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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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"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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"slug": "the-penguin-batman-spinoff-hbo-max-review-colin-farrell",
"title": "Yes, ‘The Penguin’ Is Another Batman Spin-Off. It’s Also One of 2024’s Best Shows",
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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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"excerpt": "Wait: Another Batman-without-Batman show? Try not to judge. Its willingness to step outside of the comics makes this one special.",
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"title": "‘The Penguin’ on Max Is a Truly Great Batman Spin-Off | KQED",
"description": "Wait: Another Batman-without-Batman show? Try not to judge. Its willingness to step outside of the comics makes this one special.",
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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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"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). 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>\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/aJS-mpU1FDA'\n title='//www.youtube.com/embed/aJS-mpU1FDA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cp>Since premiering on Hulu in 2021, \u003cem>Only Murders in the Building\u003c/em> has gotten plenty of Emmy nominations, but hasn’t really gotten its due. Even for the 2024 Emmys, which are handed out later in September, the series was snubbed in the Comedy Series Writing category. Which is a small sin, because co-creators \u003ca href=\"https://www.kqed.org/arts/13954796/steve-martin-apple-tv-documentary-then-now-stand-up\">Steve Martin\u003c/a> and John Hoffman have managed to craft a comedy mystery series in which the laughs are plentiful and the mysteries are plausible and surprising. Pulling off either one of those feats is impressive; nailing them both is indeed Emmy-worthy.\u003c/p>\n\u003cp>[aside postid='arts_13962860']Not that \u003cem>Only Murders\u003c/em> is completely lacking for attention, or awards. The show has won four Emmys to date — though only one for an actor, for guest star Nathan Lane in 2022. But every year, the show finds ways to showcase its regular and guest stars more creatively. And this year, for the first time, all three series leads are nominated.\u003c/p>\n\u003cp>And deservedly so: Martin as former TV detective Charles-Haden Savage, and Martin Short as former Broadway director Oliver Putnam, are both insufferably egotistic and painfully insecure — and sporadically, gleefully hilarious. And \u003ca href=\"https://www.kqed.org/pop/96259/lady-gaga-and-selena-gomez-are-defying-stereotypes-about-chronically-ill-people\">Selena Gomez\u003c/a>, as mystery podcasting fan Mabel Mora, is as droll and dry as Short’s Oliver is bubbly and over the top.\u003c/p>\n\u003cp>The new season of \u003cem>Only Murders in the Building\u003c/em> takes this unlikely trio to a new setting — but only temporarily. Because of the success of their previous seasons of crime solving, the three podcasting partners are flown to Hollywood, where a movie executive hopes to buy their life rights and make a movie based on their adventures.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dKyX8rocAB8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie exec is played by Molly Shannon, formerly of \u003cem>Saturday Night Live, \u003c/em>who throws a glitzy party for the new arrivals. At the party, she tries to wow them by introducing them to the actors cast to play their big-screen counterparts.\u003c/p>\n\u003cp>Once the movie is greenlit, Charles, Oliver and Mabel head back to their familiar New York apartment complex, where a recent bullet hole found in the window of Charles’ apartment leads them to suspect he may have been targeted for murder. They also suspect the sniper may have aimed from one of the apartments across their courtyard.\u003c/p>\n\u003cp>Charles studies the behavior of the residents occupying the west tower, then convenes his podcast partners to discuss his suspicions. At this point, \u003cem>Only Murders\u003c/em> becomes the comedy equivalent of \u003cem>Rear Window. \u003c/em>Like James Stewart in that famous\u003ca href=\"https://www.kqed.org/arts/tag/alfred-hitchcock\"> Hitchcock\u003c/a> movie, our heroes expect that evil is afoot across the way. But with these three, the way they go about their voyeuristic inquiry highlights their very distinct, and very funny, personalities.\u003c/p>\n\u003cp>[aside postid='arts_13963546']Both of these Season 4 plots — the movie being made and a new murder in the building — make room for a small commuter plane full of guest stars, all of whom come to play, and show us a great time. And almost all the \u003cem>Only Murders\u003c/em> actors nominated for Emmys this year, in various supporting categories, are back — including Da’Vine Joy Randolph, \u003ca href=\"https://www.kqed.org/pop/tag/paul-rudd\">Paul Rudd\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/meryl-streep\">Meryl Streep\u003c/a>. And Jane Lynch, Melissa McCarthy, Scott Bakula and Richard Kind are here, too.\u003c/p>\n\u003cp>They’re all wonderful. Streep and Rudd, in particular, are doing great work: With their screen time and no-holds-barred performances, they may as well be considered series regulars. The show’s writing is up to their level, and so are the show’s three headliners. When Streep shares intimate or sad or joyous scenes with Short, they all work. This season, there’s a major influx of talent added to \u003cem>Only Murders in the Building\u003c/em> — but the new and returning faces don’t outshine the stars. They shine, and play, right along with them.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Only Murders in the Building’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Both of these Season 4 plots — the movie being made and a new murder in the building — make room for a small commuter plane full of guest stars, all of whom come to play, and show us a great time. And almost all the \u003cem>Only Murders\u003c/em> actors nominated for Emmys this year, in various supporting categories, are back — including Da’Vine Joy Randolph, \u003ca href=\"https://www.kqed.org/pop/tag/paul-rudd\">Paul Rudd\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/meryl-streep\">Meryl Streep\u003c/a>. And Jane Lynch, Melissa McCarthy, Scott Bakula and Richard Kind are here, too.\u003c/p>\n\u003cp>They’re all wonderful. Streep and Rudd, in particular, are doing great work: With their screen time and no-holds-barred performances, they may as well be considered series regulars. The show’s writing is up to their level, and so are the show’s three headliners. When Streep shares intimate or sad or joyous scenes with Short, they all work. This season, there’s a major influx of talent added to \u003cem>Only Murders in the Building\u003c/em> — but the new and returning faces don’t outshine the stars. They shine, and play, right along with them.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Only Murders in the Building’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Before Nava Mau found breakout success as Teri, a transgender therapist, in the hit Netflix series \u003cem>Baby Reindeer\u003c/em>, she was close to giving up on acting. But she credits her four years in the Bay Area as a transformative period in her life that gave her the confidence to make it in a notoriously difficult industry.\u003c/p>\n\u003cp>Born in Mexico City and raised in San Antonio, Mau attempted to make it as an actress in Los Angeles after college. But she struggled with feelings of failure and depression, and eventually moved back to her Texas hometown. That was when she got the idea to come to the Bay.\u003c/p>\n\u003cp>“A good friend told me, ‘I think you’d really like it in Oakland,’” Mau recalls, “and she lent me $2,000.”\u003c/p>\n\u003cp>In February 2015, Mau drove to Oakland and started an entirely new chapter. In her four years there, she would undertake her gender transition, discover one of her callings as an LGBTQ+ peer counselor and find a community that transformed her.\u003c/p>\n\u003cp>“I was lucky to be embraced by a community of Black and brown queer and trans people,” she says. “I was shown what it can be like when other people uplift each other. My whole life became about being a part of this community.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After rediscovering herself in Oakland, Mau gave herself five years to make it in Hollywood. She found it quite difficult to break into the scene, particularly as a brown trans woman, but eventually made peace with the uncontrollable nature of the Hollywood beast. Then \u003cem>Baby Reindeer\u003c/em> came into her life.\u003c/p>\n\u003cfigure id=\"attachment_13963551\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Baby_Reindeer_n_S1_E2_00_20_42_07-e1725389863640.png\" alt=\"\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">(Left to right) Richard Gadd as Donny, Nava Mau as Teri in ‘Baby Reindeer.’ \u003ccite>(Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show debuted in April of this year, just two months before Mau’s five years were set to expire, and became an incredible surprise success. According to \u003ca href=\"https://variety.com/2024/tv/news/netflix-top-10-streaming-ratings-3-1236041392/\">\u003cem>Variety\u003c/em>\u003c/a>, it is the 10th most popular English-language Netflix series ever. \u003cem>Baby Reindeer\u003c/em> received 11 Emmy nominations, and Mau is up for Best Supporting Actress at the upcoming Emmy Awards on Sept. 15. (That makes her the first transgender person to be nominated for a limited series acting Emmy.)\u003c/p>\n\u003cp>\u003cem>Baby Reindeer\u003c/em> tells the story of Donny Dunn (played by series creator Richard Gadd), a struggling Scottish comedian with an obsessive stalker, Martha (Jessica Gunning). Mau’s character, Teri, is Donny’s main love interest, and she gets dragged into a strange and dangerous love triangle. By demanding that Donny show her the respect she deserves, and deal with his unfinished business, Teri becomes the moral center of the show, offering a vision of a healed and resilient individual. [aside postid='arts_13962898']\u003c/p>\n\u003cp>\u003cem>Baby Reindeer\u003c/em> is refreshing because it doesn’t fixate on Teri’s struggles as a trans woman, nor does it condescendingly use her journey to teach Donny life lessons. Rather, she comes across as a fully formed woman whose life meaningfully intersects with Donny’s. Where her trans history is relevant, the script treats it in ways that are subtle, complex and authentic. The show is sensitive to the fact that Teri carries scars from being a trans woman in this world, and lets them slip delicately into the plot as would the details of any complex individual’s life.\u003c/p>\n\u003cp>“In many shows, trans people’s function is almost to be the safer trauma and the subject of pity,” Mau says. “It really felt like [Gadd] wanted to honor Teri’s power and all the ways that she pierces through Donny’s hiding. As a writer, Richard imbued a lot of gratitude for her. I needed to bring that into my performance.”\u003c/p>\n\u003cfigure id=\"attachment_13963553\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963553\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-scaled.jpg\" alt=\"Nava Mau glammed up at an award show. \" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1920x2880.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Nava Mau at The Critics Choice Association’s Inaugural Celebration of LGBTQ+ Cinema & Television held at the Fairmont Century Plaza on June 7, 2024 in Los Angeles, California. \u003ccite>(Tommaso Boddi/Variety via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In my view, Teri’s placement in a supporting role — instead of a lead — helps liberate her from many clichés of trans representation. By not having to carry the entire plot, she can be more herself, an independent person rather than a subject of scrutiny.\u003c/p>\n\u003cp>Mau shared her thoughts on that idea. “Teri being a supporting character allows for Donny and the audience to see the best in her,” she tells me. “She can see right through all the walls that Donny has built around himself. The only way the story can present that is by having Teri be this third person in the plot.”\u003c/p>\n\u003cp>“I always say Teri is on her own show, Teri is having a different narrative,” Mau adds. “That dynamic created a lot of intrigue for this character. It’s a gift that a trans woman got to be put into that kind of position. It’s a first.”\u003c/p>\n\u003cp>Following the smash success of \u003cem>Baby Reindeer\u003c/em>, Mau has had a great summer. In addition to the Emmy nomination, she also announced her new role on the fifth season of the \u003ca href=\"https://www.netflix.com/tudum/articles/you-season-5-renewal-final-season\">popular Netflix thriller \u003cem>You\u003c/em>\u003c/a>, as a character named Detective Marquez. Beyond that, her lips are sealed. “I’m pretty sure I would be hunted down if I say anything about it,” she laughed, “but I am very excited about it. I can’t wait to see it.”\u003c/p>\n\u003cfigure id=\"attachment_13963555\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1536x1135.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-2048x1513.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1920x1418.