’d be making a big mistake, and missing out on one of the best television series of the year.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sfJG6IiA_s8&t=14s\u003c/p>\n\u003ch3>“I’m squawkin’ here! I’m squawkin’ here!”\u003c/h3>\n\u003cp>\u003cem>The Penguin\u003c/em> is set in the immediate aftermath of 2022’s \u003cem>The Batman\u003c/em>, which saw the Riddler flood Gotham City, killing thousands. Mob underboss Oswald Cobb (Colin Farrell) resolves to exploit the chaos and take over Gotham’s criminal underworld. To do so, he must play his own crime family, the Falcones, led by Alberto Falcone (Michael Zegen), against their rivals the Maronis, led by Salvatore Maroni (Clancy Brown) and Nadia Maroni (Shohreh Aghdashloo).\u003c/p>\n\u003cp>In this endeavor he is assisted, reluctantly at first, by young Victor (Rhenzy Feliz), a would-be criminal who lost his home and his family in the flood.\u003c/p>\n\u003cp>The arrival of Alberto’s sister Sofia Falcone complicates Oz’s rise to power — in a ruthlessly fun way. That’s because Sofia is played by the great Cristin Milioti, who brings raw emotion and dark humor to her portrayal of a woman who just spent 10 years in Arkham Asylum for the murder of several young sex workers.\u003c/p>\n\u003cfigure id=\"attachment_13964178\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964178\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina.png\" alt=\"A woman with dark hair and pale skin stands in a courtyard wearing a smart white suit\" width=\"2000\" height=\"1275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-800x510.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-1020x650.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-768x490.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-1536x979.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-1920x1224.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sofia Falcone (Cristin Milioti) stares daggers. And axes. And sledgehammers. And machine guns. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And at the center of it all is Farrell, emoting the holy hell out of his every movement and line reading, so Oz emerges as a deeply wounded, doleful figure who just happens to delight in violence. He’s at once needy and impulsive, a combination of traits that places him in danger again and again, though he’s clever enough to talk his way out of it. Usually.\u003c/p>\n\u003cp>Farrell’s commitment to the bit will turn some viewers off, I suspect. He goes big, and his Oz is a creature of bluster and outsized, ever-shifting moods — never moreso than when he dotes on his mother, played with canny intelligence by the great Deirdre O’Connell. I loved their scenes together, as both actors bring a crackling intensity that made me temporarily forget I was watching Farrell through several layers of prosthetics. For some, however, Farrell’s histrionic take, that comically broad accent, and the fat suit will be too much — to them, he will come off like Ratso Rizzo with Tony Soprano’s BMI.\u003c/p>\n\u003ch3>Woke up this morning/Got yourself a gunsel\u003c/h3>\n\u003cp>Speaking of Big Tony: The surface similarities between \u003cem>The Sopranos\u003c/em> and \u003cem>The Penguin\u003c/em> are hard to ignore: Both depict rival crime families, betrayals, shifting allegiances, vendettas, and both revolve around a sociopathic mobster capable of horrible violence who’s also an open emotional wound. Like \u003cem>The Sopranos\u003c/em>, \u003cem>The Penguin\u003c/em> is a psychological drama dressed up in mob clothing: It delivers its pulpy, satisfying thrills alongside its more esoteric, intellectual pleasures.\u003c/p>\n\u003cp>[aside postid='arts_13963775']But the similarities don’t end there: There was always something incisive about \u003cem>The Sopranos\u003c/em> — for all its brutality and soapiness, it found humanity in the inhumane and soulfulness in even the most soulless act. Its characters were crude, but the way the show understood them, and presented them to us, was elegant.\u003c/p>\n\u003cp>\u003cem>The Penguin\u003c/em> doesn’t reach the heights of \u003cem>The Sopranos\u003c/em>, but it similarly seeks to examine the roots of violence, and it comes away with some pretty ugly answers. Compelling, but ugly.\u003c/p>\n\u003cp>The secret to that riveting quality is the series’ willingness — no, eagerness — to go beyond the comics to locate something new in an 83-year-old character originally created for children. In the very first scene of the first episode, we get a bracingly clear sense of who this Oswald Cobb is, as he reminisces with Zegen’s Alberto Falcone about a made guy from Oz’s old neighborhood who commanded respect. Farrell is perfectly calibrated here, and lets us see how hungrily Oz pines to be loved and admired — and how quickly and lethally he reacts when that love and admiration is denied him.\u003c/p>\n\u003cfigure id=\"attachment_13964179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964179\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom.png\" alt=\"An older woman looks pleadingly up at someone in a dimly lit room.\" width=\"2000\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-800x477.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-1020x608.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-768x458.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-1536x915.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-1920x1144.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oz is a momma’s boy; you would be too, if your mom was played by Deirdre O’Connell. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where shows like \u003cem>Gotham \u003c/em>and \u003cem>Batwoman \u003c/em>delighted in offering their audiences winking references to people, places and things in the Bat-canon, \u003cem>The Penguin\u003c/em> gives the established lore a wide berth, preferring to build a world of its own. When familiar aspects do show up, as in a flashback episode depicting Sofia’s stint in Arkham Asylum, the show does good, hard work to make them fresh and — in the case of Arkham, anyway — harrowing. (Seriously: That episode is a tough sit.)