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"content": "\u003cp>A lot of regrettable things happened to pop culture in the ’90s: The Macarena. JNCO jeans. Puck from \u003cem>The Real World\u003c/em>. \u003ca href=\"https://www.kqed.org/arts/13890789/all-the-things-1995s-johnny-mnemonic-got-right-about-life-in-2021\">\u003cem>Johnny Mnemonic\u003c/em>\u003c/a>. Hell, the decade started with Vanilla Ice and ended with a \u003ca href=\"https://www.kqed.org/arts/13890009/watch-leonard-nimoy-scare-the-crap-out-of-america-over-the-y2k-bug\">world-destroying computer glitch that never actually materialized\u003c/a>. Nice work, everyone.\u003c/p>\n\u003cp>Despite Gen Z’s ongoing embrace of the decade, there are plenty of things from the era that have been so thoroughly buried, people have mostly forgotten they happened at all. One of these is San Francisco-based cartoon \u003cem>Mummies Alive!\u003c/em>, which ran for a single, 42-episode season in 1997.\u003c/p>\n\u003cp>Let us now listen to the theme tune: a song drenched in exposition, vague nods to the drum ‘n’ bass trend of the day, but almost entirely impossible to understand because of its frenetic composition.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p7C0arR310g\u003c/p>\n\u003cp>The premise is this: A 12-year-old San Francisco boy named Presley Carnovan is the reincarnation of an ancient pharaoh named Prince Rapses XII. (It’s better if you don’t try and make sense of this.) Scarab, the maniacal dude who originally murdered the prince in order to become immortal, wants to steal Rapses’ life force once again, so is always in hot pursuit of Presley. Scarab also carries around a talking snake that doubles as a gold staff. (Try and keep up!) In order to protect Presley, four mummies come to his aid, follow him around all day and fight on his behalf without anyone ever questioning it. (A bit of an indictment of Presley’s single mom, but that’s kind of what the ’90s were all about. Yay!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of the mummies, Ja-Kal, can fly, attack things with his claws and shoot flaming arrows at stuff. Rath casts spells, conjures snakes and is generally an annoying smarty pants. Armon is the token big, strong dummy with eons of fighting experience. Nefertina (*groan*) carries a whip for a weapon and is an excellent (*checks notes*) \u003cem>driver\u003c/em>. Because God forbid the girl mummy get a real superpower.\u003c/p>\n\u003cp>One of the executive producers on the show was none other than \u003ca href=\"https://www.imdb.com/name/nm0718645/?ref_=fn_al_nm_1\">Ivan Reitman\u003c/a> — a guy you may have heard of because of his work on beloved movies like \u003cem>Ghostbusters\u003c/em>, \u003cem>Stripes\u003c/em> and \u003ci>Up in the Air\u003c/i>. Still, \u003cem>Mummies Alive!\u003c/em> didn’t last. \u003c/p>\n\u003cp>Maybe it was the show’s dedication to non-stop punning — episode titles include “Ghoul’s Gold,” “Tree O’Clock Rock” and “Show Me the Mummy.” (Ugh.) Maybe it was hard to root for a kid who constantly questions the wisdom of his ancient friends. Maybe the mummies could have had better personalities and not so many British accents. It’s hard to know what precisely killed this thing, but to say that some of these episodes err on the side of clunky would be an understatement.\u003c/p>\n\u003cp>Twenty-seven years later, the saving grace of \u003cem>Mummies Alive!\u003c/em> is just how faithfully parts of San Francisco and the Bay are reproduced in the animations. The show goes out of its way to highlight the San Francisco skyline and landmarks, including Fisherman’s Wharf, the Golden Gate Bridge, Lombard Street and Golden Gate Park. Even UC Berkeley and the ACME Bakery get nods. (A visit to San Jose’s \u003ca href=\"https://egyptianmuseum.org/\">Rosicrucian Egyptian Museum\u003c/a> would have been amazing, but you can’t have everything I guess…)\u003c/p>\n\u003cp>The first and only season of \u003cem>Mummies Alive!\u003c/em> is currently streaming on Prime Video. But if you need an immediate sample of how weird this thing was, please enjoy Episode 33: “The Bird Mummy of Alcatraz.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=esHLWel4lMg\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of regrettable things happened to pop culture in the ’90s: The Macarena. JNCO jeans. Puck from \u003cem>The Real World\u003c/em>. \u003ca href=\"https://www.kqed.org/arts/13890789/all-the-things-1995s-johnny-mnemonic-got-right-about-life-in-2021\">\u003cem>Johnny Mnemonic\u003c/em>\u003c/a>. Hell, the decade started with Vanilla Ice and ended with a \u003ca href=\"https://www.kqed.org/arts/13890009/watch-leonard-nimoy-scare-the-crap-out-of-america-over-the-y2k-bug\">world-destroying computer glitch that never actually materialized\u003c/a>. Nice work, everyone.\u003c/p>\n\u003cp>Despite Gen Z’s ongoing embrace of the decade, there are plenty of things from the era that have been so thoroughly buried, people have mostly forgotten they happened at all. One of these is San Francisco-based cartoon \u003cem>Mummies Alive!\u003c/em>, which ran for a single, 42-episode season in 1997.\u003c/p>\n\u003cp>Let us now listen to the theme tune: a song drenched in exposition, vague nods to the drum ‘n’ bass trend of the day, but almost entirely impossible to understand because of its frenetic composition.\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/p7C0arR310g'\n title='//www.youtube.com/embed/p7C0arR310g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The premise is this: A 12-year-old San Francisco boy named Presley Carnovan is the reincarnation of an ancient pharaoh named Prince Rapses XII. (It’s better if you don’t try and make sense of this.) Scarab, the maniacal dude who originally murdered the prince in order to become immortal, wants to steal Rapses’ life force once again, so is always in hot pursuit of Presley. Scarab also carries around a talking snake that doubles as a gold staff. (Try and keep up!) In order to protect Presley, four mummies come to his aid, follow him around all day and fight on his behalf without anyone ever questioning it. (A bit of an indictment of Presley’s single mom, but that’s kind of what the ’90s were all about. Yay!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of the mummies, Ja-Kal, can fly, attack things with his claws and shoot flaming arrows at stuff. Rath casts spells, conjures snakes and is generally an annoying smarty pants. Armon is the token big, strong dummy with eons of fighting experience. Nefertina (*groan*) carries a whip for a weapon and is an excellent (*checks notes*) \u003cem>driver\u003c/em>. Because God forbid the girl mummy get a real superpower.\u003c/p>\n\u003cp>One of the executive producers on the show was none other than \u003ca href=\"https://www.imdb.com/name/nm0718645/?ref_=fn_al_nm_1\">Ivan Reitman\u003c/a> — a guy you may have heard of because of his work on beloved movies like \u003cem>Ghostbusters\u003c/em>, \u003cem>Stripes\u003c/em> and \u003ci>Up in the Air\u003c/i>. Still, \u003cem>Mummies Alive!\u003c/em> didn’t last. \u003c/p>\n\u003cp>Maybe it was the show’s dedication to non-stop punning — episode titles include “Ghoul’s Gold,” “Tree O’Clock Rock” and “Show Me the Mummy.” (Ugh.) Maybe it was hard to root for a kid who constantly questions the wisdom of his ancient friends. Maybe the mummies could have had better personalities and not so many British accents. It’s hard to know what precisely killed this thing, but to say that some of these episodes err on the side of clunky would be an understatement.\u003c/p>\n\u003cp>Twenty-seven years later, the saving grace of \u003cem>Mummies Alive!\u003c/em> is just how faithfully parts of San Francisco and the Bay are reproduced in the animations. The show goes out of its way to highlight the San Francisco skyline and landmarks, including Fisherman’s Wharf, the Golden Gate Bridge, Lombard Street and Golden Gate Park. Even UC Berkeley and the ACME Bakery get nods. (A visit to San Jose’s \u003ca href=\"https://egyptianmuseum.org/\">Rosicrucian Egyptian Museum\u003c/a> would have been amazing, but you can’t have everything I guess…)\u003c/p>\n\u003cp>The first and only season of \u003cem>Mummies Alive!\u003c/em> is currently streaming on Prime Video. But if you need an immediate sample of how weird this thing was, please enjoy Episode 33: “The Bird Mummy of Alcatraz.”\u003c/p>\n\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/esHLWel4lMg'\n title='//www.youtube.com/embed/esHLWel4lMg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Season 3 of The Bear is out now from FX on Hulu. The review below contains details from the season.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Bear \u003c/em>is a show about scars and ghosts, because it is in so many ways a show about consequences and grief. Not all the scars are visible, of course, and not all the ghosts are dead.\u003c/p>\n\u003cp>At the opening of the excellent third season, we find Carmy (Jeremy Allen White) alone in the dark, the morning after his new restaurant’s tryout night, staring at a gnarly old scar on his palm and thinking about people who aren’t there. People who have died, but also people he’s hurt, people he doesn’t know how to talk to, people who have changed him for good and for ill.\u003c/p>\n\u003cp>[aside postid='arts_13960144']The episode unfolds from there not in a straight line but as a looping, layered look at multiple pieces of Carmy’s life that sit on top of each other like a stack of pancakes you can cut through and expose all at once. One is this difficult morning after he got locked in the walk-in fridge. Some involve events in his family — Mikey’s death and telling Nat goodbye when he moved to New York years ago. Some involve Claire (Molly Gordon), whom he kisses in quick flashes. But mostly, we watch Carmy’s experiences in various kitchens in Chicago, on the east and west coasts, and in Copenhagen. We watch him and Luca (Will Poulter) working for chef Terry (Olivia Colman). We see him learn from chefs Daniel Boulud, Rene Redzepi and Thomas Keller, all of whom appear as themselves. We see more of the damage that was inflicted on him by the cruel New York chef played by Joel McHale.\u003c/p>\n\u003cp>While it doesn’t offer up the same pleasures we’re used to, like seeing this big cast yell back and forth, the episode is an example of \u003cem>The Bear\u003c/em>‘s greatest strength. Despite its success, the show is creatively restless, always. This is not a conventional episode of TV, let alone a conventional season opener. It’s moody and disorienting, it doesn’t advance the plot a whole lot, and it may take a couple of viewings to understand where in time you’re located. If episodes dropped one at a time, this opener might leave an audience cold. But with multiple episodes available at once, including a much more typical second episode where the restaurant is trying to get ready for its real opening night, creator Christopher Storer and the rest of the creative team can get away with this kind of experimentation, and so they do it.\u003c/p>\n\u003cfigure id=\"attachment_13960386\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM.png\" alt=\"A middle-aged white man with a scruffy beard stands with his head close to a closed door.\" width=\"1292\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-800x428.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-1020x546.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-160x86.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-768x411.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Ebon Moss-Bachrach as Cousin Richie. \u003ccite>(FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The same is true of the episodes that step away from Carmy and Sydney and Richie, even though those three characters are so beloved and mesmerizing. There aren’t any epics in this season on the scale of season two’s brilliant “Forks” and “Fishes,” but there are more intimate opportunities to visit with the rest of the cast.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ayo Edebiri (who plays Sydney) directs “Napkins,” a standout episode about Tina (Liza Colón-Zayas). Not for nothing, “Napkins” also includes the strongest scene the show has ever done with Mikey (Jon Bernthal), \u003cem>The Bear\u003c/em>‘s greatest ghost of all. Abby Elliott and Jamie Lee Curtis hold down “Ice Chips,” in which Nat’s mother, Donna — also, in her way, a ghost — is not the person Nat wants on hand as she prepares to give birth, but Donna is who she’s got.\u003c/p>\n\u003cp>It’s this constant push-push-push against the obvious next move that makes \u003cem>The Bear \u003c/em>compelling. What earned so much praise in the first season was the grimy, loving clamor of The Beef, so they abandoned it for the team’s pivot to fine dining in season 2, which opened up new possibilities for stories about learning and self-actualization.\u003c/p>\n\u003cp>[aside postid='arts_13959918']And now that The Bear exists and can serve food, the focus shifts again. Because what’s at stake, particularly in the late part of this third season, are questions about creativity and excellence. There is, in the real world, a \u003ca href=\"https://www.harpercollins.com/products/burn-it-down-maureen-ryan?variant=41105489330210\">push to de-romanticize\u003c/a> abusive behaviors that have long been written off as part of an initiation process that one has to endure in order to become great. And \u003cem>The Bear \u003c/em>dives headlong into its own exploration of toxicity and hard work without ever stepping over the line into didactic posturing. Instead, it goes back to those two big weapons that give it the gravity and emotional scale it maintained over its first two seasons: scars and ghosts.\u003c/p>\n\u003cp>Carmy’s industry ghosts are good and bad. He has worked for Chef Terry, who is kind and creates an environment of high standards but humane treatment — and her restaurant, Ever, transformed Richie’s life, too. But Carmy has also worked for the abusive nightmare of a boss played by Joel McHale. The scars from that job are in his anxiety and self-flagellation, but also in little habits like the neatly cut labeling tape that he attaches to deli containers and the handles of saucepans.\u003c/p>\n\u003cp>It would be lovely to believe Carmy could never become Joel McHale. But when he unveils his list of “non-negotiables” for The Bear, it’s less the items on the list and more the way he delivers the list — as an impatient authoritarian — that seems ominous. He has become obsessed with getting a Michelin star, and declares that the menu will change every single day, which upends the economics of the business and the work that’s done by Sydney, Richie, Nat, Tina, Marcus, and everybody else who works there.\u003c/p>\n\u003cfigure id=\"attachment_13960387\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960387\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM.png\" alt=\"A Black woman stands in a kitchen looking stressed. She is wearing a white t-shirt and black apron.\" width=\"1292\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-800x437.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-1020x557.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-160x87.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-768x420.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Ayo Edebiri as Sydney Adamu. \u003ccite>(FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is also a very strong season for Sydney and Richie. Edebiri perfectly captures Sydney’s hesitation about attaching herself to Carmy as his obsessive focus on quality and achievement turns self-destructive. And Richie (Ebon Moss-Bachrach), who discovered he was a born fine-dining service guy when he staged at Ever, finds himself trying to protect his dining room and his right to run it. It’s their complicated love for Carmy (and each other), as well as his for them, that makes all of this feel so emotionally urgent.\u003c/p>\n\u003cp>[aside postid='arts_13959577']The idea of Carmy becoming one of Sydney’s unhappy ghosts, after all, is almost too much to take, and the lack of reconciliation after the bitter fight between Carmy and Richie through the walk-in door casts a pall over any success they have together. (The character of Claire, who felt under-written even last season, is a far less effective emotional lever, particularly now, when she is almost entirely talked about but never seen.)\u003c/p>\n\u003cp>There are, of course, things in the season that don’t work quite so well, though most of them feel less like failure than like excess. There is a little too much of the Fak family, headed by Neil, played by Matty Matheson. Neil is a brilliant creation, played brilliantly, and when he’s part of conversations with the whole staff, his presence is critical to getting the balance of those scenes right. But as the Faks multiply over the course of this season, they get a little too silly, and they also are the source of the only guest appearance out of \u003cem>many \u003c/em>big ones in the show’s history that has ever tipped over into feeling like stunt casting — into seemingly doing a thing just to do it.\u003c/p>\n\u003cfigure id=\"attachment_13960388\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960388\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM.png\" alt=\"Close up of a rotund man with a moustache and tattooed head.\" width=\"1290\" height=\"886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-800x549.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-1020x701.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-768x527.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Matty Matheson as Neil Fak. \u003ccite>(FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We are also getting diminishing returns by the end of this season from the frequent appearances by real chefs. A lesson to Carmy from Thomas Keller goes on for too long, and a late-season gathering of real chefs, while it has its delights, also feels indulgent. It’s understandable that the show wants to make a spectacle of how beloved it is by the real food world and how much star chefs want to elbow their way into episodes. But unsurprisingly, \u003cem>The Bear\u003c/em> gets its best acting work from actors. And detouring into celebrity cameos is tricky at a moment when time with the main cast feels precious and the story is gaining steam.\u003c/p>\n\u003cp>[aside postid='arts_13959635']Speaking of which: This is not really a season; it is half a season. It ends with a cliffhanger, “To Be Continued.” It doesn’t resolve either the main plot threads or the emotional tangles that have been built over these ten episodes. That’s a choice the people behind the show have made, and it candidly seems like a perilous one for a project that presumably won’t come back for many months. Because of the exceptional acting and writing, they will perhaps get away with the anticlimax of it (so different from the big thunderclaps of the last two seasons ending), but it might have worked better to give \u003cem>some \u003c/em>resolution to \u003cem>something\u003c/em>.\u003c/p>\n\u003cp>All in all, though, this remains a tremendously creative, audacious show that is full of pleasures both expected and unexpected. The fact that it doesn’t repeat its successes as much as it tries to reshape itself each time around is perhaps like Carmy’s ever-changing menu: It can lead to a certain number of misfires, but it’s a way to show and share all that you can do.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>All Season 3 episodes of ‘The Bear’ are streaming now via FX and Hulu.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Season 3 of The Bear is out now from FX on Hulu. The review below contains details from the season.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The Bear \u003c/em>is a show about scars and ghosts, because it is in so many ways a show about consequences and grief. Not all the scars are visible, of course, and not all the ghosts are dead.\u003c/p>\n\u003cp>At the opening of the excellent third season, we find Carmy (Jeremy Allen White) alone in the dark, the morning after his new restaurant’s tryout night, staring at a gnarly old scar on his palm and thinking about people who aren’t there. People who have died, but also people he’s hurt, people he doesn’t know how to talk to, people who have changed him for good and for ill.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The episode unfolds from there not in a straight line but as a looping, layered look at multiple pieces of Carmy’s life that sit on top of each other like a stack of pancakes you can cut through and expose all at once. One is this difficult morning after he got locked in the walk-in fridge. Some involve events in his family — Mikey’s death and telling Nat goodbye when he moved to New York years ago. Some involve Claire (Molly Gordon), whom he kisses in quick flashes. But mostly, we watch Carmy’s experiences in various kitchens in Chicago, on the east and west coasts, and in Copenhagen. We watch him and Luca (Will Poulter) working for chef Terry (Olivia Colman). We see him learn from chefs Daniel Boulud, Rene Redzepi and Thomas Keller, all of whom appear as themselves. We see more of the damage that was inflicted on him by the cruel New York chef played by Joel McHale.