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nava Mau at the photo call for ‘Baby Reindeer’ held at the DGA Theater Complex on May 7, 2024 in Los Angeles, California. \u003ccite>(Gregg DeGuire/Variety via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking back, Mau now sees her four years in the Bay Area as her coming of age, and her work as a peer counselor set the stage for her Hollywood success. In empathizing with clients and providing a space for exploration, she learned a lot about her own development as a person and built confidence.\u003c/p>\n\u003cp>“To me, peer counseling always felt so generative, it was the most fulfilling work I’ve ever done,” she reflects. “And it was so integral to my transition — I literally started the job as a counselor the month I started my medical transition.”\u003c/p>\n\u003cp>Mau also credits peer counseling with helping her gain a nuanced understanding of how race, gender, class and ability play into various situations and relationships — essential knowledge for the roles she plays. “The model of peer counseling has informed the dynamics of power I think about when acting.” [aside postid='arts_13939974']\u003c/p>\n\u003cp>When inhabiting the role of Teri, Mau sometimes found it challenging to get out of her own personal experience, and had to work to build out a backstory for her character. “I came up in community and community-oriented work, and Teri came up in the clubs,” she said. “I had to really imagine that the Bay was not part of Teri’s story.”\u003c/p>\n\u003cp>But she also sees parallels between her time as a peer counselor and how Teri relates to Donny. “I really understood what it is to create safety for another person, and then encourage someone to open up and reflect, which we see Teri do multiple times,” she says. “Asking the right questions and creating the space — isn’t that the counseling superpower?”\u003c/p>\n\u003cp>Mau hopes to really change the ways lives are told on screen — not just for trans people but also for Black and brown individuals. Whether or not she wins the Emmy, she wants to use her notoriety to keep telling stories that really matter to people in her community.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Being nominated by fellow actors means the world to me, and it also means that I’m going to keep doing the work that really means something, to continue on to the next chapter of telling stories that come from the heart and have some kind of cultural meaning,” she says. “I can’t wait to see what comes next.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Nava Mau found breakout success as Teri, a transgender therapist, in the hit Netflix series \u003cem>Baby Reindeer\u003c/em>, she was close to giving up on acting. But she credits her four years in the Bay Area as a transformative period in her life that gave her the confidence to make it in a notoriously difficult industry.\u003c/p>\n\u003cp>Born in Mexico City and raised in San Antonio, Mau attempted to make it as an actress in Los Angeles after college. But she struggled with feelings of failure and depression, and eventually moved back to her Texas hometown. That was when she got the idea to come to the Bay.\u003c/p>\n\u003cp>“A good friend told me, ‘I think you’d really like it in Oakland,’” Mau recalls, “and she lent me $2,000.”\u003c/p>\n\u003cp>In February 2015, Mau drove to Oakland and started an entirely new chapter. In her four years there, she would undertake her gender transition, discover one of her callings as an LGBTQ+ peer counselor and find a community that transformed her.\u003c/p>\n\u003cp>“I was lucky to be embraced by a community of Black and brown queer and trans people,” she says. “I was shown what it can be like when other people uplift each other. My whole life became about being a part of this community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After rediscovering herself in Oakland, Mau gave herself five years to make it in Hollywood. She found it quite difficult to break into the scene, particularly as a brown trans woman, but eventually made peace with the uncontrollable nature of the Hollywood beast. Then \u003cem>Baby Reindeer\u003c/em> came into her life.\u003c/p>\n\u003cfigure id=\"attachment_13963551\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963551\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Baby_Reindeer_n_S1_E2_00_20_42_07-e1725389863640.png\" alt=\"\" width=\"1920\" height=\"1080\">\u003cfigcaption class=\"wp-caption-text\">(Left to right) Richard Gadd as Donny, Nava Mau as Teri in ‘Baby Reindeer.’ \u003ccite>(Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show debuted in April of this year, just two months before Mau’s five years were set to expire, and became an incredible surprise success. According to \u003ca href=\"https://variety.com/2024/tv/news/netflix-top-10-streaming-ratings-3-1236041392/\">\u003cem>Variety\u003c/em>\u003c/a>, it is the 10th most popular English-language Netflix series ever. \u003cem>Baby Reindeer\u003c/em> received 11 Emmy nominations, and Mau is up for Best Supporting Actress at the upcoming Emmy Awards on Sept. 15. (That makes her the first transgender person to be nominated for a limited series acting Emmy.)\u003c/p>\n\u003cp>\u003cem>Baby Reindeer\u003c/em> tells the story of Donny Dunn (played by series creator Richard Gadd), a struggling Scottish comedian with an obsessive stalker, Martha (Jessica Gunning). Mau’s character, Teri, is Donny’s main love interest, and she gets dragged into a strange and dangerous love triangle. By demanding that Donny show her the respect she deserves, and deal with his unfinished business, Teri becomes the moral center of the show, offering a vision of a healed and resilient individual. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Baby Reindeer\u003c/em> is refreshing because it doesn’t fixate on Teri’s struggles as a trans woman, nor does it condescendingly use her journey to teach Donny life lessons. Rather, she comes across as a fully formed woman whose life meaningfully intersects with Donny’s. Where her trans history is relevant, the script treats it in ways that are subtle, complex and authentic. The show is sensitive to the fact that Teri carries scars from being a trans woman in this world, and lets them slip delicately into the plot as would the details of any complex individual’s life.\u003c/p>\n\u003cp>“In many shows, trans people’s function is almost to be the safer trauma and the subject of pity,” Mau says. “It really felt like [Gadd] wanted to honor Teri’s power and all the ways that she pierces through Donny’s hiding. As a writer, Richard imbued a lot of gratitude for her. I needed to bring that into my performance.”\u003c/p>\n\u003cfigure id=\"attachment_13963553\" class=\"wp-caption aligncenter\" style=\"max-width: 1706px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963553\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-scaled.jpg\" alt=\"Nava Mau glammed up at an award show. \" width=\"1706\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-scaled.jpg 1706w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2155921180-1920x2880.jpg 1920w\" sizes=\"(max-width: 1706px) 100vw, 1706px\">\u003cfigcaption class=\"wp-caption-text\">Nava Mau at The Critics Choice Association’s Inaugural Celebration of LGBTQ+ Cinema & Television held at the Fairmont Century Plaza on June 7, 2024 in Los Angeles, California. \u003ccite>(Tommaso Boddi/Variety via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In my view, Teri’s placement in a supporting role — instead of a lead — helps liberate her from many clichés of trans representation. By not having to carry the entire plot, she can be more herself, an independent person rather than a subject of scrutiny.\u003c/p>\n\u003cp>Mau shared her thoughts on that idea. “Teri being a supporting character allows for Donny and the audience to see the best in her,” she tells me. “She can see right through all the walls that Donny has built around himself. The only way the story can present that is by having Teri be this third person in the plot.”\u003c/p>\n\u003cp>“I always say Teri is on her own show, Teri is having a different narrative,” Mau adds. “That dynamic created a lot of intrigue for this character. It’s a gift that a trans woman got to be put into that kind of position. It’s a first.”\u003c/p>\n\u003cp>Following the smash success of \u003cem>Baby Reindeer\u003c/em>, Mau has had a great summer. In addition to the Emmy nomination, she also announced her new role on the fifth season of the \u003ca href=\"https://www.netflix.com/tudum/articles/you-season-5-renewal-final-season\">popular Netflix thriller \u003cem>You\u003c/em>\u003c/a>, as a character named Detective Marquez. Beyond that, her lips are sealed. “I’m pretty sure I would be hunted down if I say anything about it,” she laughed, “but I am very excited about it. I can’t wait to see it.”\u003c/p>\n\u003cfigure id=\"attachment_13963555\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963555\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1020x753.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1536x1135.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-2048x1513.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/GettyImages-2151430566-1920x1418.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nava Mau at the photo call for ‘Baby Reindeer’ held at the DGA Theater Complex on May 7, 2024 in Los Angeles, California. \u003ccite>(Gregg DeGuire/Variety via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Looking back, Mau now sees her four years in the Bay Area as her coming of age, and her work as a peer counselor set the stage for her Hollywood success. In empathizing with clients and providing a space for exploration, she learned a lot about her own development as a person and built confidence.\u003c/p>\n\u003cp>“To me, peer counseling always felt so generative, it was the most fulfilling work I’ve ever done,” she reflects. “And it was so integral to my transition — I literally started the job as a counselor the month I started my medical transition.”\u003c/p>\n\u003cp>Mau also credits peer counseling with helping her gain a nuanced understanding of how race, gender, class and ability play into various situations and relationships — essential knowledge for the roles she plays. “The model of peer counseling has informed the dynamics of power I think about when acting.” \u003c/p>\u003c/div>",
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"content": "\u003cp>Little is known about how Germany’s former Chancellor Angela Merkel is spending her retirement, and that seems to be the way she likes it. Thanks to a German crime fiction series adapted for television and now proving a hit in Italy, she is back in the headlines — this time as a fictional small-town amateur sleuth.\u003c/p>\n\u003cp>As the title suggests, \u003cem>Miss Merkel \u003c/em>is a whodunnit that imagines the former chancellor as an Agatha Christie-style detective who starts solving crimes out of sheer boredom. For want of a G7 or European Union summit, Merkel is desperate to put down the garden shears and get back to solving something, anything! This time, it’s a village murder. Move over, Miss Marple!\u003c/p>\n\u003cp>[aside postid='arts_13962860']The TV adaptation stars German theater doyenne Katharina Thalbach as Merkel. Like Merkel, Thalbach is 70 and from former East Germany. She says it wasn’t too hard to prepare for the role.\u003c/p>\n\u003cp>“You could always see the burden of power in Merkel’s shoulders, how it weighed on her,” Thalbach tells NPR. “So, I focused on my shoulders, put on a wig and one of her signature colorful boxy blazers and I had the feeling I \u003cem>was \u003c/em>her. That I \u003cem>am \u003c/em>Angela Merkel!”\u003c/p>\n\u003cfigure id=\"attachment_13963552\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05%E2%80%AFPM.png\" alt=\"An elderly woman talks to a woman outside. She is wearing a purple pantsuit.\" width=\"1292\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-768x509.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the TV series, ‘Miss Merkel,’ played by Katharina Thalbach, solves a murder case while her guests listen attentively. \u003ccite>(RTL/Maor Waisburd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thalbach has met Merkel a number of times but is not sure whether the ex-chancellor is a fan of \u003cem>Miss Merkel\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The last time I saw Angela, I tried to find out whether she’s read the books or seen the series,” Thalbach recalls. “But she deftly dodged the question, saying instead that her office staff are big fans.”\u003c/p>\n\u003cp>The books’ author, David Safier, known previously for his fictional accounts of the Holocaust and his work as a scriptwriter\u003cem>,\u003c/em> says he’s also none the wiser as to what Merkel thinks of his alternative retirement plan for her.\u003c/p>\n\u003cfigure id=\"attachment_13963554\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10%E2%80%AFPM.png\" alt=\"\" width=\"1296\" height=\"866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-768x513.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Former German Chancellor Angela Merkel arrives for an onstage conversation in Berlin in 2022, the year after she retired from politics. \u003ccite>(Sean Gallup/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Probably she has read the novels,” Safier speculates. “To be honest, if there would be a crime novel where you are the hero, wouldn’t you at least read the first 10 pages?”\u003c/p>\n\u003cp>While the books are a commercial success, the small-screen adaptation by RTL — which will be \u003ca href=\"https://deadline.com/2024/07/angela-merkel-detective-series-mhz-choice-fremantle-1236025405/\">available to stream later this year in the U.S.