\u003c/p>\n\u003ch3>The cure for superhero fatigue?\u003c/h3>\n\u003cp>There’s been a certain sameness to superhero fare, I’m sure you will agree. And a thinness.\u003c/p>\n\u003cp>Shows like\u003cem> The Boys\u003c/em> and \u003cem>Invincible \u003c/em>(and movies like \u003cem>Deadpool & Wolverine\u003c/em>, for that matter), traffic in the kind of glib, nihilistic humor and grisly violence that always makes me feel like I’m hanging out with a 14-year-old self-styled edgelord who keeps giggling at how much he thinks he’s getting away with.\u003c/p>\n\u003cp>[aside postid='arts_13963546']But the sunnier, more family-oriented superhero fare of the CW and Marvel — your \u003cem>The Flash\u003c/em>, your \u003cem>Superman and Lois\u003c/em>, your \u003cem>Stargirl\u003c/em>, your \u003cem>Echo \u003c/em>and \u003cem>She-Hulk\u003c/em> and \u003cem>Secret Invasion \u003c/em>and so, so many others — they’re hidebound by their format. Their comparatively straightforward plotting is meant to create content you can fold your laundry to. When characters exchange dialogue, that dialogue exists solely to convey the information required for the plot to move forward, not anything so esoteric as delineating character or revealing insights. That’s because these shows are beholden to network executives who place a premium on absolute clarity, on never leaving a viewer even momentarily unsure or confused or god forbid, challenged in any meaningful way. The worry is, amid a glut of streaming options, a confused viewer is a viewer that clicks away, to be lost forever.\u003c/p>\n\u003cp>(There’s a third category of superhero show that neatly avoids the sameness/thinness trap by being blithely, even exultantly weird. It’s a tiny one, in that it encompasses only three series — the crazypants \u003cem>Legion\u003c/em>, which ran for three seasons on FX, the bananapants \u003cem>Doom Patrol\u003c/em>, which ran for four seasons on DC Universe and then Max, and the crazytown \u003cem>The Umbrella Academy, \u003c/em>which just dropped its fourth and final season on Netflix.)\u003c/p>\n\u003cp>\u003cem>The Penguin\u003c/em> doesn’t slot neatly into any of these categories: it isn’t glib, it isn’t formulaic, and it isn’t particularly weird. What it is, however, is pretty great, because it concerns itself with digging deeper under the surface than previous superhero shows have bothered to do — and going harder.\u003c/p>\n\u003cp>It’s a series that allows individual moments to linger for their own sake. A shared look, or an exchange of dialogue, will be allowed to hang in the air for long seconds, doing absolutely nothing to move the plot forward, but doing absolutely everything to define the characters involved. As a result, our understanding of those characters deepens and complicates, moving us to invest more greatly in these people, and in this world.\u003c/p>\n\u003cp>(Plus, the first episode supplies us with the funniest, most deftly characterizing Dolly Parton needle-drop ever put to screen.)\u003c/p>\n\u003cp>But as the show barrels toward its satisfying if operatically tragic conclusion, certain rote, recognizable elements of the comic book Penguin begin to creep in — a top hat here, a cigarette holder there, etc. They’re not the kind of winking, elbow-to-the-ribs references that weighed down so many previous Batman-without-Batman shows, but they’re frustrating nonetheless. The Oswald Cobb you’ve been watching for eight episodes is a singular creation, with his own demons, his own motivations. Watching him even start to conform to the corporate-mandated style guide may be inevitable, but I don’t have to like it.\u003c/p>\n\u003cp>[aside postid='arts_13961629']In the end, \u003cem>The Penguin\u003c/em> is the tale of a thug who becomes a boss, and the sacrifices he all-too-willingly makes along the way. That it succeeds as thoroughly as it does may be surprising, given its provenance as yet another Batman-without-Batman nugget of Warner’s IP, but the creators’ refusal to coast on what has gone before, and their willingness to let Farrell and Milioti dig into their characters so we can all sit back and watch them work with what they’ve unearthed is what makes for greatly satisfying TV.\u003c/p>\n\u003cp>\u003cem>The Penguin\u003c/em> may not represent the cure for superhero fatigue, but it delivers a powerful dose of medicine that can treat its symptoms.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Penguin’ begins streaming on Max on Sept. 19, 2024. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe you’ve heard: They’re making another Batman-without-Batman show.\u003c/p>\n\u003cp>I know, right? \u003cem>Another \u003c/em>one.\u003c/p>\n\u003cp>As a concept, Batman-without-Batman is a big slobbery tennis ball, and the culture is the Golden Retriever who keeps dropping it in your lap and looking up at you expectantly. Who could blame you for shooing the mutt away, right? Enough is enough.\u003c/p>\n\u003cp>Consider: First there was \u003ca href=\"https://www.imdb.com/title/tt0312098/\">\u003cem>\u003cu>Birds of Prey\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt3749900/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Gotham\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt1043813/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Titans\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt8712204/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Batwoman\u003c/u>\u003c/em>\u003c/a>. Then there was \u003ca href=\"https://www.imdb.com/title/tt16418896/?ref_=fn_al_tt_2\">\u003cem>\u003cu>Gotham Knights\u003c/u>\u003c/em>\u003c/a>. Somewhere in there, they made a \u003ca href=\"https://www.imdb.com/title/tt8425532/?ref_=fn_al_tt_1\">\u003cu>whole, entire show about Batman’s butler\u003c/u>\u003c/a>. \u003cem>Before he became his butler\u003c/em>.