\u003c/p>\n\u003cp>While it doesn’t offer up the same pleasures we’re used to, like seeing this big cast yell back and forth, the episode is an example of \u003cem>The Bear\u003c/em>‘s greatest strength. Despite its success, the show is creatively restless, always. This is not a conventional episode of TV, let alone a conventional season opener. It’s moody and disorienting, it doesn’t advance the plot a whole lot, and it may take a couple of viewings to understand where in time you’re located. If episodes dropped one at a time, this opener might leave an audience cold. But with multiple episodes available at once, including a much more typical second episode where the restaurant is trying to get ready for its real opening night, creator Christopher Storer and the rest of the creative team can get away with this kind of experimentation, and so they do it.\u003c/p>\n\u003cfigure id=\"attachment_13960386\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM.png\" alt=\"A middle-aged white man with a scruffy beard stands with his head close to a closed door.\" width=\"1292\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-800x428.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-1020x546.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-160x86.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.45.38-AM-768x411.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Ebon Moss-Bachrach as Cousin Richie. \u003ccite>(FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The same is true of the episodes that step away from Carmy and Sydney and Richie, even though those three characters are so beloved and mesmerizing. There aren’t any epics in this season on the scale of season two’s brilliant “Forks” and “Fishes,” but there are more intimate opportunities to visit with the rest of the cast.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ayo Edebiri (who plays Sydney) directs “Napkins,” a standout episode about Tina (Liza Colón-Zayas). Not for nothing, “Napkins” also includes the strongest scene the show has ever done with Mikey (Jon Bernthal), \u003cem>The Bear\u003c/em>‘s greatest ghost of all. Abby Elliott and Jamie Lee Curtis hold down “Ice Chips,” in which Nat’s mother, Donna — also, in her way, a ghost — is not the person Nat wants on hand as she prepares to give birth, but Donna is who she’s got.\u003c/p>\n\u003cp>It’s this constant push-push-push against the obvious next move that makes \u003cem>The Bear \u003c/em>compelling. What earned so much praise in the first season was the grimy, loving clamor of The Beef, so they abandoned it for the team’s pivot to fine dining in season 2, which opened up new possibilities for stories about learning and self-actualization.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And now that The Bear exists and can serve food, the focus shifts again. Because what’s at stake, particularly in the late part of this third season, are questions about creativity and excellence. There is, in the real world, a \u003ca href=\"https://www.harpercollins.com/products/burn-it-down-maureen-ryan?variant=41105489330210\">push to de-romanticize\u003c/a> abusive behaviors that have long been written off as part of an initiation process that one has to endure in order to become great. And \u003cem>The Bear \u003c/em>dives headlong into its own exploration of toxicity and hard work without ever stepping over the line into didactic posturing. Instead, it goes back to those two big weapons that give it the gravity and emotional scale it maintained over its first two seasons: scars and ghosts.\u003c/p>\n\u003cp>Carmy’s industry ghosts are good and bad. He has worked for Chef Terry, who is kind and creates an environment of high standards but humane treatment — and her restaurant, Ever, transformed Richie’s life, too. But Carmy has also worked for the abusive nightmare of a boss played by Joel McHale. The scars from that job are in his anxiety and self-flagellation, but also in little habits like the neatly cut labeling tape that he attaches to deli containers and the handles of saucepans.\u003c/p>\n\u003cp>It would be lovely to believe Carmy could never become Joel McHale. But when he unveils his list of “non-negotiables” for The Bear, it’s less the items on the list and more the way he delivers the list — as an impatient authoritarian — that seems ominous. He has become obsessed with getting a Michelin star, and declares that the menu will change every single day, which upends the economics of the business and the work that’s done by Sydney, Richie, Nat, Tina, Marcus, and everybody else who works there.\u003c/p>\n\u003cfigure id=\"attachment_13960387\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960387\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM.png\" alt=\"A Black woman stands in a kitchen looking stressed. She is wearing a white t-shirt and black apron.\" width=\"1292\" height=\"706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-800x437.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-1020x557.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-160x87.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.49.39-AM-768x420.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Ayo Edebiri as Sydney Adamu. \u003ccite>(FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is also a very strong season for Sydney and Richie. Edebiri perfectly captures Sydney’s hesitation about attaching herself to Carmy as his obsessive focus on quality and achievement turns self-destructive. And Richie (Ebon Moss-Bachrach), who discovered he was a born fine-dining service guy when he staged at Ever, finds himself trying to protect his dining room and his right to run it. It’s their complicated love for Carmy (and each other), as well as his for them, that makes all of this feel so emotionally urgent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The idea of Carmy becoming one of Sydney’s unhappy ghosts, after all, is almost too much to take, and the lack of reconciliation after the bitter fight between Carmy and Richie through the walk-in door casts a pall over any success they have together. (The character of Claire, who felt under-written even last season, is a far less effective emotional lever, particularly now, when she is almost entirely talked about but never seen.)\u003c/p>\n\u003cp>There are, of course, things in the season that don’t work quite so well, though most of them feel less like failure than like excess. There is a little too much of the Fak family, headed by Neil, played by Matty Matheson. Neil is a brilliant creation, played brilliantly, and when he’s part of conversations with the whole staff, his presence is critical to getting the balance of those scenes right. But as the Faks multiply over the course of this season, they get a little too silly, and they also are the source of the only guest appearance out of \u003cem>many \u003c/em>big ones in the show’s history that has ever tipped over into feeling like stunt casting — into seemingly doing a thing just to do it.\u003c/p>\n\u003cfigure id=\"attachment_13960388\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960388\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM.png\" alt=\"Close up of a rotund man with a moustache and tattooed head.\" width=\"1290\" height=\"886\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-800x549.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-1020x701.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-27-at-11.52.41-AM-768x527.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Matty Matheson as Neil Fak. \u003ccite>(FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We are also getting diminishing returns by the end of this season from the frequent appearances by real chefs. A lesson to Carmy from Thomas Keller goes on for too long, and a late-season gathering of real chefs, while it has its delights, also feels indulgent. It’s understandable that the show wants to make a spectacle of how beloved it is by the real food world and how much star chefs want to elbow their way into episodes. But unsurprisingly, \u003cem>The Bear\u003c/em> gets its best acting work from actors. And detouring into celebrity cameos is tricky at a moment when time with the main cast feels precious and the story is gaining steam.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Speaking of which: This is not really a season; it is half a season. It ends with a cliffhanger, “To Be Continued.” It doesn’t resolve either the main plot threads or the emotional tangles that have been built over these ten episodes. That’s a choice the people behind the show have made, and it candidly seems like a perilous one for a project that presumably won’t come back for many months. Because of the exceptional acting and writing, they will perhaps get away with the anticlimax of it (so different from the big thunderclaps of the last two seasons ending), but it might have worked better to give \u003cem>some \u003c/em>resolution to \u003cem>something\u003c/em>.\u003c/p>\n\u003cp>All in all, though, this remains a tremendously creative, audacious show that is full of pleasures both expected and unexpected. The fact that it doesn’t repeat its successes as much as it tries to reshape itself each time around is perhaps like Carmy’s ever-changing menu: It can lead to a certain number of misfires, but it’s a way to show and share all that you can do.\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>All Season 3 episodes of ‘The Bear’ are streaming now via FX and Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13960318\" class=\"wp-caption aligncenter\" style=\"max-width: 810px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960318\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74.jpeg\" alt=\"A book cover showing a family gathered around a pool being filmed by TV cameras. \" width=\"810\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74.jpeg 810w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74-768x1024.jpeg 768w\" sizes=\"auto, (max-width: 810px) 100vw, 810px\">\u003cfigcaption class=\"wp-caption-text\">‘Cue the Sun!: The Invention of Reality TV’ by Emily Nussbaum. \u003ccite>(Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulitzer Prize-winning \u003cem>New Yorker\u003c/em> critic Emily Nussbaum first conceived her sweeping chronicle of the rise of reality TV in 2003 — shortly after the debut of \u003cem>The Bachelor \u003c/em>and three years into \u003cem>Survivor\u003c/em>. But back then the reception from fellow writers was as icy as public attitudes towards the genre. “You better write that one fast,” she recalls a friend warning her. “Reality television was a fad … a bubble that would pop before I could get anything on the page.”\u003c/p>\n\u003cp>Twenty years later, Nussbaum’s \u003cem>Cue the Sun!: The Invention of Reality TV\u003c/em> is a near definitive history of the genre that forever changed American entertainment. The book’s 20-year journey to publication is a tiny mirror of its subject’s rise to the center of American culture. As Nussbaum shows, “Critics had written off reality programming as a fad back in the 1940s, when mouthy civilians first shook up the economics of radio; and in the 1970s, during the flareups over \u003cem>An American Family \u003c/em>and \u003cem>The Gong Show\u003c/em>; and then again in the 1990s, when Fox and MTV set out to disrupt the major networks.”\u003c/p>\n\u003cp>[aside postid='arts_13960267']The dismissive pattern continued for decades — and critics were wrong every time. The much maligned reality genre has “always been a trap” for someone in Nussbaum’s profession — as a critic you would either “clutch your pearls,” failing to “see the fun in it” or succumb to the temptation to “treat reality too lightly.”\u003c/p>\n\u003cp>Across 14 chapters, Nussbaum successfully walks a tightrope. Avoiding censure and trivialization, her narrative keenly captures the reality genre “through the voices of the people who built it” — “step by step, experiment by experiment” in riveting, energetic detail. Determined to see it as the makers and audiences did, and to translate the genre’s diversity, appeal and significance to the page, Nussbaum conducted interviews with a staggering 300 people who worked in every conceivable capacity — from network executives to show creators to crafts people and cast members — on some of the most important reality shows.\u003c/p>\n\u003cp>From these interviews, Nussbaum fashions a compelling oral history, transforming the scattered highs, lows, and tipping points of a genre constantly in flux into a cohesive exploration of the invention, evolution and importance of the modern reality show.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As juicy and provocative as it is analytical, \u003cem>Cue the Sun!\u003c/em> exposes the seamy underbelly of reality TV where that’s needed but also corrects unduly negative, and unfounded, assumptions. For example, on the motivations of the people who become the casts of these shows, Nussbaum concludes: “For many people, doing this kind of television wasn’t a naïve misstep at all — it was a conscious choice to participate in an extreme sport, one whose risks they embraced.” This insight emerges as a common theme across most of these chapters in the voices of wildly diverse on-screen participants — across programs as disparate as the 1970s \u003cem>An American Family\u003c/em>, \u003cem>Who Wants to Marry a Multimillionaire\u003c/em>, and \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>While many critics have painted reality TV in broad strokes, Nussbaum captures fascinating complexity and nuance. Perhaps the most poignant chapter focuses on PBS’s pioneering precursor to modern reality programming. The tip of the spear in an emerging genre dubbed the “dirty documentary,” in a single season \u003cem>An American Family\u003c/em> exploded the traditional nuclear ideal through California’s prosperous Loud family.\u003c/p>\n\u003cp>[aside postid='arts_13959693']Putting a microscope to five teenage kids and two parents at odds, for seven months, the show delivered a microcosm of America’s rapid cultural shifts as the Louds navigated infidelity, a son’s sexuality, and divorce. While the filmmakers played it straight, according to Nussbaum, the Louds felt stung by the 24/7 cameras and scathing public reaction. It was a startling precursor of what was to come.\u003c/p>\n\u003cp>Decades later, with the possible exception of a \u003cem>Dating Game\u003c/em> contestant who turned out to be a serial killer, perhaps no episode is as jaw-dropping as the story of \u003cem>Survivor\u003c/em>. Nussbaum’s storytelling reaches the height of its powers in a blow by blow of \u003cem>Survivor\u003c/em> season one that will give you the creepy crawlies: fleas under the skin, snakes on the belly, parasites in the intestines. But it’s hard to figure what’s more treacherous, the wildlife or the humans committed to making compelling TV at any cost.\u003c/p>\n\u003cp>Despite the book’s strengths, at crucial times the accounts of insiders prove insufficient; context and a critical counterpoint are needed. But in its commitment to handing the mic to the makers, the book eschews outside perspectives. There are exceptions: With \u003cem>An American Family,\u003c/em> we gain insight into the challenge of being gay man on TV in the ’70s through snippets of contemporaneous media and viewer letters. The book also nods to criticism of \u003cem>Queer Eye for the Straight Guy \u003c/em>from the gay community.\u003c/p>\n\u003cp>But when it comes to the situation with \u003ca href=\"https://www.npr.org/2024/02/20/1232527337/tv-critics-association-bachelor\">race on \u003cem>The Bachelor\u003c/em> franchise\u003c/a>, \u003cem>Cue The Sun!\u003c/em> is noticeably quiet. It acknowledges that creator Mike Fleiss stepped down after an internal investigation into allegations of racial discrimination led to a “racial reckoning.” And Nussbaum spoke to one of the two Black contestants from \u003cem>The Bachelor\u003c/em>‘s first season, LaNease Adams. Following her stint on\u003cem> The Bachelor,\u003c/em> Adams buckled under relentless public scrutiny and racist online attacks, with mental health concerns \u003ca href=\"https://www.womenshealthmag.com/life/a33075184/bachelor-alex-michel-lanease-adams-depression/\">eventually sending her to the hospital\u003c/a>. Still, she blames herself for being “naive about racism” and defends the show’s treatment and handling of race. Adams’ comments are fascinating, but not exactly illuminating.\u003c/p>\n\u003cp>[aside postid='arts_13959550']Nussbaum declines to explore the perspectives of Black critics and viewers. Given that \u003ca href=\"https://www.npr.org/2021/02/21/969943721/in-a-season-highlighting-diversity-the-bachelor-lands-in-controversy-around-race\">\u003cem>The Bachelor’\u003c/em>s racial conflicts were legion\u003c/a>, and Black women are both a vibrant part of the audience and of the critical community, that seems an odd choice. In a complex chapter with plenty of controversy about gender, ethics, and exploitation, maybe there wasn’t room, but it still reads like something is missing.\u003c/p>\n\u003cp>Despite that blind spot, overall \u003cem>Cue the Sun!\u003c/em> is both entertaining and enlightening — full of eye-popping insight and rollicking prose. An enthusiast herself, Nussbaum makes even a reality-show-skeptic understand the appeal. She describes \u003cem>The Bachelor\u003c/em> as “a schmaltzy, sexist carnival that doubled, for viewers, as a swoony stunt, the Evel Knievel canyon leap of matrimony.”\u003c/p>\n\u003cp>And she writes just as vividly about how \u003cem>Queer Eye\u003c/em> led to the reinvention and precipitous rise of the Bravo network as executive Lauren Zalaznick “gentrified the sketchy neighborhood of reality programming, with all those basic bachelorettes and bug-eating contests,” transforming it into a “glimmering Tribeca of the mind.” There are dueling interpretations of how this new Bravo emerged from the invention of \u003cem>Queer Eye. \u003c/em>But the brilliance of the show, as Nussbaum smartly highlights, is that it was — in the words of \u003cem>Queer Eye \u003c/em>Director of Photography Michael Pearlman — “a pleasant change of pace: a reality show that was all about empowerment, rather than humiliation.”\u003c/p>\n\u003cp>Bravo’s successes might be the ultimate symbol of a sunnier story about the genre that upended television. But Nussbaum ends in a darker place, explaining how the genre remade American politics by reinventing Donald Trump on \u003cem>The Apprentice\u003c/em>. Love it or hate it, that titillating and consequential tale is the writer’s mic drop to a virtuoso performance.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A slow runner and fast reader, Carole V. Bell is a cultural critic and communication scholar focusing on media, politics and identity. You can find her on Twitter \u003c/em>\u003ca href=\"https://twitter.com/bellcv\">@BellCV\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13960318\" class=\"wp-caption aligncenter\" style=\"max-width: 810px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960318\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74.jpeg\" alt=\"A book cover showing a family gathered around a pool being filmed by TV cameras. \" width=\"810\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74.jpeg 810w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/untitled-design-74-768x1024.jpeg 768w\" sizes=\"auto, (max-width: 810px) 100vw, 810px\">\u003cfigcaption class=\"wp-caption-text\">‘Cue the Sun!: The Invention of Reality TV’ by Emily Nussbaum. \u003ccite>(Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulitzer Prize-winning \u003cem>New Yorker\u003c/em> critic Emily Nussbaum first conceived her sweeping chronicle of the rise of reality TV in 2003 — shortly after the debut of \u003cem>The Bachelor \u003c/em>and three years into \u003cem>Survivor\u003c/em>. But back then the reception from fellow writers was as icy as public attitudes towards the genre. “You better write that one fast,” she recalls a friend warning her. “Reality television was a fad … a bubble that would pop before I could get anything on the page.”