\u003c/a> — has received lukewarm reviews in Germany. The broadsheet \u003ca href=\"https://www.faz.net/aktuell/feuilleton/medien/miss-merkel-krimi-mit-katharina-thalbach-bei-rtl-19595059.html\">\u003cem>\u003cu>Frankfurter Allgemeine Zeitung \u003c/u>\u003c/em>\u003c/a>acknowledged the star power that Thalbach’s performance brings to the production, but lamented the show’s “corny jokes.” German magazine \u003ca href=\"https://www.focus.de/kultur/kino_tv/miss-merkel-im-uckermark-krimi-schraeger-wird-es-2023-im-tv-nicht-mehr_id_188954431.html\">\u003cem>\u003cu>Fokus\u003c/u>\u003c/em>\u003c/a> suggested the production company engage Safier as the scriptwriter, seeing as he won an Emmy for a German sitcom \u003cem>Berlin, Berlin. \u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13963389']Safier came up with the idea for \u003cem>Miss Merkel\u003c/em> in 2019, on the day Merkel announced she wouldn’t be running for a fifth term. He says he sat down to watch an old rerun of \u003cem>Columbo \u003c/em>that same evening and the idea for his top-10 \u003cem>Spiegel\u003c/em> bestseller\u003ca href=\"https://bestsellerbucher.de/\">\u003cu> \u003c/u>\u003c/a>was born.\u003c/p>\n\u003cp>Safier says Angela Merkel makes for a consummate detective.\u003c/p>\n\u003cp>“Merkel is highly intelligent, much more intelligent than other politicians,” he says. “She is strongheaded. And, after 30 years in politics, she’s used to dealing with sociopaths and psychopaths.”\u003c/p>\n\u003cp>Like Miss Marple, Merkel is often underestimated — something the former chancellor used to her advantage throughout her political career. Thalbach says this particularly baffled alpha-male politicians.\u003c/p>\n\u003cfigure id=\"attachment_13963556\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33%E2%80%AFPM.png\" alt=\"\" width=\"1292\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-768x512.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the TV series ‘Miss Merkel,’ played by Katharina Thalbach, and her husband played by Joachim Sauer, sit in the audience watching a play. \u003ccite>(RTL/Maor Waisburd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The real Merkel was brilliant at finding skeletons in the closets of her political rivals,” Thalbach asserts. “But she had none of her own: the perfect trait for an ace detective!”\u003c/p>\n\u003cp>Safier says it’s the references to Merkel’s former life as chancellor that tickle his readers.\u003c/p>\n\u003cp>In the first book, Miss Merkel attends a community theater production and remarks that “compared to six hours of Beijing Opera with Xi Jinping, everything else is a piece of cake.”\u003c/p>\n\u003cp>[aside postid='arts_13963140']“Her experience helps her to solve crime mysteries. When she’s questioning a suspect, she knows that she has to wear him down,” Safier says of his main character. “Merkel knows what it’s like to probe and ask questions over and over again. She did it until the early hours at countless EU summits.”\u003c/p>\n\u003cp>Unlike Miss Marple, Merkel is actually a Mrs. — a Frau Dr., that is, with a Ph.D. in quantum chemistry. In the TV series, Merkel’s husband asks why she’s still wearing her trademark pantsuits in retirement. Her answer could be considered classic Merkel logic: “I’ve still got 50 of them in my wardrobe.”\u003c/p>\n\u003cp>Angie nostalgia aside, Safier says that in his next book, Miss Merkel is seeing a therapist after realizing, while writing her memoirs, that she neglected to solve a number of issues during her time in office — be it Germany’s ailing railway system or relations with Russia.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Merkel was something of an enigma in office. Now, in retirement, the fictional version of her is an open book. The real version is set to be revealed in November. That’s when Safier’s next installment comes out — and when the real Merkel publishes her \u003ca href=\"https://www.panmacmillan.com/authors/angela-merkel/freedom/9781035020751\">\u003cu>autobiography\u003c/u>\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The TV adaptation stars German theater doyenne Katharina Thalbach as Merkel. Like Merkel, Thalbach is 70 and from former East Germany. She says it wasn’t too hard to prepare for the role.\u003c/p>\n\u003cp>“You could always see the burden of power in Merkel’s shoulders, how it weighed on her,” Thalbach tells NPR. “So, I focused on my shoulders, put on a wig and one of her signature colorful boxy blazers and I had the feeling I \u003cem>was \u003c/em>her. That I \u003cem>am \u003c/em>Angela Merkel!”\u003c/p>\n\u003cfigure id=\"attachment_13963552\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963552\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05%E2%80%AFPM.png\" alt=\"An elderly woman talks to a woman outside. She is wearing a purple pantsuit.\" width=\"1292\" height=\"856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.02.05 PM-768x509.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the TV series, ‘Miss Merkel,’ played by Katharina Thalbach, solves a murder case while her guests listen attentively. \u003ccite>(RTL/Maor Waisburd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thalbach has met Merkel a number of times but is not sure whether the ex-chancellor is a fan of \u003cem>Miss Merkel\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The last time I saw Angela, I tried to find out whether she’s read the books or seen the series,” Thalbach recalls. “But she deftly dodged the question, saying instead that her office staff are big fans.”\u003c/p>\n\u003cp>The books’ author, David Safier, known previously for his fictional accounts of the Holocaust and his work as a scriptwriter\u003cem>,\u003c/em> says he’s also none the wiser as to what Merkel thinks of his alternative retirement plan for her.\u003c/p>\n\u003cfigure id=\"attachment_13963554\" class=\"wp-caption aligncenter\" style=\"max-width: 1296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10%E2%80%AFPM.png\" alt=\"\" width=\"1296\" height=\"866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM.png 1296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.04.10 PM-768x513.png 768w\" sizes=\"(max-width: 1296px) 100vw, 1296px\">\u003cfigcaption class=\"wp-caption-text\">Former German Chancellor Angela Merkel arrives for an onstage conversation in Berlin in 2022, the year after she retired from politics. \u003ccite>(Sean Gallup/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Probably she has read the novels,” Safier speculates. “To be honest, if there would be a crime novel where you are the hero, wouldn’t you at least read the first 10 pages?”\u003c/p>\n\u003cp>While the books are a commercial success, the small-screen adaptation by RTL — which will be \u003ca href=\"https://deadline.com/2024/07/angela-merkel-detective-series-mhz-choice-fremantle-1236025405/\">available to stream later this year in the U.S.\u003c/a> — has received lukewarm reviews in Germany. The broadsheet \u003ca href=\"https://www.faz.net/aktuell/feuilleton/medien/miss-merkel-krimi-mit-katharina-thalbach-bei-rtl-19595059.html\">\u003cem>\u003cu>Frankfurter Allgemeine Zeitung \u003c/u>\u003c/em>\u003c/a>acknowledged the star power that Thalbach’s performance brings to the production, but lamented the show’s “corny jokes.” German magazine \u003ca href=\"https://www.focus.de/kultur/kino_tv/miss-merkel-im-uckermark-krimi-schraeger-wird-es-2023-im-tv-nicht-mehr_id_188954431.html\">\u003cem>\u003cu>Fokus\u003c/u>\u003c/em>\u003c/a> suggested the production company engage Safier as the scriptwriter, seeing as he won an Emmy for a German sitcom \u003cem>Berlin, Berlin. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Safier came up with the idea for \u003cem>Miss Merkel\u003c/em> in 2019, on the day Merkel announced she wouldn’t be running for a fifth term. He says he sat down to watch an old rerun of \u003cem>Columbo \u003c/em>that same evening and the idea for his top-10 \u003cem>Spiegel\u003c/em> bestseller\u003ca href=\"https://bestsellerbucher.de/\">\u003cu> \u003c/u>\u003c/a>was born.\u003c/p>\n\u003cp>Safier says Angela Merkel makes for a consummate detective.\u003c/p>\n\u003cp>“Merkel is highly intelligent, much more intelligent than other politicians,” he says. “She is strongheaded. And, after 30 years in politics, she’s used to dealing with sociopaths and psychopaths.”\u003c/p>\n\u003cp>Like Miss Marple, Merkel is often underestimated — something the former chancellor used to her advantage throughout her political career. Thalbach says this particularly baffled alpha-male politicians.\u003c/p>\n\u003cfigure id=\"attachment_13963556\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13963556\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33%E2%80%AFPM.png\" alt=\"\" width=\"1292\" height=\"862\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Screenshot-2024-09-03-at-12.05.33 PM-768x512.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">In a scene from the TV series ‘Miss Merkel,’ played by Katharina Thalbach, and her husband played by Joachim Sauer, sit in the audience watching a play. \u003ccite>(RTL/Maor Waisburd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The real Merkel was brilliant at finding skeletons in the closets of her political rivals,” Thalbach asserts. “But she had none of her own: the perfect trait for an ace detective!”\u003c/p>\n\u003cp>Safier says it’s the references to Merkel’s former life as chancellor that tickle his readers.\u003c/p>\n\u003cp>In the first book, Miss Merkel attends a community theater production and remarks that “compared to six hours of Beijing Opera with Xi Jinping, everything else is a piece of cake.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Her experience helps her to solve crime mysteries. When she’s questioning a suspect, she knows that she has to wear him down,” Safier says of his main character. “Merkel knows what it’s like to probe and ask questions over and over again. She did it until the early hours at countless EU summits.”\u003c/p>\n\u003cp>Unlike Miss Marple, Merkel is actually a Mrs. — a Frau Dr., that is, with a Ph.D. in quantum chemistry. In the TV series, Merkel’s husband asks why she’s still wearing her trademark pantsuits in retirement. Her answer could be considered classic Merkel logic: “I’ve still got 50 of them in my wardrobe.”\u003c/p>\n\u003cp>Angie nostalgia aside, Safier says that in his next book, Miss Merkel is seeing a therapist after realizing, while writing her memoirs, that she neglected to solve a number of issues during her time in office — be it Germany’s ailing railway system or relations with Russia.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Merkel was something of an enigma in office. Now, in retirement, the fictional version of her is an open book. The real version is set to be revealed in November. That’s when Safier’s next installment comes out — and when the real Merkel publishes her \u003ca href=\"https://www.panmacmillan.com/authors/angela-merkel/freedom/9781035020751\">\u003cu>autobiography\u003c/u>\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When producers at \u003cem>Late Night with Seth Meyers\u003c/em> told keyboardist and associate musical director Eli Janney the show would eliminate its live backing group, The 8G Band, due to budget cuts, he wasn’t all that surprised.\u003c/p>\n\u003cp>“This was a moment, honestly, we all saw coming,” said Janney, who made his name as a bassist and keyboardist for the indie rock band Girls Against Boys — and as a producer with artists like James Blunt — before musical director Fred Armisen asked him to join \u003cem>Late Night\u003c/em>’s backing group in 2014.\u003c/p>\n\u003cp>[aside postid='arts_13912923']Janney says Armisen was looking to bring an indie rock band into the world of late night TV.\u003c/p>\n\u003cp>Along with Janney on keyboards and Armisen on guitar, they had Seth Jabour on guitar, Marnie Stern on guitar, Syd Butler on bass and Kimberly Thompson on drums. But when Armisen’s performing career took off, he wound up leaving Janney in charge — returning for short stints as a guest drummer several times a year.\u003c/p>\n\u003cp>“About six months into the show, [Armisen] was like, ‘Hey I have to go work on the next season of \u003cem>Portlandia\u003c/em>, I should be back in about 30 days,” Janney said, laughing. “And then he just never came back [full time].”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thompson and Stern eventually left the band, and 8G began playing with a succession of guest drummers, including Iron Maiden’s Nicko McBrain, Styx’s Todd Sucherman and Queens of the Stone Age’s Jon Theodore. Janney said they likely performed with over 300 drummers; Taylor Hawkins of the Foo Fighters was on their schedule to appear when he died in 2022.\u003c/p>\n\u003cp>The group’s last appearance in a new episode is Thursday, with Armisen back playing drums for their final week. Ironically, Janney and Armisen were just nominated for an Emmy this year for best musical direction.\u003c/p>\n\u003cp>“I think we knew broadcast TV was shrinking in general…[and] there’s just a limit to how many people are watching after 12:30 [a.m.] at night on broadcast,” he added. “Everybody’s moving to streaming. But I thought we had a couple more years, at least.”\u003c/p>\n\u003cp>When I caught up with Janney on a Zoom call last week, he was philosophical and relatively upbeat, stressing that producers and star Seth Meyers had fought to keep the band. Instead, they’ll pre-record music that the show can use in future episodes.\u003c/p>\n\u003ch3>Looking back on more late-night bands worth remembering\u003c/h3>\n\u003cp>[aside postid='arts_13867505']As a musician and late night TV nerd, I have an accompanying obsession with the bands who back the shows, and I’ve seen lots of them live. Late night bands often embody and amplify the tone of a show — Johnny Carson’s \u003cem>Tonight Show\u003c/em> had a rollicking, old school big band, while Jimmy Fallon’s version has the urbane cool of rap/soul/funk stars The Roots.