\u003c/p>\n\u003cp>There have been Batman without Batman movies, too. The ham-handed \u003ca href=\"https://www.imdb.com/title/tt7286456/\">\u003cem>\u003cu>Joker\u003c/u>\u003c/em>\u003c/a>, of course. And its upcoming \u003ca href=\"https://www.imdb.com/title/tt11315808/?ref_=fn_al_tt_2\">\u003cu>sequel\u003c/u>\u003c/a>. \u003ca href=\"https://www.imdb.com/title/tt1386697/?ref_=fn_al_tt_1\">\u003cem>\u003cu>Suicide Squad\u003c/u>\u003c/em>\u003c/a>, and its \u003ca href=\"https://www.imdb.com/title/tt6334354/?ref_=fn_al_tt_2\">\u003cu>sequel, or reboot, or whatever\u003c/u>\u003c/a>. The \u003ca href=\"https://www.imdb.com/title/tt7713068/?ref_=nm_flmg_t_8_act\">\u003cem>\u003cu>Birds of Prey\u003c/u>\u003c/em>\u003c/a> one. That \u003ca href=\"https://www.imdb.com/title/tt6718412/\">\u003cem>\u003cu>Batgirl\u003c/u>\u003c/em>\u003c/a> one that got shelved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And now they’re making \u003cem>The Penguin\u003c/em>. Yeah: A whole show about the very C-listiest of C-list Batman villains. What’s next? \u003ca href=\"https://villains.lol/penny-plunderer/\">\u003cem>\u003cu>Penny Plunderer: The Rock Opera\u003c/u>\u003c/em>\u003c/a>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Maybe you’ve heard about this latest entry in the weirdly burgeoning Everything But the Bat genre, and you said, “I’ma pass.” Perfectly understandable. Reasonable, even.\u003c/p>\n\u003cp>Then maybe you heard that this \u003cem>The Penguin \u003c/em>show was tied into \u003ca href=\"https://www.imdb.com/title/tt1877830/\">\u003cu>the latest Batman movie\u003c/u>\u003c/a>, directed by Matt Reeves. And maybe you liked that 2022 movie a bit, inasmuch as it felt like a clean break from what came before, and it had a solid take. Robert Pattinson was a more emo, wounded version of Batsy. The world of Gotham more rich and seedy. And now that you think of it, Colin Farrell’s choice to bury his toothsome face under pounds of latex and play that movie’s Penguin as a volatile mob underboss with a “dese-and-dose” Brooklyn accent thicker than bolognese — that was a big swing, and it was pretty funny.\u003c/p>\n\u003cp>I’m here to tell you — and no one is more surprised than me, I \u003cem>assure \u003c/em>you — that if you skipped \u003cem>The Penguin\u003c/em>, you’d be making a big mistake, and missing out on one of the best television series of the year.\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/sfJG6IiA_s8'\n title='//www.youtube.com/embed/sfJG6IiA_s8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>“I’m squawkin’ here! I’m squawkin’ here!”\u003c/h3>\n\u003cp>\u003cem>The Penguin\u003c/em> is set in the immediate aftermath of 2022’s \u003cem>The Batman\u003c/em>, which saw the Riddler flood Gotham City, killing thousands. Mob underboss Oswald Cobb (Colin Farrell) resolves to exploit the chaos and take over Gotham’s criminal underworld. To do so, he must play his own crime family, the Falcones, led by Alberto Falcone (Michael Zegen), against their rivals the Maronis, led by Salvatore Maroni (Clancy Brown) and Nadia Maroni (Shohreh Aghdashloo).\u003c/p>\n\u003cp>In this endeavor he is assisted, reluctantly at first, by young Victor (Rhenzy Feliz), a would-be criminal who lost his home and his family in the flood.\u003c/p>\n\u003cp>The arrival of Alberto’s sister Sofia Falcone complicates Oz’s rise to power — in a ruthlessly fun way. That’s because Sofia is played by the great Cristin Milioti, who brings raw emotion and dark humor to her portrayal of a woman who just spent 10 years in Arkham Asylum for the murder of several young sex workers.\u003c/p>\n\u003cfigure id=\"attachment_13964178\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964178\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina.png\" alt=\"A woman with dark hair and pale skin stands in a courtyard wearing a smart white suit\" width=\"2000\" height=\"1275\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-800x510.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-1020x650.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-768x490.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-1536x979.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/christina-1920x1224.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sofia Falcone (Cristin Milioti) stares daggers. And axes. And sledgehammers. And machine guns. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And at the center of it all is Farrell, emoting the holy hell out of his every movement and line reading, so Oz emerges as a deeply wounded, doleful figure who just happens to delight in violence. He’s at once needy and impulsive, a combination of traits that places him in danger again and again, though he’s clever enough to talk his way out of it. Usually.\u003c/p>\n\u003cp>Farrell’s commitment to the bit will turn some viewers off, I suspect. He goes big, and his Oz is a creature of bluster and outsized, ever-shifting moods — never moreso than when he dotes on his mother, played with canny intelligence by the great Deirdre O’Connell. I loved their scenes together, as both actors bring a crackling intensity that made me temporarily forget I was watching Farrell through several layers of prosthetics. For some, however, Farrell’s histrionic take, that comically broad accent, and the fat suit will be too much — to them, he will come off like Ratso Rizzo with Tony Soprano’s BMI.\u003c/p>\n\u003ch3>Woke up this morning/Got yourself a gunsel\u003c/h3>\n\u003cp>Speaking of Big Tony: The surface similarities between \u003cem>The Sopranos\u003c/em> and \u003cem>The Penguin\u003c/em> are hard to ignore: Both depict rival crime families, betrayals, shifting allegiances, vendettas, and both revolve around a sociopathic mobster capable of horrible violence who’s also an open emotional wound. Like \u003cem>The Sopranos\u003c/em>, \u003cem>The Penguin\u003c/em> is a psychological drama dressed up in mob clothing: It delivers its pulpy, satisfying thrills alongside its more esoteric, intellectual pleasures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the similarities don’t end there: There was always something incisive about \u003cem>The Sopranos\u003c/em> — for all its brutality and soapiness, it found humanity in the inhumane and soulfulness in even the most soulless act. Its characters were crude, but the way the show understood them, and presented them to us, was elegant.