\u003c/p>\n\u003cp>Twenty years later, Nussbaum’s \u003cem>Cue the Sun!: The Invention of Reality TV\u003c/em> is a near definitive history of the genre that forever changed American entertainment. The book’s 20-year journey to publication is a tiny mirror of its subject’s rise to the center of American culture. As Nussbaum shows, “Critics had written off reality programming as a fad back in the 1940s, when mouthy civilians first shook up the economics of radio; and in the 1970s, during the flareups over \u003cem>An American Family \u003c/em>and \u003cem>The Gong Show\u003c/em>; and then again in the 1990s, when Fox and MTV set out to disrupt the major networks.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The dismissive pattern continued for decades — and critics were wrong every time. The much maligned reality genre has “always been a trap” for someone in Nussbaum’s profession — as a critic you would either “clutch your pearls,” failing to “see the fun in it” or succumb to the temptation to “treat reality too lightly.”\u003c/p>\n\u003cp>Across 14 chapters, Nussbaum successfully walks a tightrope. Avoiding censure and trivialization, her narrative keenly captures the reality genre “through the voices of the people who built it” — “step by step, experiment by experiment” in riveting, energetic detail. Determined to see it as the makers and audiences did, and to translate the genre’s diversity, appeal and significance to the page, Nussbaum conducted interviews with a staggering 300 people who worked in every conceivable capacity — from network executives to show creators to crafts people and cast members — on some of the most important reality shows.\u003c/p>\n\u003cp>From these interviews, Nussbaum fashions a compelling oral history, transforming the scattered highs, lows, and tipping points of a genre constantly in flux into a cohesive exploration of the invention, evolution and importance of the modern reality show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As juicy and provocative as it is analytical, \u003cem>Cue the Sun!\u003c/em> exposes the seamy underbelly of reality TV where that’s needed but also corrects unduly negative, and unfounded, assumptions. For example, on the motivations of the people who become the casts of these shows, Nussbaum concludes: “For many people, doing this kind of television wasn’t a naïve misstep at all — it was a conscious choice to participate in an extreme sport, one whose risks they embraced.” This insight emerges as a common theme across most of these chapters in the voices of wildly diverse on-screen participants — across programs as disparate as the 1970s \u003cem>An American Family\u003c/em>, \u003cem>Who Wants to Marry a Multimillionaire\u003c/em>, and \u003cem>Survivor\u003c/em>.\u003c/p>\n\u003cp>While many critics have painted reality TV in broad strokes, Nussbaum captures fascinating complexity and nuance. Perhaps the most poignant chapter focuses on PBS’s pioneering precursor to modern reality programming. The tip of the spear in an emerging genre dubbed the “dirty documentary,” in a single season \u003cem>An American Family\u003c/em> exploded the traditional nuclear ideal through California’s prosperous Loud family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Putting a microscope to five teenage kids and two parents at odds, for seven months, the show delivered a microcosm of America’s rapid cultural shifts as the Louds navigated infidelity, a son’s sexuality, and divorce. While the filmmakers played it straight, according to Nussbaum, the Louds felt stung by the 24/7 cameras and scathing public reaction. It was a startling precursor of what was to come.\u003c/p>\n\u003cp>Decades later, with the possible exception of a \u003cem>Dating Game\u003c/em> contestant who turned out to be a serial killer, perhaps no episode is as jaw-dropping as the story of \u003cem>Survivor\u003c/em>. Nussbaum’s storytelling reaches the height of its powers in a blow by blow of \u003cem>Survivor\u003c/em> season one that will give you the creepy crawlies: fleas under the skin, snakes on the belly, parasites in the intestines. But it’s hard to figure what’s more treacherous, the wildlife or the humans committed to making compelling TV at any cost.\u003c/p>\n\u003cp>Despite the book’s strengths, at crucial times the accounts of insiders prove insufficient; context and a critical counterpoint are needed. But in its commitment to handing the mic to the makers, the book eschews outside perspectives. There are exceptions: With \u003cem>An American Family,\u003c/em> we gain insight into the challenge of being gay man on TV in the ’70s through snippets of contemporaneous media and viewer letters. The book also nods to criticism of \u003cem>Queer Eye for the Straight Guy \u003c/em>from the gay community.\u003c/p>\n\u003cp>But when it comes to the situation with \u003ca href=\"https://www.npr.org/2024/02/20/1232527337/tv-critics-association-bachelor\">race on \u003cem>The Bachelor\u003c/em> franchise\u003c/a>, \u003cem>Cue The Sun!\u003c/em> is noticeably quiet. It acknowledges that creator Mike Fleiss stepped down after an internal investigation into allegations of racial discrimination led to a “racial reckoning.” And Nussbaum spoke to one of the two Black contestants from \u003cem>The Bachelor\u003c/em>‘s first season, LaNease Adams. Following her stint on\u003cem> The Bachelor,\u003c/em> Adams buckled under relentless public scrutiny and racist online attacks, with mental health concerns \u003ca href=\"https://www.womenshealthmag.com/life/a33075184/bachelor-alex-michel-lanease-adams-depression/\">eventually sending her to the hospital\u003c/a>. Still, she blames herself for being “naive about racism” and defends the show’s treatment and handling of race. Adams’ comments are fascinating, but not exactly illuminating.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Nussbaum declines to explore the perspectives of Black critics and viewers. Given that \u003ca href=\"https://www.npr.org/2021/02/21/969943721/in-a-season-highlighting-diversity-the-bachelor-lands-in-controversy-around-race\">\u003cem>The Bachelor’\u003c/em>s racial conflicts were legion\u003c/a>, and Black women are both a vibrant part of the audience and of the critical community, that seems an odd choice. In a complex chapter with plenty of controversy about gender, ethics, and exploitation, maybe there wasn’t room, but it still reads like something is missing.\u003c/p>\n\u003cp>Despite that blind spot, overall \u003cem>Cue the Sun!\u003c/em> is both entertaining and enlightening — full of eye-popping insight and rollicking prose. An enthusiast herself, Nussbaum makes even a reality-show-skeptic understand the appeal. She describes \u003cem>The Bachelor\u003c/em> as “a schmaltzy, sexist carnival that doubled, for viewers, as a swoony stunt, the Evel Knievel canyon leap of matrimony.”\u003c/p>\n\u003cp>And she writes just as vividly about how \u003cem>Queer Eye\u003c/em> led to the reinvention and precipitous rise of the Bravo network as executive Lauren Zalaznick “gentrified the sketchy neighborhood of reality programming, with all those basic bachelorettes and bug-eating contests,” transforming it into a “glimmering Tribeca of the mind.” There are dueling interpretations of how this new Bravo emerged from the invention of \u003cem>Queer Eye. \u003c/em>But the brilliance of the show, as Nussbaum smartly highlights, is that it was — in the words of \u003cem>Queer Eye \u003c/em>Director of Photography Michael Pearlman — “a pleasant change of pace: a reality show that was all about empowerment, rather than humiliation.”\u003c/p>\n\u003cp>Bravo’s successes might be the ultimate symbol of a sunnier story about the genre that upended television. But Nussbaum ends in a darker place, explaining how the genre remade American politics by reinventing Donald Trump on \u003cem>The Apprentice\u003c/em>. Love it or hate it, that titillating and consequential tale is the writer’s mic drop to a virtuoso performance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Take This Hammer,’ James Baldwin’s KQED Documentary, Just Turned 60",
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"content": "\u003cp>The now-legendary documentary, aired by KQED in February 1964, is called \u003cem>Take This Hammer\u003c/em> — the title borrowed from \u003ca href=\"https://www.youtube.com/watch?v=280ZECc773g\">the Black folk song\u003c/a> of the same name that envisions an escape from brutal working conditions. The film follows James Baldwin on a tour of the predominantly Black neighborhoods of 1960s San Francisco and, most importantly, gives a platform for young residents to talk about their lived experience of prejudice.\u003c/p>\n\u003cp>The film doesn’t waste any time getting to its core point.\u003c/p>\n\u003cp>[aside postid='arts_13959918']“They want to talk about the South?” one young Hunters Point resident exclaims in its opening scene. “The South is not half as bad as San Francisco … Let me tell you about San Francisco. The white man, he’s not taking advantage of you out in public like they’re doing down in Birmingham. But he’s killing you with that pencil and paper, brother. When you go to look for a job, can you get a job?”\u003c/p>\n\u003cp>The camera pans to Baldwin. “This is a San Francisco America pretends does not exist,” he says stoically. “They think that I am making it up.”\u003c/p>\n\u003cp>Before the movie even got to air, it received outraged reactions from some corners of the press.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The fine, fair face of San Francisco will be sullied tonight by Negro author James Baldwin in a special 45-minute Channel 9 program,” Dwight Newton wrote in his \u003cem>San Francisco Examiner\u003c/em> column. “Baldwin came here last year and KQED’s Channel 9 mobile film unit toured the town with him — to the uglier areas of Hunter’s Point and the Fillmore District. In this great ‘Paris of the West,’ widely advertised as a liberal, cultural and cosmopolitan center, Baldwin looked for and found what he sought: increasing bitterness, demoralization and despair of Negro youths.”\u003c/p>\n\u003cp>[aside postid='arts_13959796']Newton went on: “Comparing San Francisco with blemished racial conditions elsewhere, [Baldwin] says … ‘Nobody wants to destroy the image of San Francisco.’ But Baldwin destroys it in this film. He takes ‘this hammer’ and beats venom out of the Negro problem.”\u003c/p>\n\u003cp>Getting the controversial documentary into people’s homes had, for months, already posed a serious challenge for the KQED Film Unit who made it. “The Board of Directors of KQED … were reluctant to broadcast the program as originally filmed,” director Richard O. Moore recalled in \u003ca href=\"https://batv.quartexcollections.com/Documents/Detail/the-making-of-take-this-hammer/443\">2012 interview with the Bay Area Television Archive\u003c/a>. “All of this resulted in a very painful compromise of cutting out about 15 minutes of the film. They didn’t want to project the fact that there was a great deal of unrest in the Black ghettos in San Francisco.”\u003c/p>\n\u003cp>Moore’s willingness to cut the footage in order to get some form of the project on air so irritated Baldwin that the writer never spoke to Moore again. “Which from my perspective,” Moore noted in 2012, “was a tragic loss. From his, it was ‘good riddance’ probably. Who knows? This was a minor incident in his life, whereas it was a rather important incident in the life of, say, the KQED Film Unit.”\u003c/p>\n\u003cp>The documentary consists of interviews with local people and analysis from Baldwin, peppered with footage Moore and his crew shot while driving around the city with cameras mounted to a station wagon. The entire film is stark, unyielding and straight to the point. Black residents of San Francisco had plenty they wanted to share with Baldwin and outside viewers.\u003c/p>\n\u003cp>“In the way that I’ve been looking at it, Hunters Point is just like being in Alabama right now,” one woman tells Baldwin.\u003c/p>\n\u003cp>Another states: “Young people go to school together, they graduate off the same stage and then, when it comes to jobs, the Black face is not qualified. Then my daughter has to go clean up the same girl’s house that she graduated with.”\u003c/p>\n\u003cp>A teenage girl talks about the city’s “redevelopment” of Black neighborhoods. “There ain’t gonna be no place when they get through,” she says. “We’re gonna be living out here on the streets in tents.”\u003c/p>\n\u003cp>[aside postid='arts_13959163']This moment — which possibly seemed hyperbolic at the time — hits differently in 2024. A review published by Richmond newspaper \u003cem>The Independent\u003c/em> in 1964 captures exactly why \u003cem>Take This Hammer\u003c/em> remains essential viewing all these years later.\u003c/p>\n\u003cp>“Baldwin — volatile, articulate, a bit affected — is an education himself,” Jim Wood wrote. “Baldwin’s point is one that he has made in his writing, that society had to create its image of the Negro to avoid admitting that the image really lies within society itself. But when the writer can point, off-handedly, to the buildings and people of Hunter’s Point, to illustrate precisely what he is saying, the effect is chilling and unforgettable.\u003c/p>\n\u003cp>“The film itself is simple, beautiful, intimate and unpretentious,” Wood concluded. “Even if you don’t ordinarily watch television, see this film.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can watch the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/216518\">full, original version of the documentary courtesy of the Bay Area Television Archive\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The now-legendary documentary, aired by KQED in February 1964, is called \u003cem>Take This Hammer\u003c/em> — the title borrowed from \u003ca href=\"https://www.youtube.com/watch?v=280ZECc773g\">the Black folk song\u003c/a> of the same name that envisions an escape from brutal working conditions. The film follows James Baldwin on a tour of the predominantly Black neighborhoods of 1960s San Francisco and, most importantly, gives a platform for young residents to talk about their lived experience of prejudice.\u003c/p>\n\u003cp>The film doesn’t waste any time getting to its core point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“They want to talk about the South?” one young Hunters Point resident exclaims in its opening scene. “The South is not half as bad as San Francisco … Let me tell you about San Francisco. The white man, he’s not taking advantage of you out in public like they’re doing down in Birmingham. But he’s killing you with that pencil and paper, brother. When you go to look for a job, can you get a job?”\u003c/p>\n\u003cp>The camera pans to Baldwin. “This is a San Francisco America pretends does not exist,” he says stoically. “They think that I am making it up.”\u003c/p>\n\u003cp>Before the movie even got to air, it received outraged reactions from some corners of the press.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The fine, fair face of San Francisco will be sullied tonight by Negro author James Baldwin in a special 45-minute Channel 9 program,” Dwight Newton wrote in his \u003cem>San Francisco Examiner\u003c/em> column. “Baldwin came here last year and KQED’s Channel 9 mobile film unit toured the town with him — to the uglier areas of Hunter’s Point and the Fillmore District. In this great ‘Paris of the West,’ widely advertised as a liberal, cultural and cosmopolitan center, Baldwin looked for and found what he sought: increasing bitterness, demoralization and despair of Negro youths.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Newton went on: “Comparing San Francisco with blemished racial conditions elsewhere, [Baldwin] says … ‘Nobody wants to destroy the image of San Francisco.’ But Baldwin destroys it in this film. He takes ‘this hammer’ and beats venom out of the Negro problem.”\u003c/p>\n\u003cp>Getting the controversial documentary into people’s homes had, for months, already posed a serious challenge for the KQED Film Unit who made it. “The Board of Directors of KQED … were reluctant to broadcast the program as originally filmed,” director Richard O. Moore recalled in \u003ca href=\"https://batv.quartexcollections.com/Documents/Detail/the-making-of-take-this-hammer/443\">2012 interview with the Bay Area Television Archive\u003c/a>. “All of this resulted in a very painful compromise of cutting out about 15 minutes of the film. They didn’t want to project the fact that there was a great deal of unrest in the Black ghettos in San Francisco.”\u003c/p>\n\u003cp>Moore’s willingness to cut the footage in order to get some form of the project on air so irritated Baldwin that the writer never spoke to Moore again. “Which from my perspective,” Moore noted in 2012, “was a tragic loss. From his, it was ‘good riddance’ probably. Who knows? This was a minor incident in his life, whereas it was a rather important incident in the life of, say, the KQED Film Unit.”\u003c/p>\n\u003cp>The documentary consists of interviews with local people and analysis from Baldwin, peppered with footage Moore and his crew shot while driving around the city with cameras mounted to a station wagon. The entire film is stark, unyielding and straight to the point. Black residents of San Francisco had plenty they wanted to share with Baldwin and outside viewers.\u003c/p>\n\u003cp>“In the way that I’ve been looking at it, Hunters Point is just like being in Alabama right now,” one woman tells Baldwin.\u003c/p>\n\u003cp>Another states: “Young people go to school together, they graduate off the same stage and then, when it comes to jobs, the Black face is not qualified. Then my daughter has to go clean up the same girl’s house that she graduated with.”\u003c/p>\n\u003cp>A teenage girl talks about the city’s “redevelopment” of Black neighborhoods. “There ain’t gonna be no place when they get through,” she says. “We’re gonna be living out here on the streets in tents.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This moment — which possibly seemed hyperbolic at the time — hits differently in 2024. A review published by Richmond newspaper \u003cem>The Independent\u003c/em> in 1964 captures exactly why \u003cem>Take This Hammer\u003c/em> remains essential viewing all these years later.\u003c/p>\n\u003cp>“Baldwin — volatile, articulate, a bit affected — is an education himself,” Jim Wood wrote. “Baldwin’s point is one that he has made in his writing, that society had to create its image of the Negro to avoid admitting that the image really lies within society itself. But when the writer can point, off-handedly, to the buildings and people of Hunter’s Point, to illustrate precisely what he is saying, the effect is chilling and unforgettable.\u003c/p>\n\u003cp>“The film itself is simple, beautiful, intimate and unpretentious,” Wood concluded. “Even if you don’t ordinarily watch television, see this film.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>You can watch the \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/216518\">full, original version of the documentary courtesy of the Bay Area Television Archive\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Watch: Disco's Mighty Real Bay Area Roots, Live at KQED",