\u003c/p>\n\u003cp>Now that 8G joins the ranks of bands of the past, I’m reflecting on more late night bands that have — or will one day — go down in history. Here’s a list of the best.\u003c/p>\n\u003ch3>#1: The World’s Most Dangerous Band/CBS Orchestra\u003c/h3>\n\u003cp>\u003cem>Late Night with David Letterman (NBC) and The Late Show with David Letterman (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=RUPSilcJFrQ\u003c/p>\n\u003cp>This group was squarely in my generation — a band I was hooked on from their early days with Letterman on NBC in the mid 1980s, right up until his retirement on CBS in 2015. It began as a hip four piece packed with the best session musicians in New York, including drummer Steve Jordan (now with the Rolling Stones), bassist Will Lee and often-barefoot guitarist Hiram Bullock, led by keyboardist and \u003cem>Saturday Night Live\u003c/em> alum Paul Shaffer. Their stripped-down, funky sound was a welcome change from Carson’s massive, more traditional jazz band.\u003c/p>\n\u003cp>Over the years, the group evolved into a much larger unit with two guitar players and a horn section; P-Funk keyboard legend Bernie Worrell even played with them for a time. And the band was capable of everything from skin-tight backing of James Brown to including guest musicians like David Sanborn and trading quips with Letterman himself.\u003c/p>\n\u003cp>“I watched them all the time … and just felt like they were on another level from what I was doing,” Janney said. “Also, they seemed to be having the best f—ing time. It wasn’t uptight at all.”\u003c/p>\n\u003ch3>#2: The NBC Orchestra\u003c/h3>\n\u003cp>\u003cem>The Tonight Show Starring Johnny Carson (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=1QXdi25469U\u003c/p>\n\u003cp>So many of the traditions we associate with late night TV and music started with Carson’s big band, from a flashy, signature theme song to a group packed with ace musicians — like jazz trumpeters Clark Terry and Snooky Young. Trumpeter Carl “Doc” Severinsen led the group, wearing flashy clothes and bantering with Carson while occasionally leading bits like “Stump the Band,” where audience members tried to name songs they couldn’t play.\u003c/p>\n\u003ch3>#3: The Roots\u003c/h3>\n\u003cp>\u003cem>Late Night with Jimmy Fallon and The Tonight Show with Jimmy Fallon (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=ziwYbVx_-qg\u003c/p>\n\u003cp>It may have seemed odd to some for a rap band from Philadelphia to join \u003cem>Late Night\u003c/em> when \u003cem>SNL\u003c/em> alum Fallon took over the show from Conan O’Brien in 2009. But it made perfect sense to me — bringing a modern, genre-blending attitude to the show while featuring one of the best bands in any category. And their “Slow Jam the News” segments are still a classic. Still, NBC took a little while to agree: bandleader Questlove \u003ca href=\"https://www.npr.org/2014/07/03/328167474/questlove-and-the-roots-how-a-hip-hop-band-conquered-late-night\">\u003cu>told me they were originally signed\u003c/u>\u003c/a> to a succession of 13-week contracts, in case the network decided to make a change quickly.\u003c/p>\n\u003ch3>#4: Jon Batiste and Stay Human\u003c/h3>\n\u003cp>\u003cem>The Late Show with Stephen Colbert (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=1HiBKSOeqvg\u003c/p>\n\u003cp>No shade to current Colbert bandleader/guitarist Louis Cato — an amazing multi-instrumentalist who I first saw playing drums with David Sanborn, George Duke and Marcus Miller years ago — but the first version of Colbert’s band led by piano prodigy Batiste was a breath of fresh, innovative air. The band, which Batiste had put together with classmates from Julliard well before they landed on Colbert‘s show, effortlessly moved from jazz and R&B to pop and even classical — with a cool way of playing while walking through the audience that recalled the Second Line marching bands from Batiste’s native New Orleans.\u003c/p>\n\u003ch3>#5: David Sanborn and friends\u003c/h3>\n\u003cp>\u003cem>Sunday Night/Night Music (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>https://www.youtube.com/watch?v=gwgOUzodS6E\u003c/p>\n\u003cp>Executive produced by \u003cem>SNL \u003c/em>showrunner Lorne Michaels, this show was an offbeat experiment which aired for two seasons beginning in 1988, featuring the late jazz saxophonist Sanborn and co-host Jools Holland with a band of ace backing musicians, performing with a wide array of different artists in one show. Bassist Marcus Miller (Miles Davis/Luther Vandross) was the musical director, with guitarist Hiram Bullock, drummer Omar Hakim (Sting/David Bowie), keyboardist Philippe Saisse and many more.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Sanborn loved to bring different types of musicians together, having jazzers Carla Bley and Steve Swallow perform with funk master Bootsy Collins. And the band’s rocking take on “See the Light” with Jeff Healey remains one of my favorite performances by the late guitar god.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thompson and Stern eventually left the band, and 8G began playing with a succession of guest drummers, including Iron Maiden’s Nicko McBrain, Styx’s Todd Sucherman and Queens of the Stone Age’s Jon Theodore. Janney said they likely performed with over 300 drummers; Taylor Hawkins of the Foo Fighters was on their schedule to appear when he died in 2022.\u003c/p>\n\u003cp>The group’s last appearance in a new episode is Thursday, with Armisen back playing drums for their final week. Ironically, Janney and Armisen were just nominated for an Emmy this year for best musical direction.\u003c/p>\n\u003cp>“I think we knew broadcast TV was shrinking in general…[and] there’s just a limit to how many people are watching after 12:30 [a.m.] at night on broadcast,” he added. “Everybody’s moving to streaming. But I thought we had a couple more years, at least.”\u003c/p>\n\u003cp>When I caught up with Janney on a Zoom call last week, he was philosophical and relatively upbeat, stressing that producers and star Seth Meyers had fought to keep the band. Instead, they’ll pre-record music that the show can use in future episodes.\u003c/p>\n\u003ch3>Looking back on more late-night bands worth remembering\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As a musician and late night TV nerd, I have an accompanying obsession with the bands who back the shows, and I’ve seen lots of them live. Late night bands often embody and amplify the tone of a show — Johnny Carson’s \u003cem>Tonight Show\u003c/em> had a rollicking, old school big band, while Jimmy Fallon’s version has the urbane cool of rap/soul/funk stars The Roots.\u003c/p>\n\u003cp>Now that 8G joins the ranks of bands of the past, I’m reflecting on more late night bands that have — or will one day — go down in history. Here’s a list of the best.\u003c/p>\n\u003ch3>#1: The World’s Most Dangerous Band/CBS Orchestra\u003c/h3>\n\u003cp>\u003cem>Late Night with David Letterman (NBC) and The Late Show with David Letterman (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/RUPSilcJFrQ'\n title='//www.youtube.com/embed/RUPSilcJFrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This group was squarely in my generation — a band I was hooked on from their early days with Letterman on NBC in the mid 1980s, right up until his retirement on CBS in 2015. It began as a hip four piece packed with the best session musicians in New York, including drummer Steve Jordan (now with the Rolling Stones), bassist Will Lee and often-barefoot guitarist Hiram Bullock, led by keyboardist and \u003cem>Saturday Night Live\u003c/em> alum Paul Shaffer. Their stripped-down, funky sound was a welcome change from Carson’s massive, more traditional jazz band.\u003c/p>\n\u003cp>Over the years, the group evolved into a much larger unit with two guitar players and a horn section; P-Funk keyboard legend Bernie Worrell even played with them for a time. And the band was capable of everything from skin-tight backing of James Brown to including guest musicians like David Sanborn and trading quips with Letterman himself.\u003c/p>\n\u003cp>“I watched them all the time … and just felt like they were on another level from what I was doing,” Janney said. “Also, they seemed to be having the best f—ing time. It wasn’t uptight at all.”\u003c/p>\n\u003ch3>#2: The NBC Orchestra\u003c/h3>\n\u003cp>\u003cem>The Tonight Show Starring Johnny Carson (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/1QXdi25469U'\n title='//www.youtube.com/embed/1QXdi25469U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So many of the traditions we associate with late night TV and music started with Carson’s big band, from a flashy, signature theme song to a group packed with ace musicians — like jazz trumpeters Clark Terry and Snooky Young. Trumpeter Carl “Doc” Severinsen led the group, wearing flashy clothes and bantering with Carson while occasionally leading bits like “Stump the Band,” where audience members tried to name songs they couldn’t play.\u003c/p>\n\u003ch3>#3: The Roots\u003c/h3>\n\u003cp>\u003cem>Late Night with Jimmy Fallon and The Tonight Show with Jimmy Fallon (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/ziwYbVx_-qg'\n title='//www.youtube.com/embed/ziwYbVx_-qg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It may have seemed odd to some for a rap band from Philadelphia to join \u003cem>Late Night\u003c/em> when \u003cem>SNL\u003c/em> alum Fallon took over the show from Conan O’Brien in 2009. But it made perfect sense to me — bringing a modern, genre-blending attitude to the show while featuring one of the best bands in any category. And their “Slow Jam the News” segments are still a classic. Still, NBC took a little while to agree: bandleader Questlove \u003ca href=\"https://www.npr.org/2014/07/03/328167474/questlove-and-the-roots-how-a-hip-hop-band-conquered-late-night\">\u003cu>told me they were originally signed\u003c/u>\u003c/a> to a succession of 13-week contracts, in case the network decided to make a change quickly.\u003c/p>\n\u003ch3>#4: Jon Batiste and Stay Human\u003c/h3>\n\u003cp>\u003cem>The Late Show with Stephen Colbert (CBS)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/1HiBKSOeqvg'\n title='//www.youtube.com/embed/1HiBKSOeqvg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>No shade to current Colbert bandleader/guitarist Louis Cato — an amazing multi-instrumentalist who I first saw playing drums with David Sanborn, George Duke and Marcus Miller years ago — but the first version of Colbert’s band led by piano prodigy Batiste was a breath of fresh, innovative air. The band, which Batiste had put together with classmates from Julliard well before they landed on Colbert‘s show, effortlessly moved from jazz and R&B to pop and even classical — with a cool way of playing while walking through the audience that recalled the Second Line marching bands from Batiste’s native New Orleans.\u003c/p>\n\u003ch3>#5: David Sanborn and friends\u003c/h3>\n\u003cp>\u003cem>Sunday Night/Night Music (NBC)\u003c/em>\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\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/gwgOUzodS6E'\n title='//www.youtube.com/embed/gwgOUzodS6E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Executive produced by \u003cem>SNL \u003c/em>showrunner Lorne Michaels, this show was an offbeat experiment which aired for two seasons beginning in 1988, featuring the late jazz saxophonist Sanborn and co-host Jools Holland with a band of ace backing musicians, performing with a wide array of different artists in one show. Bassist Marcus Miller (Miles Davis/Luther Vandross) was the musical director, with guitarist Hiram Bullock, drummer Omar Hakim (Sting/David Bowie), keyboardist Philippe Saisse and many more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If you were too young to watch NBC’s groundbreaking police drama, \u003cem>Homicide: Life on the Street\u003c/em> when it first debuted in 1993, you may wonder why there’s still so much fuss about the show more than three decades later.\u003c/p>\n\u003cp>That’s because so much of what \u003cem>Homicide\u003c/em> presented was stuff you just didn’t see on network television back then: shaky, kinetic camera work; working stiff police detectives cracking jokes at gruesome murder scenes instead of solemnly vowing justice; serialized stories that arced over several episodes; heart-rending killings that never got solved. It was a cop show without gun battles or car chases, with a bracing shot of street-level realism, filmed mostly in Baltimore.\u003c/p>\n\u003cp>[aside postid='arts_13962204']TV fans can step back in time Monday, when NBCUniversal rights a longtime injustice and makes all seven seasons of \u003cem>Homicide: Life on the Street \u003c/em>available on its streaming service, Peacock – along with 2000’s \u003cem>Homicide: the Movie\u003c/em>. There’s a total 122 episodes, plus the TV movie.\u003c/p>\n\u003cp>One person glad to see these episodes finally arrive on streaming is Tom Fontana, who served as executive producer and showrunner for \u003cem>Homicide\u003c/em>, helping develop its singular storytelling style.\u003c/p>\n\u003cp>He wasn’t directly involved with bringing the series to Peacock, though Fontana says he and fellow \u003cem>Homicide\u003c/em> producers Barry Levinson and Gail Mutrux had been bugging the company to put the show online for years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We could never understand why they [didn’t do it sooner],” adds the producer, who created the prison drama \u003cem>Oz\u003c/em>, HBO’s first original drama series, and most recently co-created the AMC drama \u003cem>Monsieur Spade\u003c/em>. “We kept getting different reasons from different NBC executives.”