\u003c/p>\n\u003cp>\u003cem>The Penguin\u003c/em> doesn’t reach the heights of \u003cem>The Sopranos\u003c/em>, but it similarly seeks to examine the roots of violence, and it comes away with some pretty ugly answers. Compelling, but ugly.\u003c/p>\n\u003cp>The secret to that riveting quality is the series’ willingness — no, eagerness — to go beyond the comics to locate something new in an 83-year-old character originally created for children. In the very first scene of the first episode, we get a bracingly clear sense of who this Oswald Cobb is, as he reminisces with Zegen’s Alberto Falcone about a made guy from Oz’s old neighborhood who commanded respect. Farrell is perfectly calibrated here, and lets us see how hungrily Oz pines to be loved and admired — and how quickly and lethally he reacts when that love and admiration is denied him.\u003c/p>\n\u003cfigure id=\"attachment_13964179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964179\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom.png\" alt=\"An older woman looks pleadingly up at someone in a dimly lit room.\" width=\"2000\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-800x477.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-1020x608.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-768x458.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-1536x915.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/mom-1920x1144.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Oz is a momma’s boy; you would be too, if your mom was played by Deirdre O’Connell. \u003ccite>(HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where shows like \u003cem>Gotham \u003c/em>and \u003cem>Batwoman \u003c/em>delighted in offering their audiences winking references to people, places and things in the Bat-canon, \u003cem>The Penguin\u003c/em> gives the established lore a wide berth, preferring to build a world of its own. When familiar aspects do show up, as in a flashback episode depicting Sofia’s stint in Arkham Asylum, the show does good, hard work to make them fresh and — in the case of Arkham, anyway — harrowing. (Seriously: That episode is a tough sit.)\u003c/p>\n\u003ch3>The cure for superhero fatigue?\u003c/h3>\n\u003cp>There’s been a certain sameness to superhero fare, I’m sure you will agree. And a thinness.\u003c/p>\n\u003cp>Shows like\u003cem> The Boys\u003c/em> and \u003cem>Invincible \u003c/em>(and movies like \u003cem>Deadpool & Wolverine\u003c/em>, for that matter), traffic in the kind of glib, nihilistic humor and grisly violence that always makes me feel like I’m hanging out with a 14-year-old self-styled edgelord who keeps giggling at how much he thinks he’s getting away with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the sunnier, more family-oriented superhero fare of the CW and Marvel — your \u003cem>The Flash\u003c/em>, your \u003cem>Superman and Lois\u003c/em>, your \u003cem>Stargirl\u003c/em>, your \u003cem>Echo \u003c/em>and \u003cem>She-Hulk\u003c/em> and \u003cem>Secret Invasion \u003c/em>and so, so many others — they’re hidebound by their format. Their comparatively straightforward plotting is meant to create content you can fold your laundry to. When characters exchange dialogue, that dialogue exists solely to convey the information required for the plot to move forward, not anything so esoteric as delineating character or revealing insights. That’s because these shows are beholden to network executives who place a premium on absolute clarity, on never leaving a viewer even momentarily unsure or confused or god forbid, challenged in any meaningful way. The worry is, amid a glut of streaming options, a confused viewer is a viewer that clicks away, to be lost forever.\u003c/p>\n\u003cp>(There’s a third category of superhero show that neatly avoids the sameness/thinness trap by being blithely, even exultantly weird. It’s a tiny one, in that it encompasses only three series — the crazypants \u003cem>Legion\u003c/em>, which ran for three seasons on FX, the bananapants \u003cem>Doom Patrol\u003c/em>, which ran for four seasons on DC Universe and then Max, and the crazytown \u003cem>The Umbrella Academy, \u003c/em>which just dropped its fourth and final season on Netflix.)\u003c/p>\n\u003cp>\u003cem>The Penguin\u003c/em> doesn’t slot neatly into any of these categories: it isn’t glib, it isn’t formulaic, and it isn’t particularly weird. What it is, however, is pretty great, because it concerns itself with digging deeper under the surface than previous superhero shows have bothered to do — and going harder.\u003c/p>\n\u003cp>It’s a series that allows individual moments to linger for their own sake. A shared look, or an exchange of dialogue, will be allowed to hang in the air for long seconds, doing absolutely nothing to move the plot forward, but doing absolutely everything to define the characters involved. As a result, our understanding of those characters deepens and complicates, moving us to invest more greatly in these people, and in this world.\u003c/p>\n\u003cp>(Plus, the first episode supplies us with the funniest, most deftly characterizing Dolly Parton needle-drop ever put to screen.)