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"content": "\u003cp>In the 1970s, as activists fought for gay liberation, Black power and women’s rights, a new sound hit dance floors from coast to coast: disco.\u003c/p>\n\u003cp>In the new PBS documentary \u003ca href=\"https://www.pbs.org/show/disco-soundtrack-of-a-revolution/\">\u003cem>Disco: Soundtrack of a Revolution \u003c/em>\u003c/a>(available now for streaming and on \u003ca href=\"https://www.kqed.org/tv/schedules/monthly\">KQED TV\u003c/a>), singers, DJs and cultural figures show how the music became a balm for oppression and created space for people of different backgrounds to let loose and get free. Despite whitewashing and backlash that followed disco’s explosion into the mainstream, its queer, Black roots continue to influence pop’s biggest stars.\u003c/p>\n\u003cp>To celebrate the documentary’s release, NPR’s \u003ca href=\"https://www.npr.org/people/1143683347/corey-antonio-rose\">Corey Antonio Rose\u003c/a> and KQED’s \u003ca href=\"https://www.kqed.org/author/nvoynovskaya\">Nastia Voynovskaya\u003c/a> co-hosted a special panel discussion and performance in KQED’s San Francisco event space, The Commons. Singer and drag star \u003ca href=\"https://www.instagram.com/bebesweetbriar/?hl=en\">Bebe Sweetbriar\u003c/a> (who kicked off the night with a fiery lip sync) and \u003ca href=\"https://www.djpaulgoodyear.com/#/\">DJ Paul Goodyear\u003c/a>, aka SanFranDisko, walked us through disco’s transformation of nightlife and DJ culture, and how it catalyzed organizing and community care during the AIDS crisis. We spoke at length about Sylvester, the San Francisco disco star who paved the way for genderfluid self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13960109\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charles Hawthorne and Rodney Barnette (left to right) discuss the past and present of queer nightlife spaces. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in the evening, \u003ca href=\"https://www.kqed.org/arts/13914457/rightnowish-searching-for-a-kiki-sfs-first-black-owned-gay-bar\">Rodney Barnette\u003c/a>, a former Black Panther, revealed that the disco scene wasn’t as utopian as it may seem. Queer people of color were regularly discriminated against, which prompted him to open the New Eagle Creek Saloon, San Francisco’s first Black-owned gay bar, in 1990. With the slogan “a friendly place with funky bass for every race,” the Eagle Creek became a social support system. \u003ca href=\"https://www.instagram.com/djcharleshawthorne/\">Charles Hawthorne\u003c/a>, a DJ who works with Oaklash and Nectar Social Club, chatted with Rodney about the current generation’s ways of carrying the torch and creating a truly inclusive queer culture.\u003c/p>\n\u003cp>The evening closed out with a live musical number from Bebe and a dance party. Watch the full program below.\u003c/p>\n\u003cdiv style=\"padding:56.25% 0 0 0;position:relative;\">\u003ciframe src=\"https://player.vimeo.com/video/960740891?h=354c2d35e3&badge=0&autopause=0&player_id=0&app_id=58479\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" title=\"Disco's Mighty Real Bay Area Roots\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cscript src=\"https://player.vimeo.com/api/player.js\">\u003c/script>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the 1970s, as activists fought for gay liberation, Black power and women’s rights, a new sound hit dance floors from coast to coast: disco.\u003c/p>\n\u003cp>In the new PBS documentary \u003ca href=\"https://www.pbs.org/show/disco-soundtrack-of-a-revolution/\">\u003cem>Disco: Soundtrack of a Revolution \u003c/em>\u003c/a>(available now for streaming and on \u003ca href=\"https://www.kqed.org/tv/schedules/monthly\">KQED TV\u003c/a>), singers, DJs and cultural figures show how the music became a balm for oppression and created space for people of different backgrounds to let loose and get free. Despite whitewashing and backlash that followed disco’s explosion into the mainstream, its queer, Black roots continue to influence pop’s biggest stars.\u003c/p>\n\u003cp>To celebrate the documentary’s release, NPR’s \u003ca href=\"https://www.npr.org/people/1143683347/corey-antonio-rose\">Corey Antonio Rose\u003c/a> and KQED’s \u003ca href=\"https://www.kqed.org/author/nvoynovskaya\">Nastia Voynovskaya\u003c/a> co-hosted a special panel discussion and performance in KQED’s San Francisco event space, The Commons. Singer and drag star \u003ca href=\"https://www.instagram.com/bebesweetbriar/?hl=en\">Bebe Sweetbriar\u003c/a> (who kicked off the night with a fiery lip sync) and \u003ca href=\"https://www.djpaulgoodyear.com/#/\">DJ Paul Goodyear\u003c/a>, aka SanFranDisko, walked us through disco’s transformation of nightlife and DJ culture, and how it catalyzed organizing and community care during the AIDS crisis. We spoke at length about Sylvester, the San Francisco disco star who paved the way for genderfluid self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13960109\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960109\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Disco_s-Mighty-Real-Bay-Area-Roots-Estefany-Gonzalez_30-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Charles Hawthorne and Rodney Barnette (left to right) discuss the past and present of queer nightlife spaces. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in the evening, \u003ca href=\"https://www.kqed.org/arts/13914457/rightnowish-searching-for-a-kiki-sfs-first-black-owned-gay-bar\">Rodney Barnette\u003c/a>, a former Black Panther, revealed that the disco scene wasn’t as utopian as it may seem. Queer people of color were regularly discriminated against, which prompted him to open the New Eagle Creek Saloon, San Francisco’s first Black-owned gay bar, in 1990. With the slogan “a friendly place with funky bass for every race,” the Eagle Creek became a social support system. \u003ca href=\"https://www.instagram.com/djcharleshawthorne/\">Charles Hawthorne\u003c/a>, a DJ who works with Oaklash and Nectar Social Club, chatted with Rodney about the current generation’s ways of carrying the torch and creating a truly inclusive queer culture.\u003c/p>\n\u003cp>The evening closed out with a live musical number from Bebe and a dance party. Watch the full program below.\u003c/p>\n\u003cdiv style=\"padding:56.25% 0 0 0;position:relative;\">\u003ciframe src=\"https://player.vimeo.com/video/960740891?h=354c2d35e3&badge=0&autopause=0&player_id=0&app_id=58479\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\" style=\"position:absolute;top:0;left:0;width:100%;height:100%;\" title=\"Disco's Mighty Real Bay Area Roots\">\u003c/iframe>\u003c/div>\n\u003cp>\u003cscript src=\"https://player.vimeo.com/api/player.js\">\u003c/script>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Laughter Is Disarming’: A New Documentary Traces Generations of LGBTQ Comedy",
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"content": "\u003cp>“Comedy’s always a reflection of the culture, good and bad,” says Page Hurwitz. Her new Netflix documentary about the history and current state of LGBTQ comedy is proof. Through archival footage, performances and interviews, \u003cem>Outstanding: A Comedy Revolution\u003c/em> spans nearly a century of LGBTQ comedy, including the milestones and setbacks for queer comedians pursuing careers making people laugh.\u003c/p>\n\u003cp>[aside postid='arts_13959601']A multigenerational who’s who of comedy fills this documentary. Lily Tomlin, Rosie O’Donnell, Eddie Izzard, Sandra Bernhard, Billy Eichner, Fortune Feimster, Tig Notaro and Solomon Georgio are among the many performers who recount their personal stories of developing their comedic styles and grappling with homophobia.\u003c/p>\n\u003cp>Hurwitz began her career doing stand-up in the late 1990s in San Francisco’s Castro district. Today, she writes, produces and directs comedy specials and TV series. When she started putting the documentary together, she knew there was something she had to get right: “We’re the gays, so I wanted to make it dynamic. There’s nothing worse you could be than banal.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dEZX9LNX3BA\u003c/p>\n\u003cp>To ensure her documentary had some dazzle, Hurwitz organized a massive event at the Greek Theatre in Los Angeles featuring a marquis lineup of LGBTQ comedians. She turned the event into its own \u003ca href=\"https://www.netflix.com/title/81170956\">special for Netflix\u003c/a> and interspersed footage from it throughout the documentary.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among the revelatory moments in \u003cem>Outstanding\u003c/em> are interviews with comedians who might’ve been more famous had they not come out.\u003c/p>\n\u003cp>[aside postid='arts_13958101']Robin Tyler, one of the first comedians to come out on national television, says she was never in the closet. “Closets are vertical coffins,” she declares in the film. “All you do is suffocate to death.”\u003c/p>\n\u003cp>Tyler’s comedy career suffered when she included jokes about Anita Bryant in her act. Bryant, the former beauty pageant winner, singer and Christian, was one of the most active voices in the anti-gay crusade. One such joke declared that Bryant “is to Christianity what paint-by-numbers is to art.”\u003c/p>\n\u003cp>“That’s why no one knows her name,” says Hurwitz of Tyler, “And she should be a household name because she’s so funny and so talented.”\u003c/p>\n\u003cfigure id=\"attachment_13959921\" class=\"wp-caption aligncenter\" style=\"max-width: 1084px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM.png\" alt=\"An older woman is viewed in profile, sitting in a chair in a dimly lit room.\" width=\"1084\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM.png 1084w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-768x512.png 768w\" sizes=\"(max-width: 1084px) 100vw, 1084px\">\u003cfigcaption class=\"wp-caption-text\">Robin Tyler in ‘Outstanding: A Comedy Revolution.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hurwitz and a small staff pored over hundreds of archival performances and news footage to show how, from one decade to the next, queer comedians either made strides or suffered, depending on the political and cultural climate of the day. There’s Moms Mabley playing an openly gay character in a movie from the 1930s and the so-called \u003ca href=\"https://www.nps.gov/articles/000/cold-war-lavender-scare-and-lgbtq-activism.htm#:~:text=In%201953%2C%20President%20Eisenhower%20signed,losing%20their%20jobs%20and%20reputations.&text=This%20is%20now%20known%20as%20the%20Lavender%20Scare.\">Lavender Scare\u003c/a> during the Cold War.\u003c/p>\n\u003cp>[aside postid='arts_13959827']As comedian Scott Thompson puts it in the documentary, “I just thought life can change on a dime and society can change on a dime.”\u003c/p>\n\u003cp>Thompson points to an “embrace” of gay culture in the 1970s — think disco and Village People — to a complete about-face in the 1980s with the AIDS epidemic.\u003c/p>\n\u003cp>“It went back 30, 40 years, instantly, almost overnight,” he says. “Gay men in those days were considered vile.”\u003c/p>\n\u003cfigure id=\"attachment_13959922\" class=\"wp-caption aligncenter\" style=\"max-width: 1130px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959922\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM.png\" alt=\"A dapper man sits in front of a purple curtain, smiling and raising a cocktail.\" width=\"1130\" height=\"792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM.png 1130w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-768x538.png 768w\" sizes=\"(max-width: 1130px) 100vw, 1130px\">\u003cfigcaption class=\"wp-caption-text\">Scott Thompson/Buddy Cole at The Greek Theatre for Netflix Is A Joke Fest. \u003ccite>(Beth Dubber/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Comedy at that time was incredibly homophobic,” says Hurwitz, “and we had a lot of well-known comedians who were choosing to turn that tragedy into fodder for their hackneyed comedy acts. So, whether it was Andrew Dice Clay or Sam Kinison or frankly, for that matter, Eddie Murphy.”\u003c/p>\n\u003cp>But comedians know how to counterpunch and during the AIDS crisis, Sandra Bernhard’s politically charged, cabaret-style performances were a force. As she explains in the documentary, “This became like the next wave of having to be there and jump in full throttle.”\u003c/p>\n\u003cp>[aside postid='arts_13958734']Comedian and actor Joel Kim Booster, who’s interviewed in the documentary, says he was “floored” when he saw the final cut of \u003cem>Outstanding\u003c/em>. He says it made him grateful to all of the queer comedians who blazed a trail for his generation. “We were not the ones who busted down the door. We just walked through it,” he says.\u003c/p>\n\u003cp>\u003cem>Outstanding\u003c/em> shows how there are still challenges for gay performers, most significantly transphobic material by big-name comedians. But Page Hurwitz says that LGBTQ comedians will continue to take the stage, make people laugh and change the culture.\u003c/p>\n\u003cp>“You’re sharing who you are with the audience and it’s so powerful,” she says, “because laughter is disarming. You make the personal universal, so we can realize that actually, we’re more alike than we are different.”\u003c/p>\n\u003cfigure id=\"attachment_13959923\" class=\"wp-caption aligncenter\" style=\"max-width: 1172px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959923\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM.png\" alt=\"Two drag queens perform at the front of a stage, while a chorus sings behind them.\" width=\"1172\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM.png 1172w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-1020x688.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-768x518.png 768w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003cfigcaption class=\"wp-caption-text\">Bob The Drag Queen, Trixie Mattel, Rosie O’Donnell at The Greek Theatre for Netflix Is A Joke Fest. \u003ccite>(Beth Dubber/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The audio and digital versions of this story were edited by Ciera Crawford. The audio story was produced by Isabella Gomez-Sarmiento. The digital was produced by Beth Novey.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A multigenerational who’s who of comedy fills this documentary. Lily Tomlin, Rosie O’Donnell, Eddie Izzard, Sandra Bernhard, Billy Eichner, Fortune Feimster, Tig Notaro and Solomon Georgio are among the many performers who recount their personal stories of developing their comedic styles and grappling with homophobia.\u003c/p>\n\u003cp>Hurwitz began her career doing stand-up in the late 1990s in San Francisco’s Castro district. Today, she writes, produces and directs comedy specials and TV series. When she started putting the documentary together, she knew there was something she had to get right: “We’re the gays, so I wanted to make it dynamic. There’s nothing worse you could be than banal.”\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/dEZX9LNX3BA'\n title='//www.youtube.com/embed/dEZX9LNX3BA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To ensure her documentary had some dazzle, Hurwitz organized a massive event at the Greek Theatre in Los Angeles featuring a marquis lineup of LGBTQ comedians. She turned the event into its own \u003ca href=\"https://www.netflix.com/title/81170956\">special for Netflix\u003c/a> and interspersed footage from it throughout the documentary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Robin Tyler, one of the first comedians to come out on national television, says she was never in the closet. “Closets are vertical coffins,” she declares in the film. “All you do is suffocate to death.”\u003c/p>\n\u003cp>Tyler’s comedy career suffered when she included jokes about Anita Bryant in her act. Bryant, the former beauty pageant winner, singer and Christian, was one of the most active voices in the anti-gay crusade. One such joke declared that Bryant “is to Christianity what paint-by-numbers is to art.”\u003c/p>\n\u003cp>“That’s why no one knows her name,” says Hurwitz of Tyler, “And she should be a household name because she’s so funny and so talented.”\u003c/p>\n\u003cfigure id=\"attachment_13959921\" class=\"wp-caption aligncenter\" style=\"max-width: 1084px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959921\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM.png\" alt=\"An older woman is viewed in profile, sitting in a chair in a dimly lit room.\" width=\"1084\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM.png 1084w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.15.12-PM-768x512.png 768w\" sizes=\"(max-width: 1084px) 100vw, 1084px\">\u003cfigcaption class=\"wp-caption-text\">Robin Tyler in ‘Outstanding: A Comedy Revolution.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hurwitz and a small staff pored over hundreds of archival performances and news footage to show how, from one decade to the next, queer comedians either made strides or suffered, depending on the political and cultural climate of the day. There’s Moms Mabley playing an openly gay character in a movie from the 1930s and the so-called \u003ca href=\"https://www.nps.gov/articles/000/cold-war-lavender-scare-and-lgbtq-activism.htm#:~:text=In%201953%2C%20President%20Eisenhower%20signed,losing%20their%20jobs%20and%20reputations.&text=This%20is%20now%20known%20as%20the%20Lavender%20Scare.\">Lavender Scare\u003c/a> during the Cold War.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As comedian Scott Thompson puts it in the documentary, “I just thought life can change on a dime and society can change on a dime.”\u003c/p>\n\u003cp>Thompson points to an “embrace” of gay culture in the 1970s — think disco and Village People — to a complete about-face in the 1980s with the AIDS epidemic.\u003c/p>\n\u003cp>“It went back 30, 40 years, instantly, almost overnight,” he says. “Gay men in those days were considered vile.”\u003c/p>\n\u003cfigure id=\"attachment_13959922\" class=\"wp-caption aligncenter\" style=\"max-width: 1130px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959922\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM.png\" alt=\"A dapper man sits in front of a purple curtain, smiling and raising a cocktail.\" width=\"1130\" height=\"792\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM.png 1130w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-800x561.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-1020x715.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.19.24-PM-768x538.png 768w\" sizes=\"(max-width: 1130px) 100vw, 1130px\">\u003cfigcaption class=\"wp-caption-text\">Scott Thompson/Buddy Cole at The Greek Theatre for Netflix Is A Joke Fest. \u003ccite>(Beth Dubber/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Comedy at that time was incredibly homophobic,” says Hurwitz, “and we had a lot of well-known comedians who were choosing to turn that tragedy into fodder for their hackneyed comedy acts. So, whether it was Andrew Dice Clay or Sam Kinison or frankly, for that matter, Eddie Murphy.”\u003c/p>\n\u003cp>But comedians know how to counterpunch and during the AIDS crisis, Sandra Bernhard’s politically charged, cabaret-style performances were a force. As she explains in the documentary, “This became like the next wave of having to be there and jump in full throttle.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Comedian and actor Joel Kim Booster, who’s interviewed in the documentary, says he was “floored” when he saw the final cut of \u003cem>Outstanding\u003c/em>. He says it made him grateful to all of the queer comedians who blazed a trail for his generation. “We were not the ones who busted down the door. We just walked through it,” he says.\u003c/p>\n\u003cp>\u003cem>Outstanding\u003c/em> shows how there are still challenges for gay performers, most significantly transphobic material by big-name comedians. But Page Hurwitz says that LGBTQ comedians will continue to take the stage, make people laugh and change the culture.\u003c/p>\n\u003cp>“You’re sharing who you are with the audience and it’s so powerful,” she says, “because laughter is disarming. You make the personal universal, so we can realize that actually, we’re more alike than we are different.”\u003c/p>\n\u003cfigure id=\"attachment_13959923\" class=\"wp-caption aligncenter\" style=\"max-width: 1172px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959923\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM.png\" alt=\"Two drag queens perform at the front of a stage, while a chorus sings behind them.\" width=\"1172\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM.png 1172w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-1020x688.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-2.21.41-PM-768x518.png 768w\" sizes=\"(max-width: 1172px) 100vw, 1172px\">\u003cfigcaption class=\"wp-caption-text\">Bob The Drag Queen, Trixie Mattel, Rosie O’Donnell at The Greek Theatre for Netflix Is A Joke Fest. \u003ccite>(Beth Dubber/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The audio and digital versions of this story were edited by Ciera Crawford. The audio story was produced by Isabella Gomez-Sarmiento. The digital was produced by Beth Novey.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I will be the first to admit I didn’t even know there \u003cem>was \u003c/em>a French shark movie until I saw it appear at the very top of Netflix’s top 10 movies. And it’s not as if it’s hiding anything about its topic: It’s called \u003cem>Under Paris\u003c/em>. You know why? Because it’s all about sharks under Paris. Specifically, it’s about sharks in the Seine. Initially, there are just a couple of sharks. But then, there are a \u003cem>lot \u003c/em>of sharks. And the movie is apparently an enormous hit, although/because it is, while not as silly as \u003cem>Sharknado\u003c/em>, very silly.\u003c/p>\n\u003cp>[aside postid='arts_13959801']\u003cem>Under Paris \u003c/em>(aka, to me at least, \u003cem>Sharknadeau\u003c/em>) begins as a standard menacing-creature story. Sophia (Bérénice Bejo, Oscar nominee for \u003cem>The Artist\u003c/em>) is a scientist studying sharks in the vicinity of the Great Pacific Garbage Patch (a real, depressing thing). She and her team get a signal from one of their tagged sharks, named Lilith, and several members of the team go on a dive to obtain a blood sample. This dive does not go well (I mean, I suppose it goes OK for Lilith), leaving Sophia traumatized.