\u003c/p>\n\u003cp>In a tweet in June, \u003cem>Homicide\u003c/em> producer and writer David Simon — a former \u003cem>Baltimore Sun\u003c/em> cops reporter who wrote the book the show was based on, \u003cem>Homicide: A Year on the Killing Streets\u003c/em> — hinted that music rights were central to the delay.\u003c/p>\n\u003cp>https://twitter.com/AoDespair/status/1802819920939635097\u003c/p>\n\u003cp>In an emailed statement to NPR, NBCUniversal noted that it took “many years” for NBCUniversal Global TV Distribution and Universal TV to secure the rights and clearances needed and to remaster the series for HD and 4K, noting the HD versions will be available Monday with the 4K version to follow. The show’s crossover episodes with another classic NBC police drama, \u003cem>Law & Order\u003c/em>, will not be included on Peacock. But the episodes on streaming will include “most” of the original music.\u003c/p>\n\u003ch3>Resurfacing groundbreaking 1990s TV\u003c/h3>\n\u003cp>Watching \u003cem>Homicide\u003c/em> episodes reveals a series seriously ahead of its time, created by Paul Attanasio and focused on recreating Simon’s incisive look at the city’s murder police.\u003c/p>\n\u003cp>Here, viewers were introduced to The Box, the interrogation room where detectives often solved cases by cajoling confessions from suspects, like canny used car dealers pushing wary customers to sign on the dotted line.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3DH4FdxKCNg\u003c/p>\n\u003cp>Or The Board, a large, dry-erase display with every detective’s name, followed by the case number and last names of the murder victims in the crimes they were working — solved cases written in black, open cases in red. “You look up there, you know exactly where you stand,” says Yaphet Kotto’s world weary, Italian African American squad leader, Al Giardello. “About how many things in life can you say that?”\u003c/p>\n\u003cp>The \u003cem>Homicide\u003c/em> series was where Simon learned to write TV scripts before creating his own groundbreaking shows for HBO, including \u003cem>The Wire\u003c/em>. Fontana recalls, “I remember saying to [Simon], on the first day, ‘You know how in a newspaper article, you have to answer who, what, when, where in the first paragraph? TV writing is the opposite; you put off answering those questions as long as you possibly can’ … I think that was probably the only really good advice I gave him.”\u003c/p>\n\u003cp>[aside postid='arts_13960383']Fontana’s notes to Simon may also explain why the structure of \u003cem>Homicide\u003c/em>’s episodes were so unusual for network TV. Characters didn’t directly say what was happening every moment, unlike so many police procedurals back then, which seemed to fear confusing audiences. Fontana says they would stick little “easter egg” style moments in episodes — with little regard for whether the audience understood them or not. In one story, for example, a man accused of racism seems to perceive color differently watching a TV set.\u003c/p>\n\u003cp>Given that viewers couldn’t watch the episodes on demand, or stop and rewind to catch things they might have missed, it was a bold choice. It also meant \u003cem>Homicide\u003c/em> emerged as a series perfect for streaming, made long before streaming platforms actually existed.\u003c/p>\n\u003cfigure id=\"attachment_13962863\" class=\"wp-caption aligncenter\" style=\"max-width: 972px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962863\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59%E2%80%AFAM.png\" alt=\"Standing in front of an old red brick building are seven men of various ages and races and two white women. Almost everyone is wearing a suit.\" width=\"972\" height=\"1296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM.png 972w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM-800x1067.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM-768x1024.png 768w\" sizes=\"(max-width: 972px) 100vw, 972px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Homicide: Life on the Street.’ \u003ccite>(NBCUniversal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘A community of detectives’\u003c/h3>\n\u003cp>The new episodes retain the show’s signature look in screeners provided by Peacock; songs by Miles Davis and the band Bleach seem to appear intact. Still, there is one longtime fan of the show who won’t be watching the new episodes on streaming: Fontana himself.\u003c/p>\n\u003cp>“I’m told the show holds up really well, but I’m not brave enough to watch it again,” he says. “I think the show feels real because we were talking about a community of detectives. And we didn’t want them all to sound like Dick Tracy or whatever. ”\u003c/p>\n\u003cp>Everyone from Oscar winner Melissa Leo to legendary indie film director and Baltimore institution \u003ca href=\"https://www.kqed.org/arts/13953095/john-waters-aubrey-plaza-liarmouth\">John Waters\u003c/a> appeared on the show. \u003ca href=\"https://www.kqed.org/pop/104553/exploring-not-explaining-the-mind-of-robin-williams\">Robin Williams\u003c/a> guested in a landmark episode called “Bop Gun,” playing the husband of a woman killed while they were visiting the city, horrified to overhear detectives joking about her murder with the easy familiarity of those who work close to death. (Williams’ appearance, Simon later \u003ca href=\"https://davidsimon.com/robin-williams-a-brief-encounter/\">\u003cu>wrote on his website\u003c/u>\u003c/a>, likely saved the show and cemented his TV writing career).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AkGfJbLZtLU&t=1s\u003c/p>\n\u003cp>Vincent D’Onofrio also pops up in an episode Fontana cites as one of his favorites, called “Subway,” playing a man pushed onto a subway platform and pinned between the platform and the train. As the episode progresses, he slowly realizes he will die the moment they move the train car away.\u003c/p>\n\u003ch3>Catching up on the work of departed acting legends\u003c/h3>\n\u003cp>Perhaps best of all, fans can now see a long line of powerful actors who have since died — performers who delivered some of their best work on \u003cem>Homicide\u003c/em> — including Kotto, Ned Beatty, Jon Polito, Richard Belzer and Andre Braugher.\u003c/p>\n\u003cp>Braugher shone as Det. Frank Pembleton, a hotshot known for closing cases by pushing suspects to confess in The Box. “What you will be privileged to witness is not an interrogation, but an act of salesmanship — as silver-tongued and thieving as ever moved used cars, Florida swampland or Bibles,” he tells a rookie observer in \u003cem>Homicide’s\u003c/em> first episode. “But what I am selling is a long prison term. To a client who has no genuine use for the product. ”\u003c/p>\n\u003cp>[aside postid='arts_13959986']NBCUniversal says fan reaction over the deaths last year of Belzer and Braugher — beloved actors whose later work included \u003cem>Law & Order: SVU \u003c/em>and \u003ca href=\"https://www.kqed.org/pop/103753/saving-brooklyn-nine-nine-was-business-but-the-love-of-it-is-real\">\u003cem>Brooklyn Nine-Nine\u003c/em>\u003c/a> — “was just another indicator that we should continue on our path” to bring \u003cem>Homicide\u003c/em> to streaming now. Fontana notes it doesn’t hurt that Netflix also recently saw success with episodes of older series such as USA Network’s \u003cem>Suits \u003c/em>and Showtime’s \u003cem>Your Honor\u003c/em>, hinting that NBC’s Peacock might also benefit from elevating a classic series the company already owns.\u003c/p>\n\u003cp>But ask him why people are still interested in the show, about 25 years after the series ended, and the notoriously modest Fontana comes up short. “I’ve been trying to figure it out,” he says. “It’s unfortunate that the stories we told are still relevant. But it might engage a younger audience, because they can say, ‘Hey, prejudice, and misogyny and inequality are still part of day to day life.’”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Homicide: Life on the Street’ begins streaming on Peacock on Aug. 19, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In an emailed statement to NPR, NBCUniversal noted that it took “many years” for NBCUniversal Global TV Distribution and Universal TV to secure the rights and clearances needed and to remaster the series for HD and 4K, noting the HD versions will be available Monday with the 4K version to follow. The show’s crossover episodes with another classic NBC police drama, \u003cem>Law & Order\u003c/em>, will not be included on Peacock. But the episodes on streaming will include “most” of the original music.\u003c/p>\n\u003ch3>Resurfacing groundbreaking 1990s TV\u003c/h3>\n\u003cp>Watching \u003cem>Homicide\u003c/em> episodes reveals a series seriously ahead of its time, created by Paul Attanasio and focused on recreating Simon’s incisive look at the city’s murder police.\u003c/p>\n\u003cp>Here, viewers were introduced to The Box, the interrogation room where detectives often solved cases by cajoling confessions from suspects, like canny used car dealers pushing wary customers to sign on the dotted line.\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/3DH4FdxKCNg'\n title='//www.youtube.com/embed/3DH4FdxKCNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Or The Board, a large, dry-erase display with every detective’s name, followed by the case number and last names of the murder victims in the crimes they were working — solved cases written in black, open cases in red. “You look up there, you know exactly where you stand,” says Yaphet Kotto’s world weary, Italian African American squad leader, Al Giardello. “About how many things in life can you say that?”\u003c/p>\n\u003cp>The \u003cem>Homicide\u003c/em> series was where Simon learned to write TV scripts before creating his own groundbreaking shows for HBO, including \u003cem>The Wire\u003c/em>. Fontana recalls, “I remember saying to [Simon], on the first day, ‘You know how in a newspaper article, you have to answer who, what, when, where in the first paragraph? TV writing is the opposite; you put off answering those questions as long as you possibly can’ … I think that was probably the only really good advice I gave him.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Fontana’s notes to Simon may also explain why the structure of \u003cem>Homicide\u003c/em>’s episodes were so unusual for network TV. Characters didn’t directly say what was happening every moment, unlike so many police procedurals back then, which seemed to fear confusing audiences. Fontana says they would stick little “easter egg” style moments in episodes — with little regard for whether the audience understood them or not. In one story, for example, a man accused of racism seems to perceive color differently watching a TV set.\u003c/p>\n\u003cp>Given that viewers couldn’t watch the episodes on demand, or stop and rewind to catch things they might have missed, it was a bold choice. It also meant \u003cem>Homicide\u003c/em> emerged as a series perfect for streaming, made long before streaming platforms actually existed.\u003c/p>\n\u003cfigure id=\"attachment_13962863\" class=\"wp-caption aligncenter\" style=\"max-width: 972px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13962863\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59%E2%80%AFAM.png\" alt=\"Standing in front of an old red brick building are seven men of various ages and races and two white women. Almost everyone is wearing a suit.\" width=\"972\" height=\"1296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM.png 972w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM-800x1067.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/08/Screenshot-2024-08-19-at-10.47.59 AM-768x1024.png 768w\" sizes=\"(max-width: 972px) 100vw, 972px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Homicide: Life on the Street.’ \u003ccite>(NBCUniversal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>‘A community of detectives’\u003c/h3>\n\u003cp>The new episodes retain the show’s signature look in screeners provided by Peacock; songs by Miles Davis and the band Bleach seem to appear intact. Still, there is one longtime fan of the show who won’t be watching the new episodes on streaming: Fontana himself.\u003c/p>\n\u003cp>“I’m told the show holds up really well, but I’m not brave enough to watch it again,” he says. “I think the show feels real because we were talking about a community of detectives. And we didn’t want them all to sound like Dick Tracy or whatever. ”\u003c/p>\n\u003cp>Everyone from Oscar winner Melissa Leo to legendary indie film director and Baltimore institution \u003ca href=\"https://www.kqed.org/arts/13953095/john-waters-aubrey-plaza-liarmouth\">John Waters\u003c/a> appeared on the show. \u003ca href=\"https://www.kqed.org/pop/104553/exploring-not-explaining-the-mind-of-robin-williams\">Robin Williams\u003c/a> guested in a landmark episode called “Bop Gun,” playing the husband of a woman killed while they were visiting the city, horrified to overhear detectives joking about her murder with the easy familiarity of those who work close to death. (Williams’ appearance, Simon later \u003ca href=\"https://davidsimon.com/robin-williams-a-brief-encounter/\">\u003cu>wrote on his website\u003c/u>\u003c/a>, likely saved the show and cemented his TV writing career).\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/AkGfJbLZtLU'\n title='//www.youtube.com/embed/AkGfJbLZtLU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Vincent D’Onofrio also pops up in an episode Fontana cites as one of his favorites, called “Subway,” playing a man pushed onto a subway platform and pinned between the platform and the train. As the episode progresses, he slowly realizes he will die the moment they move the train car away.