\u003c/p>\n\u003cp>But as the show barrels toward its satisfying if operatically tragic conclusion, certain rote, recognizable elements of the comic book Penguin begin to creep in — a top hat here, a cigarette holder there, etc. They’re not the kind of winking, elbow-to-the-ribs references that weighed down so many previous Batman-without-Batman shows, but they’re frustrating nonetheless. The Oswald Cobb you’ve been watching for eight episodes is a singular creation, with his own demons, his own motivations. Watching him even start to conform to the corporate-mandated style guide may be inevitable, but I don’t have to like it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the end, \u003cem>The Penguin\u003c/em> is the tale of a thug who becomes a boss, and the sacrifices he all-too-willingly makes along the way. That it succeeds as thoroughly as it does may be surprising, given its provenance as yet another Batman-without-Batman nugget of Warner’s IP, but the creators’ refusal to coast on what has gone before, and their willingness to let Farrell and Milioti dig into their characters so we can all sit back and watch them work with what they’ve unearthed is what makes for greatly satisfying TV.\u003c/p>\n\u003cp>\u003cem>The Penguin\u003c/em> may not represent the cure for superhero fatigue, but it delivers a powerful dose of medicine that can treat its symptoms.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Penguin’ begins streaming on Max on Sept. 19, 2024. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The 16 Best TV Shows to Watch in Fall 2024",
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"headTitle": "The 16 Best TV Shows to Watch in Fall 2024 | KQED",
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"content": "\u003cp>Fall was once when all the new TV shows premiered, and when all the reruns finally ended. These days, things are a lot more spread out, with some series returning after long absences and some showing up for the first time. New shows will be scary and soapy and hopefully funny — and will make new trips to both the Marvel and DC worlds.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xo27sE2fdvs\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Slow Horses, \u003c/em>Season 4, Sept. 4, Apple TV+\u003c/strong>\u003c/h2>\n\u003cp>It is a bit of a tribute to Apple TV+’s low profile that some TV fans have only now heard about this brilliant version of Mick Herron’s subversive spy novels. Gary Oldman is deliciously witty and slovenly as weary spy Jackson Lamb, deftly leading a misfit crew consigned to a British intelligence office reserved for screw-ups. This time, one of Lamb’s staff is tangled in a plot involving his own grandfather, a former bigwig poignantly played by Jonathan Pryce, who may have killed someone while confused by dementia. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GNmLHum-bdE\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003ch2>\u003cstrong>\u003cem>Fight Night: The Million Dollar Heist, \u003c/em>Sept. 5, Peacock\u003c/strong>\u003c/h2>\n\u003cp>A starry cast including Samuel L. Jackson, Taraji P. Henson and Kevin Hart has a lot of fun with this series, based on a true story, about an armed robbery of an Atlanta afterparty on the night of Muhammad Ali’s historic comeback fight. Total commitment to the 1970 setting extends to the music, the hair, the costumes, and a playful production style. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-pLjpuT-qjw\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Old Man, \u003c/em>Season 2, Sept. 12, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Call it something of a fatherhood triangle: Jeff Bridges’ retired CIA operative Dan Chase has teamed with John Lithgow’s ex-FBI man Harold Harper to save Chase’s daughter — who has been kidnapped by a powerful Afghan leader who says \u003cem>he \u003c/em>is really her father. Some scenes unfold like the craziest acting exercises ever; others feel like the mashup of\u003cem> Mission Impossible\u003c/em> and \u003cem>Parenthood \u003c/em>you never knew you needed. It builds to a treatise on aging and regret played against a grand geopolitical backdrop. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1CPxZL3kJ70\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>How to Die Alone, \u003c/em>Sept. 13, Hulu\u003c/strong>\u003c/h2>\n\u003cp>The wonderful Natasha Rothwell (\u003cem>The White Lotus\u003c/em>, \u003cem>Insecure\u003c/em>) created and stars in this comedy series about an employee at JFK airport whose near-death experience forces her to reexamine her life. Rothwell is an enchanting presence with the capacity for both great tenderness and wild humor, and she’s precisely the kind of person who should be getting the opportunity to create her own show. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R9pXbNz6Vbw\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Agatha All Along,\u003c/em> Sept. 18, Disney+\u003c/strong>\u003c/h2>\n\u003cp>The best, funniest part (Kathryn Hahn’s Agatha Harkness) of the best Marvel TV property to date (\u003cem>Wandavision\u003c/em>) gets her own spotlight series. Agatha assembles a brand new coven of weirdos — and the series’ casting director has clearly been reading my diary (Patti LuPone! Aubrey Plaza! Sasheer Zamata!). Together, Agatha and Co. undergo a series of trials which promise to offer up a whistle-stop tour of the creepier, horror-inflected corners of the Marvel universe. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sfJG6IiA_s8\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Penguin, \u003c/em>Sept. 19, HBO, Max\u003c/strong>\u003c/h2>\n\u003cp>Why base a spin-off show on a secondary character from a two-year-old superhero movie? One answer is star Colin Farrell, amazingly unrecognizable as Oswald “Oz” Cobb, a small-time hood in Gotham City with a disfigured foot that gives him a gait like … well … a certain flightless bird. Oz didn’t get enough screen time in Matt Reeves’ gritty, \u003cem>Seven\u003c/em>-style \u003cem>Batman \u003c/em>movie. But selling viewers on a Batman-free tale about a thug who becomes Gotham’s crime boss may take more Hollywood magic than even Farrell possesses. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-StZwoYw2fg\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Matlock,\u003c/em> Sept. 22, CBS, Paramount+\u003c/strong>\u003c/h2>\n\u003cp>Rather than update Andy Griffith’s old legal show, CBS takes a bigger swing, casting Kathy Bates as Madeline “Matty” Matlock — an attorney in her 70s who jokes her name is just like the old TV show. (Yup, Griffith’s series actually exists here!) She lands as an associate at a prestigious law firm, where her unassuming demeanor and smarts solves cases just like Griffith did. But she’s also hiding a deeper secret that will either make this show a brilliant reinvention, or an overly complicated laughingstock. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=daV1NI7hxY0\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Grotesquerie,\u003c/em> Sept. 25, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>This may be the oddest buddy cop drama in years: Niecy Nash-Betts plays put-upon police detective Lois Tryon; teamed with a nun who is also a journalist, Tryon is working to solve a series of heinous crimes which may have been concocted to taunt her. It’s written and co-created by Ryan Murphy, the producer behind \u003cem>American Horror Story\u003c/em> and Netflix’s \u003cem>Monster \u003c/em>anthology series, so expect maximum weirdness, style, creepiness and horror. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d_SKPESJWeI\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Doctor Odyssey,\u003c/em> Sept. 26, ABC, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Sometimes it seems like regular, non-taxing TV has gone away, but it really hasn’t. For example, this fall brings \u003cem>Doctor Odyssey\u003c/em>, a drama series in which Joshua Jackson plays a doctor who goes to work on a cruise ship and manages all the medical emergencies. And Don Johnson plays the captain! A little luxury, a little medical drama — sounds like fun, to be honest. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N5uZBSQ2R_M\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>The Walking Dead: Daryl Dixon – The Book of Carol\u003c/em>, Sept. 29, AMC\u003c/strong>\u003c/h2>\n\u003cp>This was a team-up \u003cem>Walking Dead\u003c/em> fans were promised years ago, when a spin-off was first dreamed up with weary hunter Daryl Dixon (Norman Reedus) and abused wife/survivor Carol Peletier (Melissa McBride). But Reedus wound up going it alone in the first season, as Daryl landed in France. For round two, he’s reunited with McBride’s Carol, though her road to finding him will likely be an arduous journey — like everything in the \u003cem>Walking Dead\u003c/em>‘s zombie apocalypse. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fEA2eF_G59U\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Disclaimer,\u003c/em> Oct. 11, Apple TV+\u003c/strong>\u003c/h2>\n\u003cp>Alfonso Cuarón’s been pretty quiet since his 2018 masterpiece \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">\u003cem>Roma\u003c/em>,\u003c/a> and everything about his latest project screams “must watch.” He wrote and directed every episode of this series adaptation, which stars Cate Blanchett as a powerful journalist who’s shocked to discover she’s the thinly-veiled inspiration for a character in a novel. The old, embittered man who published the book is played by Kevin Kline — and he’s more than happy to witness her downfall. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>What We Do in the Shadows,\u003c/em> Season 6, Oct. 21, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>The funniest — and not coincidentally, the weirdest — comedy on television wraps up with its sixth and final season. There’s no telling what will happen to Staten Island’s favorite vampires, as the series has always embraced a healthy amount of chaos. Expect a few audience favorites to return for a victory lap, and for a finale that traffics in real emotion while maintaining the bone-dry silliness we’ve come to love. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J1BihonDew8\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Somebody Somewhere,\u003c/em> Season 3, Oct. 27, HBO\u003c/strong>\u003c/h2>\n\u003cp>This intimate, searching and truthful gem of a comedy series is ending with Season 3, and I’ll miss it when it ends. The great Bridget Everett plays a woman mourning the loss of her sister who returns to her small Kansas hometown to figure herself out. The show’s generous and warm-hearted as hell, but don’t go calling it “sweet” — it’s far too sharp and clear-eyed for that. If you’ve slept on this show, now’s the time to correct that. \u003cem>— Glen Weldon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MC8cKtqusp4\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Cross, \u003c/em>Nov. 14, Prime Video\u003c/strong>\u003c/h2>\n\u003cp>It’s been nearly 30 years since Morgan Freeman brought brainy forensic psychologist/police detective Alex Cross from James Patterson’s novels to life in the film \u003cem>Kiss the Girls\u003c/em>. (The less said about Tyler Perry’s stiff version in 2012, the better). Now \u003cem>Black Adam\u003c/em> alum Aldis Hodge takes on Cross in this new series — already picked up for a second season — playing him as a younger, buffer version of the driven hero who digs into the psyche of killers and criminals to catch them. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aJS-mpU1FDA\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Leonardo da Vinci\u003c/em>, Nov. 18 and 19, PBS\u003c/strong>\u003c/h2>\n\u003cp>Ken Burns — a filmmaker often called America’s biographer — peels back myths around his first non-American subject, one of the world’s greatest artists. In addition to painting works like the Mona Lisa, da Vinci filled notebooks with theories on mathematics, physics, anatomy and more. Burns delivers these stories with his usual mix of imagery and talking heads — including director Guillermo del Toro! — showing how this genius draftsman, painter, scientist and engineer made history. \u003cem>— Eric Deggans\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13963973\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15%E2%80%AFAM.png\" alt=\"A young Asian man walks down a street at night, red lanterns and white lights hanging behind him. \" width=\"1732\" height=\"968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM.png 1732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-768x429.