\u003c/p>\n\u003cp>A few years later, a shark-saving group in Paris alerts Sophia that they know where Lilith is: in the Seine. Now, sharks in the Seine are not a real thing, but perhaps the only upside of climate change is the expansion of options for disaster movies. After all, a movie like this can throw its hands in the air and say, “Honestly, you don’t know \u003cem>what’s \u003c/em>possible now that you can go to the beach on Christmas, do you?” So: sharks in the Seine. Not just that, but \u003cem>multiplying \u003c/em>sharks in the Seine.\u003c/p>\n\u003cfigure id=\"attachment_13959908\" class=\"wp-caption aligncenter\" style=\"max-width: 1230px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM.png\" alt=\"A woman in scrubs examines a dead, blood-covered shark.\" width=\"1230\" height=\"766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM.png 1230w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-768x478.png 768w\" sizes=\"(max-width: 1230px) 100vw, 1230px\">\u003cfigcaption class=\"wp-caption-text\">Bérénice Bejo stars as Sophia, a shark scientist. \u003ccite>(Sofie Gheysens/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, Paris has an arrogant, careless mayor who, like all government officials in shark movies, suffers from a pathological failure to be adequately afraid of sharks. She has only one priority: making sure that the upcoming triathlon goes off without a hitch. That’s right: The Seine is infested with ravenous sharks at the very moment when crowds of swimmers are about to throw themselves into the Seine at a highly public event. Mon dieu! Now, if it were you or me, perhaps we think to ourselves, “Better to cancel the event in advance than have it canceled on account of all the swimmers being devoured,” but no, the mayor of Paris has no such caution.\u003c/p>\n\u003cp>For the first half or so, \u003cem>Under Paris \u003c/em>unfolds like a fairly classy suspense film about a rarely seen threat. It does not look cheap in the way \u003cem>Sharknado \u003c/em>did, for instance. It’s quite competently shot and edited, it’s tense, and it’s frightening. In other words, it gets the job done.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jnCefPQIH98\u003c/p>\n\u003cp>In the second half, the movie goes fully bazoo. Certain arguments about the sharks’ intentions are resolved when some participants in those arguments are eaten. You get your first of a couple of overhead shots of a shark leaping out of the water, mouth first, the better to show you someone in its jaws (heh) who is thinking, “This seems bad.” Crowds run in terror. Blood gushes. If you are watching the movie in the original French (which I recommend) and you have the English subtitles on, you will see a lot of the caption “[panicked screams].”\u003c/p>\n\u003cp>[aside postid='arts_13959670']All this to say: It’s not hard to understand why this is such a hot property at the moment. It gives you half of a fairly normal movie and half of an absolutely wacky one. About half of it is suspense, and about half of it is full-on creature horror, incredibly bloody and with a very (very) high body count. And at the end, there’s no question that just as these sharks are under Paris, the next ones will be under London (or New York, or wherever). If you’re looking for a popcorn movie and you don’t mind a lot of cartoonish gore, you could do a lot worse.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003ca href=\"https://www.npr.org/newsletter/pop-culture\">Sign up for the newsletter\u003c/a> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003ca href=\"http://n.pr/3xNgYt9\">Apple Podcasts\u003c/a> and \u003ca href=\"http://n.pr/3ELR3n6\">Spotify\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I will be the first to admit I didn’t even know there \u003cem>was \u003c/em>a French shark movie until I saw it appear at the very top of Netflix’s top 10 movies. And it’s not as if it’s hiding anything about its topic: It’s called \u003cem>Under Paris\u003c/em>. You know why? Because it’s all about sharks under Paris. Specifically, it’s about sharks in the Seine. Initially, there are just a couple of sharks. But then, there are a \u003cem>lot \u003c/em>of sharks. And the movie is apparently an enormous hit, although/because it is, while not as silly as \u003cem>Sharknado\u003c/em>, very silly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Under Paris \u003c/em>(aka, to me at least, \u003cem>Sharknadeau\u003c/em>) begins as a standard menacing-creature story. Sophia (Bérénice Bejo, Oscar nominee for \u003cem>The Artist\u003c/em>) is a scientist studying sharks in the vicinity of the Great Pacific Garbage Patch (a real, depressing thing). She and her team get a signal from one of their tagged sharks, named Lilith, and several members of the team go on a dive to obtain a blood sample. This dive does not go well (I mean, I suppose it goes OK for Lilith), leaving Sophia traumatized.\u003c/p>\n\u003cp>A few years later, a shark-saving group in Paris alerts Sophia that they know where Lilith is: in the Seine. Now, sharks in the Seine are not a real thing, but perhaps the only upside of climate change is the expansion of options for disaster movies. After all, a movie like this can throw its hands in the air and say, “Honestly, you don’t know \u003cem>what’s \u003c/em>possible now that you can go to the beach on Christmas, do you?” So: sharks in the Seine. Not just that, but \u003cem>multiplying \u003c/em>sharks in the Seine.\u003c/p>\n\u003cfigure id=\"attachment_13959908\" class=\"wp-caption aligncenter\" style=\"max-width: 1230px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959908\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM.png\" alt=\"A woman in scrubs examines a dead, blood-covered shark.\" width=\"1230\" height=\"766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM.png 1230w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-17-at-10.55.57-AM-768x478.png 768w\" sizes=\"(max-width: 1230px) 100vw, 1230px\">\u003cfigcaption class=\"wp-caption-text\">Bérénice Bejo stars as Sophia, a shark scientist. \u003ccite>(Sofie Gheysens/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of course, Paris has an arrogant, careless mayor who, like all government officials in shark movies, suffers from a pathological failure to be adequately afraid of sharks. She has only one priority: making sure that the upcoming triathlon goes off without a hitch. That’s right: The Seine is infested with ravenous sharks at the very moment when crowds of swimmers are about to throw themselves into the Seine at a highly public event. Mon dieu! Now, if it were you or me, perhaps we think to ourselves, “Better to cancel the event in advance than have it canceled on account of all the swimmers being devoured,” but no, the mayor of Paris has no such caution.\u003c/p>\n\u003cp>For the first half or so, \u003cem>Under Paris \u003c/em>unfolds like a fairly classy suspense film about a rarely seen threat. It does not look cheap in the way \u003cem>Sharknado \u003c/em>did, for instance. It’s quite competently shot and edited, it’s tense, and it’s frightening. In other words, it gets the job done.\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/jnCefPQIH98'\n title='//www.youtube.com/embed/jnCefPQIH98'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the second half, the movie goes fully bazoo. Certain arguments about the sharks’ intentions are resolved when some participants in those arguments are eaten. You get your first of a couple of overhead shots of a shark leaping out of the water, mouth first, the better to show you someone in its jaws (heh) who is thinking, “This seems bad.” Crowds run in terror. Blood gushes. If you are watching the movie in the original French (which I recommend) and you have the English subtitles on, you will see a lot of the caption “[panicked screams].”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All this to say: It’s not hard to understand why this is such a hot property at the moment. It gives you half of a fairly normal movie and half of an absolutely wacky one. About half of it is suspense, and about half of it is full-on creature horror, incredibly bloody and with a very (very) high body count. And at the end, there’s no question that just as these sharks are under Paris, the next ones will be under London (or New York, or wherever). If you’re looking for a popcorn movie and you don’t mind a lot of cartoonish gore, you could do a lot worse.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003ca href=\"https://www.npr.org/newsletter/pop-culture\">Sign up for the newsletter\u003c/a> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003ca href=\"http://n.pr/3xNgYt9\">Apple Podcasts\u003c/a> and \u003ca href=\"http://n.pr/3ELR3n6\">Spotify\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The new Hulu series \u003cem>Queenie\u003c/em> explores the quarter-life growing pains of lonely South Londoner Queenie Jenkins.\u003c/p>\n\u003cp>The first of her British Jamaican family to go to university, Queenie is a struggling writer awkwardly straddling multiple worlds. An unwanted breakup with her white, longtime live-in boyfriend Tom sends her painfully reeling — spiraling into, and then climbing out of, destructive behaviors and onto a journey of growth and self-acceptance.\u003c/p>\n\u003cp>[aside postid='arts_13959601']The show, which premiered Friday, is based on a 2019 book by Candice Carty-Williams. And with Carty-Williams at the creative helm, the novel’s strengths are immediately visible on screen: the sharp social observation, the rawness of the voice, and the specificity and conundrums of aspirational, young Black British life in the millennium.\u003c/p>\n\u003cp>As showrunner, Carty-Williams effectively translates and expands her vision, addressing the pain points that both riveted and rankled the book’s readers and ensuring that the creative aspects of production also make an impression. Through sight, sound and performance, \u003cem>Queenie \u003c/em>creates an empathetic and irresistible portrait of a young woman’s life in multicultural-yet-divided London.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wwRwPcm3P4Q\u003c/p>\n\u003ch3>The performances bring the novel to life\u003c/h3>\n\u003cp>As great as the production sounds and looks, it’s the performances that make Queenie’s journey really accessible on screen. The material is challenging and multi-tonal but not a performance hits a wrong note. British actor Dionne Brown embodies Queenie Jenkins inside and out in a breakout role that is a world away from her restrained supporting performance as a police detective in the Apple TV+ crime drama \u003cem>Criminal Record\u003c/em>. Brown told NPR she felt drawn to the role because of how strongly she related to the novel: “my most visceral and initial reaction was just, I didn’t know that other women felt like this. I didn’t know other Black women felt like this.” So throughout taping she used the book “like a Bible.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And though it’s her first screen acting role, hip-hop artist Bellah is bubbly and fierce as Queenie’s bestie Kyazike. As her loving and protective Jamaican grandparents, Joseph Marcell (butler Geoffrey from \u003cem>The Fresh Prince of Bel Air\u003c/em>) and actress and comedian Llewella Gideon steal every scene they’re in. Pivotally, BAFTA-nominated actor Samuel Adewunmi, so powerful in the crime drama \u003cem>You Don’t Know Me\u003c/em>, radiates charisma and kindness as Kyazike’s cousin Frank.\u003c/p>\n\u003ch3>The format allows the audience to go deep\u003c/h3>\n\u003cp>The eight-episode series format allows viewers to go deep into Queenie’s world, getting to know friends and family and helping us understand how love surrounds Queenie without her really feeling it. Where the novel can seem a bit bleak in spite of the humor, episodic TV gives Carty-Williams more room to experiment with different moods and tones. A few days before the premiere, Carty-Williams told NPR that she knew “we would need a lot more light on the screen” in the TV adaptation.\u003c/p>\n\u003cfigure id=\"attachment_13959643\" class=\"wp-caption aligncenter\" style=\"max-width: 1898px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png\" alt=\"Three Black women stand side by side wearing cool clothes.\" width=\"1898\" height=\"1070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png 1898w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1020x575.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1536x866.png 1536w\" sizes=\"(max-width: 1898px) 100vw, 1898px\">\u003cfigcaption class=\"wp-caption-text\">Candice Carty-Williams’ ‘Queenie’ stars Dionne Brown and Bellah. \u003ccite>(Ramona Rosales/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carty-Williams also said she felt fiercely protective bringing her first published novel to the screen. Basing Queenie’s story on her own experience coupled with second hand-horror stories from friends, “I had all those feelings and I didn’t want them to be stripped away, or watered down. The politics were important to me, the characters are important to me.”\u003c/p>\n\u003cp>[aside postid='arts_13959205']\u003cem>Queenie\u003c/em> is a young woman’s story, but it’s also the manifestation of the adage that the personal is political. Queenie’s experiences lay bare the contours and consequences of England’s casual racism in every dimension of daily life. That includes, “the ways that [Queenie] was treated by people. This is at work, this is in relationships, this is in her relationship with Tom.” Carty-Williams said she was “willing to fight” to ensure that Queenie’s mental and emotional journey of finding herself in this world she saw as unfair made it to the screen intact.\u003c/p>\n\u003cp>Despite the production’s extensive management structure (Lions Gate, Disney’s Onyx Collective, and British Channel 4 were involved and over a dozen executives), it’s clear she succeeded. The show teems with the sometimes-painful, subtly-political observational humor and confessional motif that made the book stand out — and all the elements work well together.\u003c/p>\n\u003ch3>Some important changes from novel to screen\u003c/h3>\n\u003cp>Still, though faithful to the novel’s quarter-life crisis story, with the book’s most memorable thoughts and lines of dialogue making the leap almost verbatim from page to screen, the script bears some important changes. For one, Queenie’s circle includes a romantic addition — best friend Kiyazike’s cousin Frank, a friend and new love interest who appeared once briefly in the novel. Frank’s addition improves the series by addressing one of the biggest issues dogging the novel’s more ambivalent readers: Queenie’s fear and avoidance of Black men in favor of often painful encounters with white and brown men.\u003c/p>\n\u003cp>[aside postid='arts_13959163']\u003cem>Queenie’s\u003c/em> original release reflected both the pervasiveness and abuse of “rom-com” and “chick-lit” as book industry terms of art, and the delicate tightrope that Black writers walk telling stories about love, sex and race.\u003c/p>\n\u003cp>When \u003cem>Queenie\u003c/em> debuted it appeared on best seller lists in multiple countries. \u003cem>Queenie\u003c/em> won both Best Debut and Book of the Year at the British Book Awards. Carty-Williams was the first Black woman author to win the latter award.\u003c/p>\n\u003cp>In Britain, where Carty-Williams grew up, \u003cem>Queenie\u003c/em> quickly found a fiercely loyal following — a largely female audience that loved its voice and perspective. Many of those readers were women of color, Black British women who identified fiercely with the young woman struggling to claim love, career, self worth and mental health.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes.\u003c/h2>\n\u003c/blockquote>\n\u003cp>But the book’s popular and critical reception was somewhat mixed in the U.S., where the author was an unknown quantity. At minimum, some audiences were discomfited by Queenie’s emotional scarring and trauma around race when they believed they were promised something lighter — the heft and trauma of the book billed as a Black \u003cem>Bridget Jones Diary \u003c/em>\u003ca href=\"https://www.npr.org/2019/05/30/728278275/queenie-author-candice-carty-williams\">seemed to betray its framing\u003c/a>. While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes. At worst, some storylines were seen as painfully self-hating or even the product of internalized anti-Black racism.\u003c/p>\n\u003cp>Falling into ever more painful situations, Queenie has sex with men who talk about and treat her in demeaning, if not downright racist ways — the men she meets in apps and in the neighborhood reference her race, color, and the contours of her body as though she is a sex toy. They don’t see or aren’t that interested in her intelligence and her pain.\u003c/p>\n\u003cfigure id=\"attachment_13959644\" class=\"wp-caption aligncenter\" style=\"max-width: 708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959644\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png\" alt=\"A book cover depicting a Black woman's ear and braids piles high on her head. Her face is not visible.\" width=\"708\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png 708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM-160x249.png 160w\" sizes=\"(max-width: 708px) 100vw, 708px\">\u003cfigcaption class=\"wp-caption-text\">‘Queenie’ by Candice Carty-Williams. \u003ccite>(Gallery/Scout Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>Carty-William’s unflinching portrayal of Queenie’s situation is one of the novel’s most challenging aspects. Though Queenie notices and complains about the degrading approaches, she dates a series of these men and continues to long for the return of a boyfriend who seems to treat her with little regard. She seems to internalize racism and brush off the disrespect, taking it in stride as long as the men dishing it out are not Black. Even for a literary novel (which despite the comedic tone, \u003cem>Queenie\u003c/em> really is) that would be hard to take in (\u003cem>Luster\u003c/em> comes to mind). But that’s not how the book was positioned.\u003c/p>\n\u003cp>[aside postid='arts_13958131']Though Carty-Williams used the “Black Bridget Jones” marketing pitch to broaden the readership, she’s also said of Queenie: “She’s not Bridget Jones. She could never be.” As a result of the label, though, and the gorgeous, brightly-colored cover drawing of a Black woman with braids and hoop earrings, Black women were primed to see themselves at the center of romance-infused comedy. That’s not what they got.\u003c/p>\n\u003cp>Instead, the novel \u003cem>Queenie\u003c/em> offers a sometimes harrowing multidimensional portrait of the dynamics of love, work and identity, mental health, and the Black immigrant experience. The love and acceptance Queenie eventually finds is hard won, and it lies not in a romantic relationship but within herself and her community. That’s a healthy choice. But every genre makes a promise, and a bait and switch in terms of reader expectations can feel like erasure.\u003c/p>\n\u003ch3>Exploring critically important topics in the book and on screen\u003c/h3>\n\u003cp>That said, as Carty-Williams emphasizes, discomfiting or not, Queenie’s experience is worth delving into. If it’s hard to reconcile Queenie’s sharp insight and her self-destructive actions, it’s also true that Queenie navigates a world that routinely doesn’t see, or fetishizes and even villainizes, her. Exploding the stereotype of a “strong Black woman,” with intense vulnerability, parts are hard to watch, but through her experimentation and misadventures, both the novel and the series explore essential topics: the racial and gender dynamics and politics of consent and desirability, and the rippling effects of domestic partner abuse. It is hard to watch her covet white attention and approval even when it hurts her, but it’s something that many Black women have been through.\u003c/p>\n\u003cfigure id=\"attachment_13959645\" class=\"wp-caption aligncenter\" style=\"max-width: 1752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png\" alt=\"Two Black women stand outside at dusk, next to two white women.\" width=\"1752\" height=\"1022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png 1752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-800x467.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1020x595.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-768x448.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1536x896.png 1536w\" sizes=\"(max-width: 1752px) 100vw, 1752px\">\u003cfigcaption class=\"wp-caption-text\">Dionne Brown as Queenie in a scene with her best friend Kyazike, played by Bellah. \u003ccite>(Latoya Okuneye/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A big challenge for the screen adaptation is that despite therapy, Queenie’s deeply rooted fear of Black men doesn’t have a resolution, or much deeper exploration in the original text. In a novel about self reflection, self-acceptance and growth, this is hard to reconcile. The series does better. The racial dimensions of Queenie’s pain and fears were at the center of some online discourse in 2019 and, in the leadup to the premiere, some with knowledge of the story raised similar questions on social media in reaction to the \u003cem>Queenie\u003c/em> trailer.