\u003c/p>\n\u003ch3>Catching up on the work of departed acting legends\u003c/h3>\n\u003cp>Perhaps best of all, fans can now see a long line of powerful actors who have since died — performers who delivered some of their best work on \u003cem>Homicide\u003c/em> — including Kotto, Ned Beatty, Jon Polito, Richard Belzer and Andre Braugher.\u003c/p>\n\u003cp>Braugher shone as Det. Frank Pembleton, a hotshot known for closing cases by pushing suspects to confess in The Box. “What you will be privileged to witness is not an interrogation, but an act of salesmanship — as silver-tongued and thieving as ever moved used cars, Florida swampland or Bibles,” he tells a rookie observer in \u003cem>Homicide’s\u003c/em> first episode. “But what I am selling is a long prison term. To a client who has no genuine use for the product. ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>NBCUniversal says fan reaction over the deaths last year of Belzer and Braugher — beloved actors whose later work included \u003cem>Law & Order: SVU \u003c/em>and \u003ca href=\"https://www.kqed.org/pop/103753/saving-brooklyn-nine-nine-was-business-but-the-love-of-it-is-real\">\u003cem>Brooklyn Nine-Nine\u003c/em>\u003c/a> — “was just another indicator that we should continue on our path” to bring \u003cem>Homicide\u003c/em> to streaming now. Fontana notes it doesn’t hurt that Netflix also recently saw success with episodes of older series such as USA Network’s \u003cem>Suits \u003c/em>and Showtime’s \u003cem>Your Honor\u003c/em>, hinting that NBC’s Peacock might also benefit from elevating a classic series the company already owns.\u003c/p>\n\u003cp>But ask him why people are still interested in the show, about 25 years after the series ended, and the notoriously modest Fontana comes up short. “I’ve been trying to figure it out,” he says. “It’s unfortunate that the stories we told are still relevant. But it might engage a younger audience, because they can say, ‘Hey, prejudice, and misogyny and inequality are still part of day to day life.’”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Finally, a movie for everyone who read \u003ca href=\"https://www.kqed.org/arts/13935438/scariest-shirley-jackson-short-stories-summer-people-tooth-charles\">Shirley Jackson\u003c/a>’s \u003cem>The Lottery\u003c/em> and wished it had been a comedy.\u003c/p>\n\u003cp>Paul Feig’s \u003cem>Jackpot!\u003c/em> is a farcical twist on an old story that, if it doesn’t remind people of Jackson’s short story will surely sound familiar to those who enjoyed \u003cem>The Purge\u003c/em> and its sequels. In a near-future California, buying a lottery ticket enters you a chance to win billions. But there’s a catch.\u003c/p>\n\u003cp>[aside postid='arts_13962677']Everyone else is free to try to kill the winner and take the prizemoney. The “winner” has until sundown to survive and keep their money. The only rule: No guns. Hovering drones keep an eye on winners, helping violent mobs find their way to him or her. This state-sponsored \u003ca href=\"https://www.kqed.org/pop/tag/the-hunger-games\">Hunger Game\u003c/a> is the new low for a government depleted of funds. Meanwhile, the local TV news chipperly announces a few new billionaires every day.\u003c/p>\n\u003cp>My principle disappointment with \u003cem>Jackpot!\u003c/em> is that they didn’t go with a title like \u003cem>Mega Murders\u003c/em> or its original name: \u003cem>Grand Theft Lotto\u003c/em>. This is a very high concept for a comedy, one that Feig and screenwriter Rob Yescombe lean into to craft a mildly entertaining, streaming-only comedy that’s only a touch less disposable than a losing Powerball ticket.\u003c/p>\n\u003cp>Mostly, \u003cem>Jackpot!\u003c/em> is an action-comedy vehicle that pairs Awkwafina and John Cena for a romp through a few clever economic inequality gags and a lot of cartoonish mayhem. At the least, it’s a more satirical, silly take on a dystopian genre that usually receives more somber treatments. \u003cem>Mockingjay — Part 1\u003c/em> certainly never had John Cena trying to stomp out a groin on fire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zkkQYR9yYZo\u003c/p>\n\u003cp>\u003cem>Jackpot!\u003c/em>, which debuts Thursday on Prime Video, stars Awkwafina as Katie Kim, a former child actor who, out of midlife desperation, has returned to Los Angeles in 2030 to try to break back into the movie business. A Hollywood where half the town is out for blood is, of course, not such a far-fetched, futuristic concept. That backdrop of raging competitiveness is a running gag in \u003cem>Jackpot!\u003c/em> Katie is at an audition when she’s announced as the lottery winner, immediately sending the other auditioning actors after her head.\u003c/p>\n\u003cp>As the quickly forming mob closes in on Katie, a pinstripe suit-clad man comes to the rescue, pledging to protect her for a 10% fee. Noel Cassidy (John Cena) is his name, and, as the two make their getaway, a buddy comedy ensues. Aside from the main task of staying alive, the abiding tension of the movie is how much Katie can trust Noel, and why this very sincere special agent is so dedicated to saving lives. Not only does Noel keep Katie from harm, he makes sure to put a helmet on anyone’s head before kicking them out of a moving car.\u003c/p>\n\u003cp>[aside postid='arts_13962666']Awkwafina’s sarcasm plays well off Cena’s nice-guy earnestness. In one scene, she says he looks like “a bulldog that a witch cast a spell on and turned into a human.” Any comedy with her in the lead role has a fairly high floor, yet \u003cem>Jackpot!\u003c/em> never pays off. It’s amiably disordered but the high-concept always feels like a ridiculous goof, and its predictable machinations grow increasingly tiresome. Still, this is the rare film where you can say Machine Gun Kelly (whose panic room comes in handy for Katie and Noel) is a surprisingly perfect tonal fit. (Later, a turtlenecked Simu Liu turns up as the smarmy head of a larger, better funder protection agency.)\u003c/p>\n\u003cp>Feig, the director of \u003cem>Bridesmaids\u003c/em>, \u003cem>Spy\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/122753/the_heat_is_absolutely_revolutionary_for_being_mostly_ordinary\">\u003cem>The Heat\u003c/em>\u003c/a> and 2016’s \u003ca href=\"https://www.kqed.org/pop/30573/why-are-we-treating-the-new-ghostbusters-like-a-cult-classic-on-opening-weekend\">\u003cem>Ghostbusters\u003c/em>\u003c/a>, may be more adept at balancing broad comedy and action sequences than any other working filmmaker. But the big-screen comedy heyday he was once so central to has largely faded in recent years, as studios have grown disappointingly reluctant to gamble with laughs in theaters. It’s hard not to see \u003cem>Jackpot!\u003c/em> — which pales next to Feig’s better films — as an example of this diminished era for theatrical comedies. Then again, as Awkwafina notes in \u003cem>Jackpot!\u003c/em> Hollywood stardom isn’t what it once was. Now, she says, even wrestlers and YouTubers can do it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Jackpot!’ begins streaming on Prime Video on Aug. 15, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Everyone else is free to try to kill the winner and take the prizemoney. The “winner” has until sundown to survive and keep their money. The only rule: No guns. Hovering drones keep an eye on winners, helping violent mobs find their way to him or her. This state-sponsored \u003ca href=\"https://www.kqed.org/pop/tag/the-hunger-games\">Hunger Game\u003c/a> is the new low for a government depleted of funds. Meanwhile, the local TV news chipperly announces a few new billionaires every day.\u003c/p>\n\u003cp>My principle disappointment with \u003cem>Jackpot!\u003c/em> is that they didn’t go with a title like \u003cem>Mega Murders\u003c/em> or its original name: \u003cem>Grand Theft Lotto\u003c/em>. This is a very high concept for a comedy, one that Feig and screenwriter Rob Yescombe lean into to craft a mildly entertaining, streaming-only comedy that’s only a touch less disposable than a losing Powerball ticket.\u003c/p>\n\u003cp>Mostly, \u003cem>Jackpot!\u003c/em> is an action-comedy vehicle that pairs Awkwafina and John Cena for a romp through a few clever economic inequality gags and a lot of cartoonish mayhem. At the least, it’s a more satirical, silly take on a dystopian genre that usually receives more somber treatments. \u003cem>Mockingjay — Part 1\u003c/em> certainly never had John Cena trying to stomp out a groin on fire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Awkwafina’s sarcasm plays well off Cena’s nice-guy earnestness. In one scene, she says he looks like “a bulldog that a witch cast a spell on and turned into a human.” Any comedy with her in the lead role has a fairly high floor, yet \u003cem>Jackpot!\u003c/em> never pays off. It’s amiably disordered but the high-concept always feels like a ridiculous goof, and its predictable machinations grow increasingly tiresome. Still, this is the rare film where you can say Machine Gun Kelly (whose panic room comes in handy for Katie and Noel) is a surprisingly perfect tonal fit. (Later, a turtlenecked Simu Liu turns up as the smarmy head of a larger, better funder protection agency.)\u003c/p>\n\u003cp>Feig, the director of \u003cem>Bridesmaids\u003c/em>, \u003cem>Spy\u003c/em>, \u003ca href=\"https://www.kqed.org/arts/122753/the_heat_is_absolutely_revolutionary_for_being_mostly_ordinary\">\u003cem>The Heat\u003c/em>\u003c/a> and 2016’s \u003ca href=\"https://www.kqed.org/pop/30573/why-are-we-treating-the-new-ghostbusters-like-a-cult-classic-on-opening-weekend\">\u003cem>Ghostbusters\u003c/em>\u003c/a>, may be more adept at balancing broad comedy and action sequences than any other working filmmaker. But the big-screen comedy heyday he was once so central to has largely faded in recent years, as studios have grown disappointingly reluctant to gamble with laughs in theaters. It’s hard not to see \u003cem>Jackpot!\u003c/em> — which pales next to Feig’s better films — as an example of this diminished era for theatrical comedies. Then again, as Awkwafina notes in \u003cem>Jackpot!\u003c/em> Hollywood stardom isn’t what it once was. Now, she says, even wrestlers and YouTubers can do it.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Jackpot!’ begins streaming on Prime Video on Aug. 15, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-pressing-question-about-tim-walz-and-jd-vance-who-should-play-them-on-snl",
"title": "A Pressing Question About Tim Walz and JD Vance: Who Should Play Them on ‘SNL’?",
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"content": "\u003cp>Now that Tim Walz has been named the Democratic candidate for vice president, it’s time to tackle the most pressing question left in media and politics: Who will play the earnest ex-schoolteacher-turned-governor-turned-dad jokes magnet on \u003cem>Saturday Night Live\u003c/em>?\u003c/p>\n\u003cp>One favorite has already dropped out: comic actor Steve Martin told \u003cem>The Los Angeles Times\u003c/em> \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2024-08-07/steve-martin-will-not-play-tim-walz-on-saturday-night-live\">he turned down an offer\u003c/a> from SNL executive producer Lorne Michaels to play the Minnesota governor, a fellow balding, white-haired guy with a wide smile.\u003c/p>\n\u003cp>[aside postid='arts_13955101']“I said, ‘Lorne, I’m not an impressionist,’” Martin told \u003cem>Times\u003c/em> columnist Glenn Whipp. “You need someone who can really nail the guy.’ I was picked because I have gray hair and glasses.”\u003c/p>\n\u003cp>Fans had been circulating pictures of Martin online with \u003cem>SNL\u003c/em> alum Maya Rudolph, \u003ca href=\"https://www.npr.org/2024/07/23/nx-s1-5049585/maya-rudolph-kamala-harris-snl\">adding to buzz\u003c/a> she may reprise playing Vice President Harris — this time as the Democratic presidential nominee — when the show returns to new episodes this fall.\u003c/p>\n\u003ch3>Why this discussion matters\u003c/h3>\n\u003cp>Excitement over Martin reminded me of the moment Sarah Palin was named a vice presidential candidate in 2008, prompting loads of comedy nerds to send around emails noting how much Palin looked like another \u003cem>SNL\u003c/em> alum, Tina Fey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fey’s \u003ca href=\"https://www.youtube.com/watch?v=vSOLz1YBFG0\">impression of Palin\u003c/a> eventually dominated pop culture so much, people believed the politician — then Alaska’s governor — really said, “I can see Russia from my house,” a line that Fey actually dropped during \u003cem>SNL\u003c/em>’s season premiere in September 2008.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vSOLz1YBFG0&t=118s\u003c/p>\n\u003cp>Images of Gerald Ford as a clumsy doofus, George H.W. Bush as a patrician so stiff his words sounded like gibberish, and Al Gore as a stuffy know-it-all obsessed with the word “lockbox,” all come from devastating \u003cem>SNL\u003c/em> parodies. So who plays Walz — and how — may affect how history remembers him more than anything he actually does.\u003c/p>\n\u003cp>(Ditto for GOP vice presidential candidate JD Vance, whose selection didn’t quite inspire the same level of \u003cem>SNL\u003c/em> fancasting online).\u003c/p>\n\u003cp>I sympathize with purists who insist one of the show’s castmembers should get a shot at playing new figures like Walz or Vance — in the same way James Austin Johnson has electrified viewers with his amazing take on former President Donald Trump.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Izukxr-SfsM\u003c/p>\n\u003cp>But Michaels discovered long ago that stunt casting celebrities brings attention and ratings. Even if they don’t really bother trying to imitate the people they’re playing, like Robert DeNiro and Ben Stiller (as Robert Mueller and Michael Cohen, respectively).