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-10-at-10.46.15 AM-1536x858.png 1536w\" sizes=\"(max-width: 1732px) 100vw, 1732px\">\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>Interior Chinatown,\u003c/em> Nov. 19, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Celebrated author Charles Yu adapts his own novel, which has an intriguing premise: A struggling background actor playing the “Generic Asian Man” on a \u003cem>Law & Order\u003c/em>-type show suddenly gets pulled into a real-life investigation after witnessing a crime. The cast, which includes comedians Jimmy O. Yang and Ronny Chieng, is very promising, as is the presence of Taika Waititi, an executive producer and director of the pilot episode. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Edited by Clare Lombardo. Produced by Beth Novey.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fall was once when all the new TV shows premiered, and when all the reruns finally ended. These days, things are a lot more spread out, with some series returning after long absences and some showing up for the first time. New shows will be scary and soapy and hopefully funny — and will make new trips to both the Marvel and DC worlds.\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/xo27sE2fdvs'\n title='//www.youtube.com/embed/xo27sE2fdvs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Slow Horses, \u003c/em>Season 4, Sept. 4, Apple TV+\u003c/strong>\u003c/h2>\n\u003cp>It is a bit of a tribute to Apple TV+’s low profile that some TV fans have only now heard about this brilliant version of Mick Herron’s subversive spy novels. Gary Oldman is deliciously witty and slovenly as weary spy Jackson Lamb, deftly leading a misfit crew consigned to a British intelligence office reserved for screw-ups. This time, one of Lamb’s staff is tangled in a plot involving his own grandfather, a former bigwig poignantly played by Jonathan Pryce, who may have killed someone while confused by dementia. \u003cem>— Eric Deggans\u003c/em>\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/GNmLHum-bdE'\n title='//www.youtube.com/embed/GNmLHum-bdE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003ch2>\u003cstrong>\u003cem>Fight Night: The Million Dollar Heist, \u003c/em>Sept. 5, Peacock\u003c/strong>\u003c/h2>\n\u003cp>A starry cast including Samuel L. Jackson, Taraji P. Henson and Kevin Hart has a lot of fun with this series, based on a true story, about an armed robbery of an Atlanta afterparty on the night of Muhammad Ali’s historic comeback fight. Total commitment to the 1970 setting extends to the music, the hair, the costumes, and a playful production style. \u003cem>— Linda Holmes\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-pLjpuT-qjw'\n title='//www.youtube.com/embed/-pLjpuT-qjw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>The Old Man, \u003c/em>Season 2, Sept. 12, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Call it something of a fatherhood triangle: Jeff Bridges’ retired CIA operative Dan Chase has teamed with John Lithgow’s ex-FBI man Harold Harper to save Chase’s daughter — who has been kidnapped by a powerful Afghan leader who says \u003cem>he \u003c/em>is really her father. Some scenes unfold like the craziest acting exercises ever; others feel like the mashup of\u003cem> Mission Impossible\u003c/em> and \u003cem>Parenthood \u003c/em>you never knew you needed. It builds to a treatise on aging and regret played against a grand geopolitical backdrop. \u003cem>— Eric Deggans\u003c/em>\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/1CPxZL3kJ70'\n title='//www.youtube.com/embed/1CPxZL3kJ70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>How to Die Alone, \u003c/em>Sept. 13, Hulu\u003c/strong>\u003c/h2>\n\u003cp>The wonderful Natasha Rothwell (\u003cem>The White Lotus\u003c/em>, \u003cem>Insecure\u003c/em>) created and stars in this comedy series about an employee at JFK airport whose near-death experience forces her to reexamine her life. Rothwell is an enchanting presence with the capacity for both great tenderness and wild humor, and she’s precisely the kind of person who should be getting the opportunity to create her own show. \u003cem>— Linda Holmes\u003c/em>\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/R9pXbNz6Vbw'\n title='//www.youtube.com/embed/R9pXbNz6Vbw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Agatha All Along,\u003c/em> Sept. 18, Disney+\u003c/strong>\u003c/h2>\n\u003cp>The best, funniest part (Kathryn Hahn’s Agatha Harkness) of the best Marvel TV property to date (\u003cem>Wandavision\u003c/em>) gets her own spotlight series. Agatha assembles a brand new coven of weirdos — and the series’ casting director has clearly been reading my diary (Patti LuPone! Aubrey Plaza! Sasheer Zamata!). Together, Agatha and Co. undergo a series of trials which promise to offer up a whistle-stop tour of the creepier, horror-inflected corners of the Marvel universe. \u003cem>— Glen Weldon\u003c/em>\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/sfJG6IiA_s8'\n title='//www.youtube.com/embed/sfJG6IiA_s8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>The Penguin, \u003c/em>Sept. 19, HBO, Max\u003c/strong>\u003c/h2>\n\u003cp>Why base a spin-off show on a secondary character from a two-year-old superhero movie? One answer is star Colin Farrell, amazingly unrecognizable as Oswald “Oz” Cobb, a small-time hood in Gotham City with a disfigured foot that gives him a gait like … well … a certain flightless bird. Oz didn’t get enough screen time in Matt Reeves’ gritty, \u003cem>Seven\u003c/em>-style \u003cem>Batman \u003c/em>movie. But selling viewers on a Batman-free tale about a thug who becomes Gotham’s crime boss may take more Hollywood magic than even Farrell possesses. \u003cem>— Eric Deggans\u003c/em>\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/-StZwoYw2fg'\n title='//www.youtube.com/embed/-StZwoYw2fg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Matlock,\u003c/em> Sept. 22, CBS, Paramount+\u003c/strong>\u003c/h2>\n\u003cp>Rather than update Andy Griffith’s old legal show, CBS takes a bigger swing, casting Kathy Bates as Madeline “Matty” Matlock — an attorney in her 70s who jokes her name is just like the old TV show. (Yup, Griffith’s series actually exists here!) She lands as an associate at a prestigious law firm, where her unassuming demeanor and smarts solves cases just like Griffith did. But she’s also hiding a deeper secret that will either make this show a brilliant reinvention, or an overly complicated laughingstock. \u003cem>— Eric Deggans\u003c/em>\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/daV1NI7hxY0'\n title='//www.youtube.com/embed/daV1NI7hxY0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Grotesquerie,\u003c/em> Sept. 25, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>This may be the oddest buddy cop drama in years: Niecy Nash-Betts plays put-upon police detective Lois Tryon; teamed with a nun who is also a journalist, Tryon is working to solve a series of heinous crimes which may have been concocted to taunt her. It’s written and co-created by Ryan Murphy, the producer behind \u003cem>American Horror Story\u003c/em> and Netflix’s \u003cem>Monster \u003c/em>anthology series, so expect maximum weirdness, style, creepiness and horror. \u003cem>— Eric Deggans\u003c/em>\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/d_SKPESJWeI'\n title='//www.youtube.com/embed/d_SKPESJWeI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Doctor Odyssey,\u003c/em> Sept. 26, ABC, Hulu\u003c/strong>\u003c/h2>\n\u003cp>Sometimes it seems like regular, non-taxing TV has gone away, but it really hasn’t. For example, this fall brings \u003cem>Doctor Odyssey\u003c/em>, a drama series in which Joshua Jackson plays a doctor who goes to work on a cruise ship and manages all the medical emergencies. And Don Johnson plays the captain! A little luxury, a little medical drama — sounds like fun, to be honest. \u003cem>— Linda Holmes\u003c/em>\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/N5uZBSQ2R_M'\n title='//www.youtube.com/embed/N5uZBSQ2R_M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>The Walking Dead: Daryl Dixon – The Book of Carol\u003c/em>, Sept. 29, AMC\u003c/strong>\u003c/h2>\n\u003cp>This was a team-up \u003cem>Walking Dead\u003c/em> fans were promised years ago, when a spin-off was first dreamed up with weary hunter Daryl Dixon (Norman Reedus) and abused wife/survivor Carol Peletier (Melissa McBride). But Reedus wound up going it alone in the first season, as Daryl landed in France. For round two, he’s reunited with McBride’s Carol, though her road to finding him will likely be an arduous journey — like everything in the \u003cem>Walking Dead\u003c/em>‘s zombie apocalypse. \u003cem>— Eric Deggans\u003c/em>\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/fEA2eF_G59U'\n title='//www.youtube.com/embed/fEA2eF_G59U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Disclaimer,\u003c/em> Oct. 11, Apple TV+\u003c/strong>\u003c/h2>\n\u003cp>Alfonso Cuarón’s been pretty quiet since his 2018 masterpiece \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">\u003cem>Roma\u003c/em>,\u003c/a> and everything about his latest project screams “must watch.” He wrote and directed every episode of this series adaptation, which stars Cate Blanchett as a powerful journalist who’s shocked to discover she’s the thinly-veiled inspiration for a character in a novel. The old, embittered man who published the book is played by Kevin Kline — and he’s more than happy to witness her downfall. \u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003ch2>\u003cstrong>\u003cem>What We Do in the Shadows,\u003c/em> Season 6, Oct. 21, FX, Hulu\u003c/strong>\u003c/h2>\n\u003cp>The funniest — and not coincidentally, the weirdest — comedy on television wraps up with its sixth and final season. There’s no telling what will happen to Staten Island’s favorite vampires, as the series has always embraced a healthy amount of chaos. Expect a few audience favorites to return for a victory lap, and for a finale that traffics in real emotion while maintaining the bone-dry silliness we’ve come to love. \u003cem>— Glen Weldon\u003c/em>\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/J1BihonDew8'\n title='//www.youtube.com/embed/J1BihonDew8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Somebody Somewhere,\u003c/em> Season 3, Oct. 27, HBO\u003c/strong>\u003c/h2>\n\u003cp>This intimate, searching and truthful gem of a comedy series is ending with Season 3, and I’ll miss it when it ends. The great Bridget Everett plays a woman mourning the loss of her sister who returns to her small Kansas hometown to figure herself out. The show’s generous and warm-hearted as hell, but don’t go calling it “sweet” — it’s far too sharp and clear-eyed for that. If you’ve slept on this show, now’s the time to correct that. \u003cem>— Glen Weldon\u003c/em>\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/MC8cKtqusp4'\n title='//www.youtube.com/embed/MC8cKtqusp4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>\u003cem>Cross, \u003c/em>Nov. 14, Prime Video\u003c/strong>\u003c/h2>\n\u003cp>It’s been nearly 30 years since Morgan Freeman brought brainy forensic psychologist/police detective Alex Cross from James Patterson’s novels to life in the film \u003cem>Kiss the Girls\u003c/em>. (The less said about Tyler Perry’s stiff version in 2012, the better). 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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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