\u003c/p>\n\u003cp>When talking with NPR for this piece, Carty-Williams pointed out that when readers have been in conversation about her debut, they tend to ask how Queenie did what she did. She pushes back wondering why the onus is on the woman rather than asking why men behave how they do toward Queenie. She also disclosed that the series allowed her to better resolve Queenie’s difficulties with men in her community partly, but not exclusively, through her relationship with her best friend’s cousin Frank. Carty-Williams said that this exploration was inspired both by conversations with readers and by her own maturation. Now in her 30s, she says she better understands attachment disorder, and how fears and triggers manifest, than when she started writing the novel at 26. In this way, the story of the making of \u003cem>Queenie\u003c/em>-the-series has a happier ending — giving Queenie more room to grow.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Queenie’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new Hulu series \u003cem>Queenie\u003c/em> explores the quarter-life growing pains of lonely South Londoner Queenie Jenkins.\u003c/p>\n\u003cp>The first of her British Jamaican family to go to university, Queenie is a struggling writer awkwardly straddling multiple worlds. An unwanted breakup with her white, longtime live-in boyfriend Tom sends her painfully reeling — spiraling into, and then climbing out of, destructive behaviors and onto a journey of growth and self-acceptance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The show, which premiered Friday, is based on a 2019 book by Candice Carty-Williams. And with Carty-Williams at the creative helm, the novel’s strengths are immediately visible on screen: the sharp social observation, the rawness of the voice, and the specificity and conundrums of aspirational, young Black British life in the millennium.\u003c/p>\n\u003cp>As showrunner, Carty-Williams effectively translates and expands her vision, addressing the pain points that both riveted and rankled the book’s readers and ensuring that the creative aspects of production also make an impression. Through sight, sound and performance, \u003cem>Queenie \u003c/em>creates an empathetic and irresistible portrait of a young woman’s life in multicultural-yet-divided London.\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/wwRwPcm3P4Q'\n title='//www.youtube.com/embed/wwRwPcm3P4Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The performances bring the novel to life\u003c/h3>\n\u003cp>As great as the production sounds and looks, it’s the performances that make Queenie’s journey really accessible on screen. The material is challenging and multi-tonal but not a performance hits a wrong note. British actor Dionne Brown embodies Queenie Jenkins inside and out in a breakout role that is a world away from her restrained supporting performance as a police detective in the Apple TV+ crime drama \u003cem>Criminal Record\u003c/em>. Brown told NPR she felt drawn to the role because of how strongly she related to the novel: “my most visceral and initial reaction was just, I didn’t know that other women felt like this. I didn’t know other Black women felt like this.” So throughout taping she used the book “like a Bible.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And though it’s her first screen acting role, hip-hop artist Bellah is bubbly and fierce as Queenie’s bestie Kyazike. As her loving and protective Jamaican grandparents, Joseph Marcell (butler Geoffrey from \u003cem>The Fresh Prince of Bel Air\u003c/em>) and actress and comedian Llewella Gideon steal every scene they’re in. Pivotally, BAFTA-nominated actor Samuel Adewunmi, so powerful in the crime drama \u003cem>You Don’t Know Me\u003c/em>, radiates charisma and kindness as Kyazike’s cousin Frank.\u003c/p>\n\u003ch3>The format allows the audience to go deep\u003c/h3>\n\u003cp>The eight-episode series format allows viewers to go deep into Queenie’s world, getting to know friends and family and helping us understand how love surrounds Queenie without her really feeling it. Where the novel can seem a bit bleak in spite of the humor, episodic TV gives Carty-Williams more room to experiment with different moods and tones. A few days before the premiere, Carty-Williams told NPR that she knew “we would need a lot more light on the screen” in the TV adaptation.\u003c/p>\n\u003cfigure id=\"attachment_13959643\" class=\"wp-caption aligncenter\" style=\"max-width: 1898px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png\" alt=\"Three Black women stand side by side wearing cool clothes.\" width=\"1898\" height=\"1070\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM.png 1898w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-800x451.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1020x575.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-768x433.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.02.19-PM-1536x866.png 1536w\" sizes=\"(max-width: 1898px) 100vw, 1898px\">\u003cfigcaption class=\"wp-caption-text\">Candice Carty-Williams’ ‘Queenie’ stars Dionne Brown and Bellah. \u003ccite>(Ramona Rosales/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Carty-Williams also said she felt fiercely protective bringing her first published novel to the screen. Basing Queenie’s story on her own experience coupled with second hand-horror stories from friends, “I had all those feelings and I didn’t want them to be stripped away, or watered down. The politics were important to me, the characters are important to me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Queenie\u003c/em> is a young woman’s story, but it’s also the manifestation of the adage that the personal is political. Queenie’s experiences lay bare the contours and consequences of England’s casual racism in every dimension of daily life. That includes, “the ways that [Queenie] was treated by people. This is at work, this is in relationships, this is in her relationship with Tom.” Carty-Williams said she was “willing to fight” to ensure that Queenie’s mental and emotional journey of finding herself in this world she saw as unfair made it to the screen intact.\u003c/p>\n\u003cp>Despite the production’s extensive management structure (Lions Gate, Disney’s Onyx Collective, and British Channel 4 were involved and over a dozen executives), it’s clear she succeeded. The show teems with the sometimes-painful, subtly-political observational humor and confessional motif that made the book stand out — and all the elements work well together.\u003c/p>\n\u003ch3>Some important changes from novel to screen\u003c/h3>\n\u003cp>Still, though faithful to the novel’s quarter-life crisis story, with the book’s most memorable thoughts and lines of dialogue making the leap almost verbatim from page to screen, the script bears some important changes. For one, Queenie’s circle includes a romantic addition — best friend Kiyazike’s cousin Frank, a friend and new love interest who appeared once briefly in the novel. Frank’s addition improves the series by addressing one of the biggest issues dogging the novel’s more ambivalent readers: Queenie’s fear and avoidance of Black men in favor of often painful encounters with white and brown men.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Queenie’s\u003c/em> original release reflected both the pervasiveness and abuse of “rom-com” and “chick-lit” as book industry terms of art, and the delicate tightrope that Black writers walk telling stories about love, sex and race.\u003c/p>\n\u003cp>When \u003cem>Queenie\u003c/em> debuted it appeared on best seller lists in multiple countries. \u003cem>Queenie\u003c/em> won both Best Debut and Book of the Year at the British Book Awards. Carty-Williams was the first Black woman author to win the latter award.\u003c/p>\n\u003cp>In Britain, where Carty-Williams grew up, \u003cem>Queenie\u003c/em> quickly found a fiercely loyal following — a largely female audience that loved its voice and perspective. Many of those readers were women of color, Black British women who identified fiercely with the young woman struggling to claim love, career, self worth and mental health.\u003c/p>\n\u003cblockquote class=\"npr-pull-quote\">\n\u003ch2>While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes.\u003c/h2>\n\u003c/blockquote>\n\u003cp>But the book’s popular and critical reception was somewhat mixed in the U.S., where the author was an unknown quantity. At minimum, some audiences were discomfited by Queenie’s emotional scarring and trauma around race when they believed they were promised something lighter — the heft and trauma of the book billed as a Black \u003cem>Bridget Jones Diary \u003c/em>\u003ca href=\"https://www.npr.org/2019/05/30/728278275/queenie-author-candice-carty-williams\">seemed to betray its framing\u003c/a>. While Bridget Jones’ deepest insecurities stemmed from 10 extra pounds, granny panties and two very different suitors, Queenie grapples with racism, a miscarriage and sexual trauma. And some vocal African American readers were unhappy with its handling of these heavier themes. At worst, some storylines were seen as painfully self-hating or even the product of internalized anti-Black racism.\u003c/p>\n\u003cp>Falling into ever more painful situations, Queenie has sex with men who talk about and treat her in demeaning, if not downright racist ways — the men she meets in apps and in the neighborhood reference her race, color, and the contours of her body as though she is a sex toy. They don’t see or aren’t that interested in her intelligence and her pain.\u003c/p>\n\u003cfigure id=\"attachment_13959644\" class=\"wp-caption aligncenter\" style=\"max-width: 708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959644\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png\" alt=\"A book cover depicting a Black woman's ear and braids piles high on her head. Her face is not visible.\" width=\"708\" height=\"1104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM.png 708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.09.18-PM-160x249.png 160w\" sizes=\"(max-width: 708px) 100vw, 708px\">\u003cfigcaption class=\"wp-caption-text\">‘Queenie’ by Candice Carty-Williams. \u003ccite>(Gallery/Scout Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>Carty-William’s unflinching portrayal of Queenie’s situation is one of the novel’s most challenging aspects. Though Queenie notices and complains about the degrading approaches, she dates a series of these men and continues to long for the return of a boyfriend who seems to treat her with little regard. She seems to internalize racism and brush off the disrespect, taking it in stride as long as the men dishing it out are not Black. Even for a literary novel (which despite the comedic tone, \u003cem>Queenie\u003c/em> really is) that would be hard to take in (\u003cem>Luster\u003c/em> comes to mind). But that’s not how the book was positioned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Though Carty-Williams used the “Black Bridget Jones” marketing pitch to broaden the readership, she’s also said of Queenie: “She’s not Bridget Jones. She could never be.” As a result of the label, though, and the gorgeous, brightly-colored cover drawing of a Black woman with braids and hoop earrings, Black women were primed to see themselves at the center of romance-infused comedy. That’s not what they got.\u003c/p>\n\u003cp>Instead, the novel \u003cem>Queenie\u003c/em> offers a sometimes harrowing multidimensional portrait of the dynamics of love, work and identity, mental health, and the Black immigrant experience. The love and acceptance Queenie eventually finds is hard won, and it lies not in a romantic relationship but within herself and her community. That’s a healthy choice. But every genre makes a promise, and a bait and switch in terms of reader expectations can feel like erasure.\u003c/p>\n\u003ch3>Exploring critically important topics in the book and on screen\u003c/h3>\n\u003cp>That said, as Carty-Williams emphasizes, discomfiting or not, Queenie’s experience is worth delving into. If it’s hard to reconcile Queenie’s sharp insight and her self-destructive actions, it’s also true that Queenie navigates a world that routinely doesn’t see, or fetishizes and even villainizes, her. Exploding the stereotype of a “strong Black woman,” with intense vulnerability, parts are hard to watch, but through her experimentation and misadventures, both the novel and the series explore essential topics: the racial and gender dynamics and politics of consent and desirability, and the rippling effects of domestic partner abuse. It is hard to watch her covet white attention and approval even when it hurts her, but it’s something that many Black women have been through.\u003c/p>\n\u003cfigure id=\"attachment_13959645\" class=\"wp-caption aligncenter\" style=\"max-width: 1752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959645\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png\" alt=\"Two Black women stand outside at dusk, next to two white women.\" width=\"1752\" height=\"1022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM.png 1752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-800x467.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1020x595.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-160x93.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-768x448.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-5.13.29-PM-1536x896.png 1536w\" sizes=\"(max-width: 1752px) 100vw, 1752px\">\u003cfigcaption class=\"wp-caption-text\">Dionne Brown as Queenie in a scene with her best friend Kyazike, played by Bellah. \u003ccite>(Latoya Okuneye/Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A big challenge for the screen adaptation is that despite therapy, Queenie’s deeply rooted fear of Black men doesn’t have a resolution, or much deeper exploration in the original text. In a novel about self reflection, self-acceptance and growth, this is hard to reconcile. The series does better. The racial dimensions of Queenie’s pain and fears were at the center of some online discourse in 2019 and, in the leadup to the premiere, some with knowledge of the story raised similar questions on social media in reaction to the \u003cem>Queenie\u003c/em> trailer.\u003c/p>\n\u003cp>When talking with NPR for this piece, Carty-Williams pointed out that when readers have been in conversation about her debut, they tend to ask how Queenie did what she did. She pushes back wondering why the onus is on the woman rather than asking why men behave how they do toward Queenie. She also disclosed that the series allowed her to better resolve Queenie’s difficulties with men in her community partly, but not exclusively, through her relationship with her best friend’s cousin Frank. Carty-Williams said that this exploration was inspired both by conversations with readers and by her own maturation. Now in her 30s, she says she better understands attachment disorder, and how fears and triggers manifest, than when she started writing the novel at 26. In this way, the story of the making of \u003cem>Queenie\u003c/em>-the-series has a happier ending — giving Queenie more room to grow.\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>‘Queenie’ is streaming now on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>He’s 61 now, well-off and trim. He has many accomplishments as an actor but there’s this one thing he finds hard to shake: Back in 1985, he got called something.\u003c/p>\n\u003cp>During the Reagan administration, rising star Andrew McCarthy was lumped into an amorphous group of young actors who were changing Hollywood. They were called the “Brat Pack.”\u003c/p>\n\u003cp>[aside postid='arts_13959577']Now, it’s never nice to be called a “brat” or to lose your individuality to a pack, but McCarthy and the members of this collective — Emilio Estevez, Molly Ringwald, Demi Moore, Ally Sheedy, Judd Nelson, Rob Lowe and maybe Anthony Michael Hall — seemed to implode.\u003c/p>\n\u003cp>“That changed my life,” says McCarthy, who starred in \u003cem>Pretty in Pink\u003c/em> and \u003cem>St. Elmo’s Fire\u003c/em>. After being branded, the so-called bratty actors scattered, not wanting to work together again. The stigma, McCarthy says, was “defining.” He has PTSD, he suggests.\u003c/p>\n\u003cp>Now almost 40 years later, McCarthy hit the road to star in and direct his new Hulu documentary \u003cem>Brats\u003c/em>, trying to get a handle on the label and how some of the pack handled it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>First stop is a wary Estevez, who acknowledges that the Brat Pack term had some early benefits but was ultimately “more damage than good.”\u003c/p>\n\u003cp>“It created the perception that we were lightweights,” he adds.\u003c/p>\n\u003cfigure id=\"attachment_13959605\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png\" alt=\"A handsome middle-aged man sits at a kitchen counter, laughing warmly.\" width=\"1620\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1536x975.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Rob Lowe in a scene from new documentary, ‘Brats.’ \u003ccite>(Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are visits to Sheedy, Moore, Lowe, Jon Cryer, Tim Hutton and Lea Thompson — all who commiserate with McCarthy. (Ringwald and Nelson are notable absences, perhaps still nursing wounds.) These visits have the feeling of therapy sessions.\u003c/p>\n\u003cp>“Marty Scorsese, Steven Spielberg is not going to call up somebody who’s in the Brat Pack,” McCarthy tells Estevez, who admits to pulling out of a movie at the prospect of teaming up with McCarthy.\u003c/p>\n\u003cp>[aside postid='arts_13958881'](Not to be rude, but the Brat Pack-adjacent Tom Cruise did a movie with Scorsese, \u003cem>The Color of Money\u003c/em>, Moore became the hottest thing in Hollywood in the ’90s and Robert Downey Jr., also Pack-adjacent, just took home an Oscar.)\u003c/p>\n\u003cp>As he pays one former colleague after another a visit at their well-appointed homes, the heat of injustice has dissipated. Moore’s estate with its tasteful wood panels, shaded pool, massive glass walls and Japanese-inspired minimalism doesn’t exactly scream, “That label from 1985 really destroyed my life.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AUjGATC7tWs\u003c/p>\n\u003cp>The doc is scored well, with songs by The Cure, Lou Reed and Steve Winwood, “Forever Young” by Alphaville and a haunting “Don’t You (Forget About Me)” cover by Zoe Fox and the Rocket Clocks.\u003c/p>\n\u003cp>But McCarthy’s visual style is too fragmented, happy to capture his scrambling camera and sound operators in the frame and changing up his shots from guerilla-style jerky iPhone images to tasteful, polished portraits. His use of old clips is excellent, incorporating not just scenes from movies but TV interview outtakes, too.\u003c/p>\n\u003cp>[aside postid='arts_13958762']A more interesting thing happens in McCarthy’s road movie by the halfway mark — it becomes a sort of celebration of Brat Pack movies. Cultural observer Malcolm Gladwell talks about the generational transition in Hollywood, while Susannah Gora, who wrote \u003cem>You Couldn’t Ignore Me if You Tried\u003c/em> about the Brat Pack’s impact, notes that teens in the Midwest were singing British New Wave synth-pop tunes thanks to McCarthy.\u003c/p>\n\u003cp>Pop culture critic Ira Madison III zeroes in on the lack of diversity in Brat Pack movies, \u003cem>Less Than Zero\u003c/em> writer Bret Easton Ellis notes the influence the movies had on his work, and screenwriter Michael Oates Palmer comments that Brat Pack movies were the first to take “young people’s lives seriously.”\u003c/p>\n\u003cp>These are the building blocks of a better movie — Gladwell cutely mentions that he used parts of Cryer’s character Duckie from \u003cem>Pretty in Pink\u003c/em> as his identity in high school — but McCarthy isn’t willing to stray.\u003c/p>\n\u003cp>He comes across as a very thoughtful guy, able to quote Tennessee Williams and Eugene O’Neill, reserved, shy and wry, so often deep in his feelings. But this bratty label he cannot shake. He also wrote about it in \u003cem>Brat: An ’80s Story\u003c/em>. It is his \u003cem>Moby Dick\u003c/em>.\u003c/p>\n\u003cp>That analogy works when he finally harpoons his white whale — David Blum, who at 29 in 1985, hoping to snag some attention in the journalism world, coined the phrase “Brat Pack” — a flip play on the Rat Pack — for \u003cem>New York\u003c/em> magazine.