\u003c/p>\n\u003cp>So here’s my short list of the folks left who Michaels should consider casting as Walz — along with a couple recommendations for Vance. Because teaching us how to laugh at these people just might help us understand them — or at least learn to tolerate them.\u003c/p>\n\u003ch3>Jim Gaffigan\u003c/h3>\n\u003cp>\u003cstrong>PROS: \u003c/strong>He’s a brilliant standup comic, with multiple Grammy nominations and specials aired or about to debut on Netflix, Prime Video and Hulu. He’s from the Midwest — raised in Indiana, championed by fellow Hoosier David Letterman — with bits centered on being a father of five, married to a wife so devout he calls her a “Shiite Catholic.” He’s got the stocky build and blonde, thinning hair, along with acting chops from loads of TV and film work, including TV Land’s \u003cem>The Jim Gaffigan Show\u003c/em>, \u003cem>Law & Order\u003c/em> and, recently, pal Jerry Seinfeld’s Netflix movie \u003cem>Unfrosted\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13886669']\u003cstrong>CONS:\u003c/strong> He doesn’t seem to be down with the \u003cem>SNL\u003c/em> crew; despite a long career in comedy, he’s never hosted the show.\u003c/p>\n\u003ch3>Tracy Letts\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> A consummate actor and playwright who has won Tony awards and a Pulitzer prize, he’s better known for his self-described specialty playing “a—holes in suits” in films and TV shows like \u003cem>Ford v. Ferrari, Lady Bird\u003c/em> and \u003cem>Winning Time\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> Though he had early roles in sitcoms like \u003cem>Seinfeld \u003c/em>and \u003cem>The Drew Carey Show\u003c/em>, he’s not really known for comedy.\u003c/p>\n\u003ch3>Melissa McCarthy\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> Hear me out. She’s a brilliant comedic actor with a long history of guesting on the show. And she delivered a sidesplitting take on Trump’s former spokesperson Sean Spicer that perfectly captured his clueless bluster.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UWuc18xISwI\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> Despite his Big Dad Energy, Walz is such a masculine guy — hunter, former football coach ex-military — that, funny as it might be to see McCarthy give it a shot, \u003cem>SNL\u003c/em> may just want a guy in the role.\u003c/p>\n\u003ch3>Will Ferrell\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> Amazing at improvisational and sketch comedy, he’s an SNL alum who has played everyone from George W. Bush to former Attorney General Janet Reno.\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> His oddball energy is a little eccentric and sharp for playing a guy who comes off as America’s goofy father figure.\u003c/p>\n\u003ch3>The ghost of Chris Farley\u003c/h3>\n\u003cp>[aside postid='arts_13961732']\u003cstrong>PROS:\u003c/strong> The \u003cem>SNL\u003c/em> star had an over-the-top exuberance, unkempt blonde hair and talent for self-deprecating humor that seemed like a cartoonishly exaggerated version of Walz’s vibe — perfect for a parody sketch.\u003c/p>\n\u003cp>\u003cstrong>CONS: \u003c/strong>Just another reminder of what the comedy world lost in 1997 when he died at age 33 after an overdose. (Though his younger brother, comic and actor Kevin Farley, might also be an able contender).\u003c/p>\n\u003ch3>Jason Sudeikis — as Walz and/or Vance\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> An alum of the show, he knows his way around sketch comedy and political impressions — he played Joe Biden and Mitt Romney at different times. He’s also got a facility with corny, dad-style humor, as evidenced by his time playing the earnest, fictional coach on \u003cem>Ted Lasso\u003c/em>. Anyone who remembers his work as one half of a self-centered yuppie couple in the “Two A-holes” sketches (with another \u003cem>SNL\u003c/em> ace, Kristen Wiig), also knows he has a knack for playing haughty, entitled white guys.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gUCaOV5nbyk\u003c/p>\n\u003cp>\u003cstrong>CONS\u003c/strong>: He doesn’t quite look like Walz — frankly, he’s a little too thin and good looking. And his success as Vance might be directly proportional to the quality of the fake beard and hairpiece they can slap on him.\u003c/p>\n\u003ch3>My first choice for Vance: Zach Galifianakis\u003c/h3>\n\u003cp>\u003cstrong>PROS\u003c/strong>: He’s got the bushy brown beard, the shock of thick hair and a talent for playing clueless egotists honed on his interview parody show, \u003cem>Between Two Ferns\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> He’ll be so good we may forget how odd Vance is in real life.\u003c/p>\n\u003ch3>Another great Vance: Jon Hamm\u003c/h3>\n\u003cp>\u003cstrong>PROS: \u003c/strong>An ace dramatic actor whose secret weapon is a sharp knack for comedy (see \u003cem>30 Rock, Bridesmaids\u003c/em>), he’s also great at making audiences love difficult people (see \u003cem>Mad Men\u003c/em>). His turn as a cult leader on \u003cem>The Unbreakable Kimmy Schmidt\u003c/em> proves he can make great comedy out of playing quirky big shots. And he’s also a friend of \u003cem>SNL\u003c/em>, hosting the show three times and making cameos in multiple skits.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>CONS: \u003c/strong>Hamm will also need a convincing wig or two to make this work. And given all the other cool roles he’s been in recently — from \u003cem>Fargo\u003c/em> to \u003cem>The Morning Show\u003c/em> — \u003cem>SNL\u003c/em> might have to work hard to keep him in the mix.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now that Tim Walz has been named the Democratic candidate for vice president, it’s time to tackle the most pressing question left in media and politics: Who will play the earnest ex-schoolteacher-turned-governor-turned-dad jokes magnet on \u003cem>Saturday Night Live\u003c/em>?\u003c/p>\n\u003cp>One favorite has already dropped out: comic actor Steve Martin told \u003cem>The Los Angeles Times\u003c/em> \u003ca href=\"https://www.latimes.com/entertainment-arts/tv/story/2024-08-07/steve-martin-will-not-play-tim-walz-on-saturday-night-live\">he turned down an offer\u003c/a> from SNL executive producer Lorne Michaels to play the Minnesota governor, a fellow balding, white-haired guy with a wide smile.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I said, ‘Lorne, I’m not an impressionist,’” Martin told \u003cem>Times\u003c/em> columnist Glenn Whipp. “You need someone who can really nail the guy.’ I was picked because I have gray hair and glasses.”\u003c/p>\n\u003cp>Fans had been circulating pictures of Martin online with \u003cem>SNL\u003c/em> alum Maya Rudolph, \u003ca href=\"https://www.npr.org/2024/07/23/nx-s1-5049585/maya-rudolph-kamala-harris-snl\">adding to buzz\u003c/a> she may reprise playing Vice President Harris — this time as the Democratic presidential nominee — when the show returns to new episodes this fall.\u003c/p>\n\u003ch3>Why this discussion matters\u003c/h3>\n\u003cp>Excitement over Martin reminded me of the moment Sarah Palin was named a vice presidential candidate in 2008, prompting loads of comedy nerds to send around emails noting how much Palin looked like another \u003cem>SNL\u003c/em> alum, Tina Fey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fey’s \u003ca href=\"https://www.youtube.com/watch?v=vSOLz1YBFG0\">impression of Palin\u003c/a> eventually dominated pop culture so much, people believed the politician — then Alaska’s governor — really said, “I can see Russia from my house,” a line that Fey actually dropped during \u003cem>SNL\u003c/em>’s season premiere in September 2008.\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>Images of Gerald Ford as a clumsy doofus, George H.W. Bush as a patrician so stiff his words sounded like gibberish, and Al Gore as a stuffy know-it-all obsessed with the word “lockbox,” all come from devastating \u003cem>SNL\u003c/em> parodies. So who plays Walz — and how — may affect how history remembers him more than anything he actually does.\u003c/p>\n\u003cp>(Ditto for GOP vice presidential candidate JD Vance, whose selection didn’t quite inspire the same level of \u003cem>SNL\u003c/em> fancasting online).\u003c/p>\n\u003cp>I sympathize with purists who insist one of the show’s castmembers should get a shot at playing new figures like Walz or Vance — in the same way James Austin Johnson has electrified viewers with his amazing take on former President Donald Trump.\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/Izukxr-SfsM'\n title='//www.youtube.com/embed/Izukxr-SfsM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Michaels discovered long ago that stunt casting celebrities brings attention and ratings. Even if they don’t really bother trying to imitate the people they’re playing, like Robert DeNiro and Ben Stiller (as Robert Mueller and Michael Cohen, respectively).\u003c/p>\n\u003cp>So here’s my short list of the folks left who Michaels should consider casting as Walz — along with a couple recommendations for Vance. Because teaching us how to laugh at these people just might help us understand them — or at least learn to tolerate them.\u003c/p>\n\u003ch3>Jim Gaffigan\u003c/h3>\n\u003cp>\u003cstrong>PROS: \u003c/strong>He’s a brilliant standup comic, with multiple Grammy nominations and specials aired or about to debut on Netflix, Prime Video and Hulu. He’s from the Midwest — raised in Indiana, championed by fellow Hoosier David Letterman — with bits centered on being a father of five, married to a wife so devout he calls her a “Shiite Catholic.” He’s got the stocky build and blonde, thinning hair, along with acting chops from loads of TV and film work, including TV Land’s \u003cem>The Jim Gaffigan Show\u003c/em>, \u003cem>Law & Order\u003c/em> and, recently, pal Jerry Seinfeld’s Netflix movie \u003cem>Unfrosted\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>CONS:\u003c/strong> He doesn’t seem to be down with the \u003cem>SNL\u003c/em> crew; despite a long career in comedy, he’s never hosted the show.\u003c/p>\n\u003ch3>Tracy Letts\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> A consummate actor and playwright who has won Tony awards and a Pulitzer prize, he’s better known for his self-described specialty playing “a—holes in suits” in films and TV shows like \u003cem>Ford v. Ferrari, Lady Bird\u003c/em> and \u003cem>Winning Time\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> Though he had early roles in sitcoms like \u003cem>Seinfeld \u003c/em>and \u003cem>The Drew Carey Show\u003c/em>, he’s not really known for comedy.\u003c/p>\n\u003ch3>Melissa McCarthy\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> Hear me out. She’s a brilliant comedic actor with a long history of guesting on the show. And she delivered a sidesplitting take on Trump’s former spokesperson Sean Spicer that perfectly captured his clueless bluster.\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/UWuc18xISwI'\n title='//www.youtube.com/embed/UWuc18xISwI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>CONS:\u003c/strong> Despite his Big Dad Energy, Walz is such a masculine guy — hunter, former football coach ex-military — that, funny as it might be to see McCarthy give it a shot, \u003cem>SNL\u003c/em> may just want a guy in the role.\u003c/p>\n\u003ch3>Will Ferrell\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> Amazing at improvisational and sketch comedy, he’s an SNL alum who has played everyone from George W. Bush to former Attorney General Janet Reno.\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> His oddball energy is a little eccentric and sharp for playing a guy who comes off as America’s goofy father figure.\u003c/p>\n\u003ch3>The ghost of Chris Farley\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>PROS:\u003c/strong> The \u003cem>SNL\u003c/em> star had an over-the-top exuberance, unkempt blonde hair and talent for self-deprecating humor that seemed like a cartoonishly exaggerated version of Walz’s vibe — perfect for a parody sketch.\u003c/p>\n\u003cp>\u003cstrong>CONS: \u003c/strong>Just another reminder of what the comedy world lost in 1997 when he died at age 33 after an overdose. (Though his younger brother, comic and actor Kevin Farley, might also be an able contender).\u003c/p>\n\u003ch3>Jason Sudeikis — as Walz and/or Vance\u003c/h3>\n\u003cp>\u003cstrong>PROS:\u003c/strong> An alum of the show, he knows his way around sketch comedy and political impressions — he played Joe Biden and Mitt Romney at different times. He’s also got a facility with corny, dad-style humor, as evidenced by his time playing the earnest, fictional coach on \u003cem>Ted Lasso\u003c/em>. Anyone who remembers his work as one half of a self-centered yuppie couple in the “Two A-holes” sketches (with another \u003cem>SNL\u003c/em> ace, Kristen Wiig), also knows he has a knack for playing haughty, entitled white guys.\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/gUCaOV5nbyk'\n title='//www.youtube.com/embed/gUCaOV5nbyk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>CONS\u003c/strong>: He doesn’t quite look like Walz — frankly, he’s a little too thin and good looking. And his success as Vance might be directly proportional to the quality of the fake beard and hairpiece they can slap on him.\u003c/p>\n\u003ch3>My first choice for Vance: Zach Galifianakis\u003c/h3>\n\u003cp>\u003cstrong>PROS\u003c/strong>: He’s got the bushy brown beard, the shock of thick hair and a talent for playing clueless egotists honed on his interview parody show, \u003cem>Between Two Ferns\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>CONS:\u003c/strong> He’ll be so good we may forget how odd Vance is in real life.\u003c/p>\n\u003ch3>Another great Vance: Jon Hamm\u003c/h3>\n\u003cp>\u003cstrong>PROS: \u003c/strong>An ace dramatic actor whose secret weapon is a sharp knack for comedy (see \u003cem>30 Rock, Bridesmaids\u003c/em>), he’s also great at making audiences love difficult people (see \u003cem>Mad Men\u003c/em>). His turn as a cult leader on \u003cem>The Unbreakable Kimmy Schmidt\u003c/em> proves he can make great comedy out of playing quirky big shots. And he’s also a friend of \u003cem>SNL\u003c/em>, hosting the show three times and making cameos in multiple skits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>CONS: \u003c/strong>Hamm will also need a convincing wig or two to make this work. And given all the other cool roles he’s been in recently — from \u003cem>Fargo\u003c/em> to \u003cem>The Morning Show\u003c/em> — \u003cem>SNL\u003c/em> might have to work hard to keep him in the mix.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over the years, TV has offered up an entire precinct worth of women cops — from Angie Dickinson’s spicy Pepper Anderson in the ‘70s hit \u003cem>Police Woman,\u003c/em> to Helen Mirren’s flinty Jane Tennison in the great ’90s series \u003cem>Prime Suspect,\u003c/em> to Mariska Hargitay’s driven Olivia Benson, who will doubtless still be solving sex crimes on \u003cem>Law & Order: SVU\u003c/em> long after the oceans have swallowed New York City. We’ve watched so many women with badges that it’s easy to forget there was a time when most men believed there shouldn’t be any.\u003c/p>\n\u003cp>That belief is the starting point of a new Mexican-made TV series, \u003cem>Women in Blue\u003c/em> which is streaming on AppleTV+. Set in the hyper-conservative Mexico of 1971, this lively 10-part drama focuses on four vastly different women who go to work for the police and discover that it’s easier to capture a serial killer than to deal with the assorted misogynies of the men around them.\u003c/p>\n\u003cp>[aside postid='arts_13960144']As the story begins, Mexico City is being terrorized by a woman-killing maniac known as the Undresser, for the way he leaves his victims. To distract from the force’s failure to catch this killer, the police chief cooks up a publicity stunt. He announces that he’s opening up the police department to women, an idea he feels sure will get scads of upbeat coverage.\u003c/p>\n\u003cp>We follow four new recruits. Foremost among them is María, who once dreamed of being a detective but wound up an elegant bourgeois mother with a husband you know is cheating the instant you see him. There’s her sister Valentina, a revved-up feminist who hates the government. There’s Ángeles, a loner who does most of the actual crime solving. And finally there’s Gabina, a born cop whose policeman father slaps her face for joining the force against his wishes.\u003c/p>\n\u003cp>These four shine in training, but when it comes time to do the job — dressed in blue mini-skirts! — they’re treated as a joke. Sent out to patrol a park, they’re given not weapons but a bag with coins — to call the cops if they uncover a crime. Naturally, they \u003cem>do\u003c/em> uncover one — they find the Undresser’s latest victim. And even though they’re ordered not to, they throw themselves into tracking down the killer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KqHDHnGq2O0\u003c/p>\n\u003cp>Early on, I got a bit bored watching the relentless sexism faced by our heroines. I don’t doubt its realism, but nothing is more tiresome than having to watch people be bigoted in stupid ways that the world has passed by. This is 2024, and hearing some macho detective snarl that women can’t be cops made me fear that \u003cem>Women in Blue\u003c/em> might be one of those shows that simply flatters its audience by letting us feel more enlightened than the people from an earlier era.\u003c/p>\n\u003cp>Happily, the show grows more interesting, with each of the quartet facing a different form of misogyny, even within their own families. And like them, we discover some startling wrinkles in Mexican law back then — like Article 169 of the country’s civil code. It held that a Mexican woman could be forced to quit a job if it affects the “integrity” of her family — and the person who got to decide on this was her husband. It’s since been repealed.\u003c/p>\n\u003cp>[aside postid='arts_13960317']Although there are original works about the shocking level of femicide in Mexico — most famously \u003ca href=\"https://www.npr.org/2007/04/28/9852989/poets-and-gangsters-discovering-roberto-bolano\">Roberto Bolaño\u003c/a>’s great novel \u003ca href=\"https://www.npr.org/2009/01/27/99517680/a-final-epic-work-from-roberto-bolano\">\u003cem>2666\u003c/em>\u003c/a> — \u003cem>Women in Blue\u003c/em>’s crime plot is pretty generic. It resorts to such tired standbys as the cultivated serial killer who gives them brainy tips from his prison cell and the murderer deciding to target the women in blue who are investigating him.\u003c/p>\n\u003cp>The show’s real strength lies in showing how each of the heroines is transformed by joining the force, be it Ángeles breaking free of her emotional isolation or the idealistic Gabina discovering the brutal, corrupt truth about policing in Mexico. The story’s feminist angle is clearest in María, who, with her nice house, fancy clothes and George Clooney-looking husband, is the one who would seem to have it made. She’s the one who must decide whether she’ll sacrifice comfort to work in a police department whose men don’t want women in it.\u003c/p>\n\u003cp>By the end of \u003cem>Women in Blue\u003c/em>, its heroines — and its audience — come face to face with a radical truth: What drives the Undresser to kill women is grounded in the ingrained patriarchal values that ordinary women lived with every single day.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Women in Blue’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n",
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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/KqHDHnGq2O0'\n title='//www.youtube.com/embed/KqHDHnGq2O0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Early on, I got a bit bored watching the relentless sexism faced by our heroines. I don’t doubt its realism, but nothing is more tiresome than having to watch people be bigoted in stupid ways that the world has passed by. This is 2024, and hearing some macho detective snarl that women can’t be cops made me fear that \u003cem>Women in Blue\u003c/em> might be one of those shows that simply flatters its audience by letting us feel more enlightened than the people from an earlier era.\u003c/p>\n\u003cp>Happily, the show grows more interesting, with each of the quartet facing a different form of misogyny, even within their own families. And like them, we discover some startling wrinkles in Mexican law back then — like Article 169 of the country’s civil code. It held that a Mexican woman could be forced to quit a job if it affects the “integrity” of her family — and the person who got to decide on this was her husband. It’s since been repealed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Although there are original works about the shocking level of femicide in Mexico — most famously \u003ca href=\"https://www.npr.org/2007/04/28/9852989/poets-and-gangsters-discovering-roberto-bolano\">Roberto Bolaño\u003c/a>’s great novel \u003ca href=\"https://www.npr.org/2009/01/27/99517680/a-final-epic-work-from-roberto-bolano\">\u003cem>2666\u003c/em>\u003c/a> — \u003cem>Women in Blue\u003c/em>’s crime plot is pretty generic. It resorts to such tired standbys as the cultivated serial killer who gives them brainy tips from his prison cell and the murderer deciding to target the women in blue who are investigating him.\u003c/p>\n\u003cp>The show’s real strength lies in showing how each of the heroines is transformed by joining the force, be it Ángeles breaking free of her emotional isolation or the idealistic Gabina discovering the brutal, corrupt truth about policing in Mexico. The story’s feminist angle is clearest in María, who, with her nice house, fancy clothes and George Clooney-looking husband, is the one who would seem to have it made. She’s the one who must decide whether she’ll sacrifice comfort to work in a police department whose men don’t want women in it.\u003c/p>\n\u003cp>By the end of \u003cem>Women in Blue\u003c/em>, its heroines — and its audience — come face to face with a radical truth: What drives the Undresser to kill women is grounded in the ingrained patriarchal values that ordinary women lived with every single day.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Women in Blue’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>The Bear\u003c/i> went on a tear at Wednesday morning’s Emmy nominations with a comedy-series record 23, and \u003ci>Shōgun\u003c/i> led all nominees with 25 in a dominant year across categories for FX.\u003c/p>\n\u003cp>Nominations for the acclaimed culinary phenomenon \u003ci>The Bear\u003c/i> included best comedy series and best actor in a comedy series for Jeremy Allen White — both awards it won at January’s strike-delayed ceremony, along with best actress for Ayo Edebiri, who won best supporting actress last time around.\u003c/p>\n\u003cp>[aside postID='arts_13953066,arts_13960383']It was also boosted by a bounty of guest acting nominations, including Jamie Lee Curtis and Olivia Colman, two of many Oscar winners who landed nominations.\u003c/p>\n\u003cp>\u003ci>Shōgun\u003c/i> took full advantage of the absence of last year’s top three nominees — \u003ci>Succession\u003c/i>, \u003ci>The White Lotus\u003c/i> and \u003ci>The Last of Us\u003c/i> — to dominate in drama and give FX, with a leading 93 overall nominations, the kind of strong year often reserved for HBO, which even in this “off” year managed second with 91.\u003c/p>\n\u003cp>Its nominations included best drama series, best actress in a drama series for Anna Sawai and best actor for Hiroyuki Sanada.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show shook up the drama race when its makers said in May that despite reaching the end of the story of James Clavell’s historical novel about political machinations in early 17th-century Japan, they would explore making more than one season, shifting the critical darling from the limited series category to the more prestigious drama one.\u003c/p>\n\u003cfigure id=\"attachment_13940193\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4.jpe\" alt=\"Two female police officers stand side-by-side wearing large padded winter coats and shining flashlights into the distance.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13940193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-800x450.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-1020x574.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-160x90.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-768x432.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/true-detective-kali-reis-jodie-foster_wide-9d2c4fa997dd0fb15bbc714aaba03ed34e9895d4-1536x864.jpe 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Kali Reis and Jodie Foster in ‘True Detective: Night Country.’ \u003ccite>(Michele K. Short/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>True Detective: Night Country\u003c/i> was a bright spot for HBO, which lost \u003ci>Succession\u003c/i> to retirement and is between seasons on \u003ci>The White Lotus\u003c/i> and \u003ci>The Last of Us\u003c/i>.\u003c/p>\n\u003cp>The show, a semi-spinoff of the \u003ci>True Detective\u003c/i> franchise, led all limited or anthology series nominees with 19, including a best actress nomination for Jodie Foster for playing a police chief investigating mysterious deaths in the darkness of a north Alaskan winter. It’s expected to vie for the best limited series Emmy with \u003ci>Fargo\u003c/i>, which had 15 nominations and gives FX a shot at a triple crown if its favorites win drama and comedy series, and \u003ci>Baby Reindeer\u003c/i>, a minor cultural phenomenon and Emmy upstart for Netflix in recent months.\u003c/p>\n\u003cp>[aside postID='arts_13959205']Foster was another of the Academy Award winners to get Emmy nods, along with fellow multiple Oscar winner Meryl Streep, up for best supporting actress in a comedy for \u003ci>Only Murders in the Building\u003c/i>; reigning best supporting actor winner Robert Downey Jr., up for best supporting actor in a limited series for playing several characters in \u003ci>The Sympathizer\u003c/i>; and Gary Oldman, up for best actor in a drama series for \u003ci>Slow Horses\u003c/i>.\u003c/p>\n\u003cp>\u003ci>Only Murders\u003c/i>, a perennial Emmy nominee for Hulu with few wins, outdid itself this year with 21, behind only \u003ci>Shōgun\u003c/i> and \u003ci>The Bear\u003c/i>. Leads Steve Martin and Martin Short were nominated for best actor, and, in her first Emmy nomination as a performer, Selena Gomez got a nod for best actress.\u003c/p>\n\u003cp>Old Emmy favorites also returned. Jon Hamm, who had one Emmy from 16 previous nominations, most of them for \u003ci>Mad Men\u003c/i>, got two nominations, one for actor in a limited or anthology series for \u003ci>Fargo\u003c/i> and another for supporting actor in a drama for \u003ci>The Morning Show\u003c/i>. His \u003ci>Morning Show\u003c/i> castmate Jennifer Aniston is considered by many the favorite to win best actress in a drama Emmy to go with the comedy actress trophy she won for \u003ci>Friends\u003c/i>.\u003c/p>\n\u003cp>And four-time Emmy winner Tony Shalhoub has a shot at his fifth for reprising his role as Adrian Monk in \u003ci>Mr. Monk’s Last Case: A Monk Movie\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Getting back to its traditional schedule, the show will be held Sept. 15 at the Peacock Theater in Los Angeles and air on ABC.\u003c/p>\n\n",
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"order": 1
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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