\u003c/p>\n\u003cp>[aside postid='arts_13958101']McCarthy sits down with Blum at the conclusion of the film — the aggrieved actor and the journalist meeting for the first time four decades after being dragged into the ’80s cultural lexicon. This is the “You can’t handle the truth” moment.\u003c/p>\n\u003cp>And yet McCarthy is so nice that while he makes his case well, he sort of also understands Blum’s position and kind of likes him, too. Will Blum finally admit that the label is scathing? “I mean, I guess in retrospect, yes. At the time, no. I was proud of the creation of the phrase,” says the writer. They end their meeting with a hug.\u003c/p>\n\u003cp>Like a Brat Pack movie.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Brats’ begins streaming on Hulu on June 13, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>First stop is a wary Estevez, who acknowledges that the Brat Pack term had some early benefits but was ultimately “more damage than good.”\u003c/p>\n\u003cp>“It created the perception that we were lightweights,” he adds.\u003c/p>\n\u003cfigure id=\"attachment_13959605\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959605\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png\" alt=\"A handsome middle-aged man sits at a kitchen counter, laughing warmly.\" width=\"1620\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-11.21.09-AM-1536x975.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Rob Lowe in a scene from new documentary, ‘Brats.’ \u003ccite>(Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there are visits to Sheedy, Moore, Lowe, Jon Cryer, Tim Hutton and Lea Thompson — all who commiserate with McCarthy. (Ringwald and Nelson are notable absences, perhaps still nursing wounds.) These visits have the feeling of therapy sessions.\u003c/p>\n\u003cp>“Marty Scorsese, Steven Spielberg is not going to call up somebody who’s in the Brat Pack,” McCarthy tells Estevez, who admits to pulling out of a movie at the prospect of teaming up with McCarthy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>(Not to be rude, but the Brat Pack-adjacent Tom Cruise did a movie with Scorsese, \u003cem>The Color of Money\u003c/em>, Moore became the hottest thing in Hollywood in the ’90s and Robert Downey Jr., also Pack-adjacent, just took home an Oscar.)\u003c/p>\n\u003cp>As he pays one former colleague after another a visit at their well-appointed homes, the heat of injustice has dissipated. Moore’s estate with its tasteful wood panels, shaded pool, massive glass walls and Japanese-inspired minimalism doesn’t exactly scream, “That label from 1985 really destroyed my life.”\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/AUjGATC7tWs'\n title='//www.youtube.com/embed/AUjGATC7tWs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The doc is scored well, with songs by The Cure, Lou Reed and Steve Winwood, “Forever Young” by Alphaville and a haunting “Don’t You (Forget About Me)” cover by Zoe Fox and the Rocket Clocks.\u003c/p>\n\u003cp>But McCarthy’s visual style is too fragmented, happy to capture his scrambling camera and sound operators in the frame and changing up his shots from guerilla-style jerky iPhone images to tasteful, polished portraits. His use of old clips is excellent, incorporating not just scenes from movies but TV interview outtakes, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A more interesting thing happens in McCarthy’s road movie by the halfway mark — it becomes a sort of celebration of Brat Pack movies. Cultural observer Malcolm Gladwell talks about the generational transition in Hollywood, while Susannah Gora, who wrote \u003cem>You Couldn’t Ignore Me if You Tried\u003c/em> about the Brat Pack’s impact, notes that teens in the Midwest were singing British New Wave synth-pop tunes thanks to McCarthy.\u003c/p>\n\u003cp>Pop culture critic Ira Madison III zeroes in on the lack of diversity in Brat Pack movies, \u003cem>Less Than Zero\u003c/em> writer Bret Easton Ellis notes the influence the movies had on his work, and screenwriter Michael Oates Palmer comments that Brat Pack movies were the first to take “young people’s lives seriously.”\u003c/p>\n\u003cp>These are the building blocks of a better movie — Gladwell cutely mentions that he used parts of Cryer’s character Duckie from \u003cem>Pretty in Pink\u003c/em> as his identity in high school — but McCarthy isn’t willing to stray.\u003c/p>\n\u003cp>He comes across as a very thoughtful guy, able to quote Tennessee Williams and Eugene O’Neill, reserved, shy and wry, so often deep in his feelings. But this bratty label he cannot shake. He also wrote about it in \u003cem>Brat: An ’80s Story\u003c/em>. It is his \u003cem>Moby Dick\u003c/em>.\u003c/p>\n\u003cp>That analogy works when he finally harpoons his white whale — David Blum, who at 29 in 1985, hoping to snag some attention in the journalism world, coined the phrase “Brat Pack” — a flip play on the Rat Pack — for \u003cem>New York\u003c/em> magazine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>McCarthy sits down with Blum at the conclusion of the film — the aggrieved actor and the journalist meeting for the first time four decades after being dragged into the ’80s cultural lexicon. This is the “You can’t handle the truth” moment.\u003c/p>\n\u003cp>And yet McCarthy is so nice that while he makes his case well, he sort of also understands Blum’s position and kind of likes him, too. Will Blum finally admit that the label is scathing? “I mean, I guess in retrospect, yes. At the time, no. I was proud of the creation of the phrase,” says the writer. They end their meeting with a hug.\u003c/p>\n\u003cp>Like a Brat Pack movie.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Brats’ begins streaming on Hulu on June 13, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At this time of year, there’s air conditioning, and then there’s movie theater air conditioning — a frigid blast forceful enough to cool down the biggest crowd on a hot summer’s day. And if that’s not enough, your neighborhood multiplex also boasts enormous ice-cold drinks to go with popcorn and candy and … oh, right … it also has movies! Comedies, action-adventures, coming-of-age tales, animation.\u003c/p>\n\u003cp>If you’re wondering which to catch, NPR critics have you covered. Here’s our take on the cream of the cinematic crop — Marvel to just plain marvelous — from now through Labor Day.\u003c/p>\n\u003cp>\u003cstrong>‘Hit Man,’ in theaters May 24, on Netflix June 7\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DXwa8DKIK7g&t=10s\u003c/p>\n\u003cp>Red-hot star Glen Powell plays the titular hit man — well, a cop pretending to be a hit man — in this action rom-com. Romantic comedies are much rarer than they used to be, and the ones that do show up are often disappointing. But! Powell co-wrote the screenplay with director Richard Linklater, whose skill with love stories is well established (the Before trilogy is all the love-story credibility anybody needs, forever). A lot of Netflix movies have fizzled. Hopefully this one will not. — Linda Holmes\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Ghostlight,’ in theaters June 14\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R1TycuGX4Mw\u003c/p>\n\u003cp>The title of this warmly engaging drama refers to theatrical superstition: a light left onstage to keep the theater ghost at bay — or at least to keep it happy — when actors aren’t present. Actors are everywhere here, as family tragedy blends into Shakespearean tragedy (a grieving construction worker getting roped into a community theater \u003cem>Romeo and Juliet\u003c/em>), and the film doubles down on connections by casting a real-life father, wife and daughter as the construction worker, his wife and their daughter. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Inside Out 2,’ in theaters June 14\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LEjhY15eCx0\u003c/p>\n\u003cp>\u003cem>Inside Out\u003c/em> was one of Pixar’s best films, but sequels haven’t always been the studio’s strength. Still, it’s exciting to know that Joy (Amy Poehler) is back, as are Phyllis Smith’s Sadness and Lewis Black’s Anger. New voices and new emotions arrive as Riley enters her teenage years, and the world may not be ready for Maya Hawke as Anxiety or Ayo Edebiri as Envy (OK, I may not). But get out the tissues or whatever else you need to cope with an onslaught of feelings, because it’s coming. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘The Bikeriders,’ in theaters June 21\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PYioWaFdp70\u003c/p>\n\u003cp>A melodrama about a fictional 1960s motorcycle gang starring Austin Butler, Jodie Comer and Tom Hardy? Sure, why not! This is Jeff Nichols’ first feature in almost a decade (following 2016’s \u003cem>Loving\u003c/em> and \u003cem>Midnight Special\u003c/em>), and he has proved himself again and again as a filmmaker who excels at capturing mood and ambience, through setting as well as a great Michael Shannon performance. At the very least, this could be a thrill ride. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Fancy Dance,’ in theaters June 21, on Apple TV+ June 28\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AmPPiLaiN8g\u003c/p>\n\u003cp>It has taken far too long for Erica Tremblay’s profound feature debut to get a proper release — it premiered at Sundance back in January 2023 — but the wait is worth it. Lily Gladstone plays Jax, a woman caring for her young niece on a Native American reservation after her sister goes missing. Part crime drama and part road trip movie, it avoids emotional clichés while offering an underseen perspective and a dynamic performance from Gladstone. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Kinds of Kindness,’ in theaters June 21\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=inAuktwXbew\u003c/p>\n\u003cp>Viewers who know Yorgos Lanthimos’ recent work — \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13846027/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\">\u003cem>The Favourite\u003c/em>\u003c/a> — might find him whimsically absurd. Those of us who’ve been with him from his 2009 breakthrough, \u003cem>Dogtooth\u003c/em>, however, know him to be a deadpan satirist of the most scalding, remorseless variety. He has reteamed with \u003cem>Dogtooth\u003c/em> writer Efthimis Filippou for this anthology film featuring the same stable of actors playing different roles in three shorts. Can’t wait to see him getting back to his roots; bring on the bleak. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Thelma,’ in theaters June 21\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lyE_hYkZPPE\u003c/p>\n\u003cp>Ninety-three-year-old Thelma (June Squibb) is duped by a phone scammer in the opening reel and then sets off on a geriatric \u003cem>Mission: Impossible\u003c/em> across Los Angeles to get her money back. Along the way, she enlists the aid (and electric scooter) of an old pal (the late Richard Roundtree), runs rings around her frantic daughter (Parker Posey) and matches wits with scammer Malcolm McDowell. An understated riot that’s arguably the most Sundance-ean comedy since \u003cem>Little Miss Sunshine\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Horizon: An American Saga, Chapter 1\u003c/em> and \u003cem>Chapter 2\u003c/em>, in theaters June 28 and Aug. 16\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YYsReoZMj1k\u003c/p>\n\u003cp>Kevin Costner’s passion project (he has said he mortgaged his 10-acre oceanfront property in Santa Barbara to finance it) returns him to \u003cem>Dances With Wolves\u003c/em> territory — settlers arriving in covered wagons, expecting Indigenous communities to disappear. \u003cem>Chapter 1\u003c/em> is reportedly roughly three hours long. \u003cem>Chapter 2\u003c/em> will hit theaters seven weeks later. And depending on whether audiences show up, Costner will spend his summer either shooting the next chapter or, I guess, nursing his wounds. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘A Quiet Place: Day One,’ in theaters June 28\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gjx-iHGXk9Q\u003c/p>\n\u003cp>It’s not a spoiler anymore that \u003cem>A Quiet Place\u003c/em>‘s story made sequels complicated — but there are always prequels. This one, starring Lupita Nyong’o, rewinds all the way back to the alien invasion that got everybody to shut up in the first place. And unlike the other two films, it takes place smack in the middle of New York City, not the most natural place to attempt total silence. John Krasinski stepped back from both directing and writing the screenplay, which could be a problem — or a fresh start. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Beverly Hills Cop: Axel F,’ on Netflix July 3\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KoxhkE_U3Ww\u003c/p>\n\u003cp>Street-smart Detroit detective Axel Foley is the role that made Eddie Murphy a movie star in 1984. This Part 4 has been in development since the mid-1990s, after morphing briefly into a TV pilot that never got picked up. Joining Murphy from the earlier films will be fellow cops Judge Reinhold, John Ashton and Paul Reiser, as well as Bronson Pinchot’s star-making art gallerist, Serge. Franchise newbies include Joseph Gordon-Levitt and Kevin Bacon. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Fly Me to the Moon,’ in theaters July 12\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lW7enw6mFxs\u003c/p>\n\u003cp>“Space race rom-com” isn’t exactly well-trod territory, so this project from Greg Berlanti (\u003cem>Love, Simon\u003c/em>) could be a light, refreshing summer diversion starring a pair of ridiculously good-looking actors. Scarlett Johansson and Channing Tatum play a marketing consultant and NASA launch director who team up to stage a “backup” recording of the moon landing in case the actual moon-landing attempt fails. Presumably they fall in love, with at least one Sinatra song crooning in the background. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘National Anthem,’ in theaters July 12\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oeGCjSOHfZ8\u003c/p>\n\u003cp>This is the first feature by photographer Luke Gilford. Charlie Plummer stars as a young man in New Mexico who takes a job at a homestead of queer rodeo performers where, as often happens in films like this, he comes to learn things about himself. I haven’t yet seen it, but by all accounts it’s a quiet and lyrical movie that tells a queer story that isn’t rooted in trauma and tragedy, but in self-discovery and finding your people. It arrives at a time when those stories are much needed. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Sing Sing,’ in theaters July 12 (limited), Aug. 2 (wide)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j3dXc6P3zH8\u003c/p>\n\u003cp>One current rule: If it has \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> in it, it will be worth watching. \u003cem>Sing Sing\u003c/em> is about a man played by Domingo who is incarcerated for a crime he didn’t commit and who joins the New York prison’s theater program to produce a comedy with his fellow inmates. The movie’s publicity campaign makes some broad claims (including that it’s a “true story of resilience, humanity, and the transformative power of art”), but if it lives up to them the way its early reviews suggest, it will be special. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Twisters,’ in theaters July 19\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wdok0rZdmx4\u003c/p>\n\u003cp>The most intriguing thing about this sequel to the classic, bombastic disaster movie \u003cem>Twister\u003c/em> is that it’s directed by Lee Isaac Chung, who directed \u003cem>Minari\u003c/em> — one of the least bombastic films in recent memory. Glen Powell and Daisy Edgar-Jones star in this sequel, which certainly tries in its trailer to call to mind the goofy, special-effects-heavy, not-actually-advisable-in-a-storm feeling of the original. Will it have a plot? Who knows? Does it need a plot? Probably not! — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Deadpool & Wolverine,’ in theaters July 26\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pn5fdK61o9c\u003c/p>\n\u003cp>Marvel may be releasing only one superhero movie this year, but it’s a double-header, with two regenerative dudes in spandex — one joke-spewing and disfigured, the other snarling and adamantium-clawed — teaming up to save something or other. Technically, it’s Ryan Reynolds’ movie, so he’ll be setting the tone, meaning lotsa laughs. What? — you say — Wolverine died in his last movie? Well, to that I say … multiverse … or time-shift … or who cares, if Hugh Jackman’s willing to come back. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Dìdi,’ in theaters July 26\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e6gve8GtSuU\u003c/p>\n\u003cp>Thirteen-year-old Chris begins Sean Wang’s semi-autobiographical, coming-of-age dramedy trading insults with his older sister, and he ends it choked up as she leaves home (and him) for college. In between, there are pranks, misadventures, a clumsy first romance and an ill-advised attempt to ingratiate himself with some cool high school skateboarders by claiming to be an expert filmmaker. The film, which charmed at Sundance, is a lot like its pint-size hero — cute, exasperating, promising. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Kneecap,’ in theaters Aug. 2\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QB2LsoZOQpU\u003c/p>\n\u003cp>Raw, raunchy, violent and uproarious, this origin story of the titular Irish-language hip-hop group is both a riot and a call to arms. Filled with the fury of a populace that had to fight for the right to keep its own language, the film features rappers Naoise Ó Cairealláin and Liam Óg Ó Hannaidh, as well as the mild-mannered substitute music teacher who became their DJ, JJ Ó Dochartaigh, playing themselves — entirely professionally — through sex scenes, police beatings and drug-fueled jam sessions. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Close to You,’ in theaters Aug. 16\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959596\" class=\"wp-caption aligncenter\" style=\"max-width: 966px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png\" alt=\"A shirtless young trans man leans up against a window frame and gazes outside.\" width=\"966\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png 966w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-800x444.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-768x426.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-672x372.png 672w\" sizes=\"(max-width: 966px) 100vw, 966px\">\u003cfigcaption class=\"wp-caption-text\">Elliot Page in ‘Close to You.’ \u003ccite>(Me+You Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Elliot Page, in his first movie role in six years, playing a trans man who’s wary about attending his first family reunion since his transition, this story already had hooks for audiences. Throw in reports that the film’s scenes were mostly improvised on the day of shooting, and it sounds like an emotional high-wire act. Page, who came out as trans in 2020, is also involved with another queer coming-of-age story this summer, as executive producer for the cheerleading tale \u003cem>Backspot\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Between the Temples,’ in theaters Aug. 23\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959595\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png\" alt=\"An older woman leans her head onto the shoulder of a younger man. \" width=\"1292\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-768x429.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Jason Schwartzman and Carol Kane in ‘Between the Temples.’ \u003ccite>(Sean Price Williams/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A depressed cantor (Jason Schwartzman) who can’t sing since his wife’s death gets an odd request while teaching bar/bat mitzvah classes at his synagogue. His septuagenarian grade-school music teacher (Carol Kane) recognizes he’s foundering and wants to help, so she asks him to tutor her for a late-in-life bat mitzvah. He resists, she insists, and things go predictably \u003cem>Harold and Maude\u003c/em> from there in plot terms, though Schwartzman and Kane bring their own quirks. — Bob Mondello\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At this time of year, there’s air conditioning, and then there’s movie theater air conditioning — a frigid blast forceful enough to cool down the biggest crowd on a hot summer’s day. And if that’s not enough, your neighborhood multiplex also boasts enormous ice-cold drinks to go with popcorn and candy and … oh, right … it also has movies! Comedies, action-adventures, coming-of-age tales, animation.\u003c/p>\n\u003cp>If you’re wondering which to catch, NPR critics have you covered. Here’s our take on the cream of the cinematic crop — Marvel to just plain marvelous — from now through Labor Day.\u003c/p>\n\u003cp>\u003cstrong>‘Hit Man,’ in theaters May 24, on Netflix June 7\u003c/strong>\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/DXwa8DKIK7g'\n title='//www.youtube.com/embed/DXwa8DKIK7g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Red-hot star Glen Powell plays the titular hit man — well, a cop pretending to be a hit man — in this action rom-com. Romantic comedies are much rarer than they used to be, and the ones that do show up are often disappointing. But! Powell co-wrote the screenplay with director Richard Linklater, whose skill with love stories is well established (the Before trilogy is all the love-story credibility anybody needs, forever). A lot of Netflix movies have fizzled. Hopefully this one will not. — Linda Holmes\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Ghostlight,’ in theaters June 14\u003c/strong>\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/R1TycuGX4Mw'\n title='//www.youtube.com/embed/R1TycuGX4Mw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The title of this warmly engaging drama refers to theatrical superstition: a light left onstage to keep the theater ghost at bay — or at least to keep it happy — when actors aren’t present. Actors are everywhere here, as family tragedy blends into Shakespearean tragedy (a grieving construction worker getting roped into a community theater \u003cem>Romeo and Juliet\u003c/em>), and the film doubles down on connections by casting a real-life father, wife and daughter as the construction worker, his wife and their daughter. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Inside Out 2,’ in theaters June 14\u003c/strong>\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/LEjhY15eCx0'\n title='//www.youtube.com/embed/LEjhY15eCx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Inside Out\u003c/em> was one of Pixar’s best films, but sequels haven’t always been the studio’s strength. Still, it’s exciting to know that Joy (Amy Poehler) is back, as are Phyllis Smith’s Sadness and Lewis Black’s Anger. New voices and new emotions arrive as Riley enters her teenage years, and the world may not be ready for Maya Hawke as Anxiety or Ayo Edebiri as Envy (OK, I may not). But get out the tissues or whatever else you need to cope with an onslaught of feelings, because it’s coming. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘The Bikeriders,’ in theaters June 21\u003c/strong>\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/PYioWaFdp70'\n title='//www.youtube.com/embed/PYioWaFdp70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A melodrama about a fictional 1960s motorcycle gang starring Austin Butler, Jodie Comer and Tom Hardy? Sure, why not! This is Jeff Nichols’ first feature in almost a decade (following 2016’s \u003cem>Loving\u003c/em> and \u003cem>Midnight Special\u003c/em>), and he has proved himself again and again as a filmmaker who excels at capturing mood and ambience, through setting as well as a great Michael Shannon performance. At the very least, this could be a thrill ride. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Fancy Dance,’ in theaters June 21, on Apple TV+ June 28\u003c/strong>\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/AmPPiLaiN8g'\n title='//www.youtube.com/embed/AmPPiLaiN8g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It has taken far too long for Erica Tremblay’s profound feature debut to get a proper release — it premiered at Sundance back in January 2023 — but the wait is worth it. Lily Gladstone plays Jax, a woman caring for her young niece on a Native American reservation after her sister goes missing. Part crime drama and part road trip movie, it avoids emotional clichés while offering an underseen perspective and a dynamic performance from Gladstone. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘Kinds of Kindness,’ in theaters June 21\u003c/strong>\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/inAuktwXbew'\n title='//www.youtube.com/embed/inAuktwXbew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Viewers who know Yorgos Lanthimos’ recent work — \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13846027/the-favourite-sou-smart-sou-wicked-sou-witty-sou-gououd\">\u003cem>The Favourite\u003c/em>\u003c/a> — might find him whimsically absurd. Those of us who’ve been with him from his 2009 breakthrough, \u003cem>Dogtooth\u003c/em>, however, know him to be a deadpan satirist of the most scalding, remorseless variety. He has reteamed with \u003cem>Dogtooth\u003c/em> writer Efthimis Filippou for this anthology film featuring the same stable of actors playing different roles in three shorts. Can’t wait to see him getting back to his roots; bring on the bleak. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Thelma,’ in theaters June 21\u003c/strong>\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/lyE_hYkZPPE'\n title='//www.youtube.com/embed/lyE_hYkZPPE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ninety-three-year-old Thelma (June Squibb) is duped by a phone scammer in the opening reel and then sets off on a geriatric \u003cem>Mission: Impossible\u003c/em> across Los Angeles to get her money back. Along the way, she enlists the aid (and electric scooter) of an old pal (the late Richard Roundtree), runs rings around her frantic daughter (Parker Posey) and matches wits with scammer Malcolm McDowell. An understated riot that’s arguably the most Sundance-ean comedy since \u003cem>Little Miss Sunshine\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Horizon: An American Saga, Chapter 1\u003c/em> and \u003cem>Chapter 2\u003c/em>, in theaters June 28 and Aug. 16\u003c/strong>\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/YYsReoZMj1k'\n title='//www.youtube.com/embed/YYsReoZMj1k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kevin Costner’s passion project (he has said he mortgaged his 10-acre oceanfront property in Santa Barbara to finance it) returns him to \u003cem>Dances With Wolves\u003c/em> territory — settlers arriving in covered wagons, expecting Indigenous communities to disappear. \u003cem>Chapter 1\u003c/em> is reportedly roughly three hours long. \u003cem>Chapter 2\u003c/em> will hit theaters seven weeks later. And depending on whether audiences show up, Costner will spend his summer either shooting the next chapter or, I guess, nursing his wounds. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘A Quiet Place: Day One,’ in theaters June 28\u003c/strong>\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/gjx-iHGXk9Q'\n title='//www.youtube.com/embed/gjx-iHGXk9Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s not a spoiler anymore that \u003cem>A Quiet Place\u003c/em>‘s story made sequels complicated — but there are always prequels. This one, starring Lupita Nyong’o, rewinds all the way back to the alien invasion that got everybody to shut up in the first place. And unlike the other two films, it takes place smack in the middle of New York City, not the most natural place to attempt total silence. John Krasinski stepped back from both directing and writing the screenplay, which could be a problem — or a fresh start. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Beverly Hills Cop: Axel F,’ on Netflix July 3\u003c/strong>\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/KoxhkE_U3Ww'\n title='//www.youtube.com/embed/KoxhkE_U3Ww'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Street-smart Detroit detective Axel Foley is the role that made Eddie Murphy a movie star in 1984. This Part 4 has been in development since the mid-1990s, after morphing briefly into a TV pilot that never got picked up. Joining Murphy from the earlier films will be fellow cops Judge Reinhold, John Ashton and Paul Reiser, as well as Bronson Pinchot’s star-making art gallerist, Serge. Franchise newbies include Joseph Gordon-Levitt and Kevin Bacon. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Fly Me to the Moon,’ in theaters July 12\u003c/strong>\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/lW7enw6mFxs'\n title='//www.youtube.com/embed/lW7enw6mFxs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Space race rom-com” isn’t exactly well-trod territory, so this project from Greg Berlanti (\u003cem>Love, Simon\u003c/em>) could be a light, refreshing summer diversion starring a pair of ridiculously good-looking actors. Scarlett Johansson and Channing Tatum play a marketing consultant and NASA launch director who team up to stage a “backup” recording of the moon landing in case the actual moon-landing attempt fails. Presumably they fall in love, with at least one Sinatra song crooning in the background. — Aisha Harris\u003c/p>\n\u003cp>\u003cstrong>‘National Anthem,’ in theaters July 12\u003c/strong>\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/oeGCjSOHfZ8'\n title='//www.youtube.com/embed/oeGCjSOHfZ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is the first feature by photographer Luke Gilford. Charlie Plummer stars as a young man in New Mexico who takes a job at a homestead of queer rodeo performers where, as often happens in films like this, he comes to learn things about himself. I haven’t yet seen it, but by all accounts it’s a quiet and lyrical movie that tells a queer story that isn’t rooted in trauma and tragedy, but in self-discovery and finding your people. It arrives at a time when those stories are much needed. — Glen Weldon\u003c/p>\n\u003cp>\u003cstrong>‘Sing Sing,’ in theaters July 12 (limited), Aug. 2 (wide)\u003c/strong>\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/j3dXc6P3zH8'\n title='//www.youtube.com/embed/j3dXc6P3zH8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One current rule: If it has \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> in it, it will be worth watching. \u003cem>Sing Sing\u003c/em> is about a man played by Domingo who is incarcerated for a crime he didn’t commit and who joins the New York prison’s theater program to produce a comedy with his fellow inmates. The movie’s publicity campaign makes some broad claims (including that it’s a “true story of resilience, humanity, and the transformative power of art”), but if it lives up to them the way its early reviews suggest, it will be special. — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Twisters,’ in theaters July 19\u003c/strong>\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/wdok0rZdmx4'\n title='//www.youtube.com/embed/wdok0rZdmx4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The most intriguing thing about this sequel to the classic, bombastic disaster movie \u003cem>Twister\u003c/em> is that it’s directed by Lee Isaac Chung, who directed \u003cem>Minari\u003c/em> — one of the least bombastic films in recent memory. Glen Powell and Daisy Edgar-Jones star in this sequel, which certainly tries in its trailer to call to mind the goofy, special-effects-heavy, not-actually-advisable-in-a-storm feeling of the original. Will it have a plot? Who knows? Does it need a plot? Probably not! — Linda Holmes\u003c/p>\n\u003cp>\u003cstrong>‘Deadpool & Wolverine,’ in theaters July 26\u003c/strong>\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/pn5fdK61o9c'\n title='//www.youtube.com/embed/pn5fdK61o9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Marvel may be releasing only one superhero movie this year, but it’s a double-header, with two regenerative dudes in spandex — one joke-spewing and disfigured, the other snarling and adamantium-clawed — teaming up to save something or other. Technically, it’s Ryan Reynolds’ movie, so he’ll be setting the tone, meaning lotsa laughs. What? — you say — Wolverine died in his last movie? Well, to that I say … multiverse … or time-shift … or who cares, if Hugh Jackman’s willing to come back. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Dìdi,’ in theaters July 26\u003c/strong>\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/e6gve8GtSuU'\n title='//www.youtube.com/embed/e6gve8GtSuU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Thirteen-year-old Chris begins Sean Wang’s semi-autobiographical, coming-of-age dramedy trading insults with his older sister, and he ends it choked up as she leaves home (and him) for college. In between, there are pranks, misadventures, a clumsy first romance and an ill-advised attempt to ingratiate himself with some cool high school skateboarders by claiming to be an expert filmmaker. The film, which charmed at Sundance, is a lot like its pint-size hero — cute, exasperating, promising. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Kneecap,’ in theaters Aug. 2\u003c/strong>\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/QB2LsoZOQpU'\n title='//www.youtube.com/embed/QB2LsoZOQpU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Raw, raunchy, violent and uproarious, this origin story of the titular Irish-language hip-hop group is both a riot and a call to arms. Filled with the fury of a populace that had to fight for the right to keep its own language, the film features rappers Naoise Ó Cairealláin and Liam Óg Ó Hannaidh, as well as the mild-mannered substitute music teacher who became their DJ, JJ Ó Dochartaigh, playing themselves — entirely professionally — through sex scenes, police beatings and drug-fueled jam sessions. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Close to You,’ in theaters Aug. 16\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959596\" class=\"wp-caption aligncenter\" style=\"max-width: 966px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959596\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png\" alt=\"A shirtless young trans man leans up against a window frame and gazes outside.\" width=\"966\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM.png 966w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-800x444.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-768x426.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.36.32-AM-672x372.png 672w\" sizes=\"(max-width: 966px) 100vw, 966px\">\u003cfigcaption class=\"wp-caption-text\">Elliot Page in ‘Close to You.’ \u003ccite>(Me+You Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Elliot Page, in his first movie role in six years, playing a trans man who’s wary about attending his first family reunion since his transition, this story already had hooks for audiences. Throw in reports that the film’s scenes were mostly improvised on the day of shooting, and it sounds like an emotional high-wire act. Page, who came out as trans in 2020, is also involved with another queer coming-of-age story this summer, as executive producer for the cheerleading tale \u003cem>Backspot\u003c/em>. — Bob Mondello\u003c/p>\n\u003cp>\u003cstrong>‘Between the Temples,’ in theaters Aug. 23\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13959595\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png\" alt=\"An older woman leans her head onto the shoulder of a younger man. \" width=\"1292\" height=\"722\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-11-at-10.34.45-AM-768x429.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Jason Schwartzman and Carol Kane in ‘Between the Temples.’ \u003ccite>(Sean Price Williams/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A depressed cantor (Jason Schwartzman) who can’t sing since his wife’s death gets an odd request while teaching bar/bat mitzvah classes at his synagogue. His septuagenarian grade-school music teacher (Carol Kane) recognizes he’s foundering and wants to help, so she asks him to tutor her for a late-in-life bat mitzvah. He resists, she insists, and things go predictably \u003cem>Harold and Maude\u003c/em> from there in plot terms, though Schwartzman and Kane bring their own quirks. — Bob Mondello\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Franz Kafka’s Life Wasn't So Kafkaesque After All, TV Miniseries Shows",
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"content": "\u003cp>If you’ve ever felt powerless when confronted with faceless bureaucracy, confounded by absurd accusations or simply hopeless, chances are the word “kafkaesque” might sum up your situation.\u003c/p>\n\u003cp>But a television miniseries released this month shows Prague-born author Franz Kafka, whose work inspired the word, as anything but kafkaesque. Tortured recluse he is not here.\u003c/p>\n\u003cp>Instead, Kafka is a wrangler of labyrinthian bureaucratic systems, so successful in fact that his bosses do all in their power to keep him at home and prevent him from enlisting in World War I. That’s the story according to \u003cem>Kafka\u003c/em>, a six-part series that was co-produced by Germany’s ARD, Austria’s ORF and Superfilm.\u003c/p>\n\u003cp>[aside postid='arts_13959459']“We all think we hear of the bureau, or the office, that it’s a dark world and it’s apocalyptic (for Kafka). But in the real world, it was a paradise,” Director David Schalko told NPR’s Michel Martin during a joint interview with Joel Basman, who plays the title role.\u003c/p>\n\u003cp>Schalko said he was inspired to take on the project after reading Reiner Stach’s \u003ca href=\"https://press.princeton.edu/our-authors/stach-reiner\">three-volume biography\u003c/a> of Kafka, originally published in German between 2002 and 2014. In rejecting the usual tropes of equivocating Kafka’s angst-ridden works with the writer’s life, Schalko’s biopic offers a lush, more humanly complex picture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uAANEfhwgw8\u003c/p>\n\u003ch3>One perspective per episode\u003c/h3>\n\u003cp>ChaiFlicks, \u003ca href=\"https://www.chaiflicks.com/\">a streaming platform focused on Jewish content\u003c/a>, is releasing new episodes weekly since the June 6 U.S. debut. Each episode focuses on a different perspective of Kafka’s life.\u003c/p>\n\u003cp>The first theme is the author’s relationship with his close friend Max Brod — who ultimately defied Kafka’s wish to have all his manuscripts burned and instead posthumously became his biographer and literary executor.\u003c/p>\n\u003cp>The other episodes focus on his (bourgeois) family, three of his lovers and his role as an insurance lawyer.\u003c/p>\n\u003cfigure id=\"attachment_13959520\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM.png\" alt=\"A man wearing a suit and spectacles sits with a woman leaning on his shoulder who has fallen asleep.\" width=\"1290\" height=\"744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-800x461.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-1020x588.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-768x443.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Max Brod (David Kross) and his wife Elsa (Tamara Stern) escaped Prague on one of the last trains to leave the city before Nazi forces took control, recognizing the danger to Jews like himself. He carried Franz Kafka’s papers with him in a suitcase. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In episode four, Kafka wins successive court cases and contracts for the company. He is held in high esteem by his superiors at the Workers’ Accident Insurance Institute. They also admire his writings and press him to review their own mediocre texts. It’s an admiration that Kafka does not reciprocate.\u003c/p>\n\u003cp>“He was very good rhetorically and he was fighting for the insurance company,” Schalko said. “It’s not the silent Kafka who is not able to talk in front of other people. It shows a complete different Kafka.”\u003c/p>\n\u003cfigure id=\"attachment_13959521\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM.png\" alt=\"A man with neat black hair stands in a room lit in purple and pink hues.\" width=\"1278\" height=\"770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-800x482.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-1020x615.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-768x463.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">The series alternates between biographical material, historical context and scenes from Kafka’s writings. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Basman says he felt compelled in portraying Kafka to “get away from the cliché of him being a depressed person. First of all, he’s a funny man. He’s got humor. And of course, he’s got his issues, and we all got them in our lives, but he was far away from depressed.”\u003c/p>\n\u003ch3>A century since Kafka’s death\u003c/h3>\n\u003cp>The series’ release coincides with the 100th anniversary of Kafka’s death this month. And it comes at a time of renewed interest in the writer, who has become an unexpected hot item among a younger generation reflecting on alienation via \u003ca href=\"https://www.tiktok.com/@aquariuscat444/video/7263000782516030752\">posts\u003c/a> on TikTok.\u003c/p>\n\u003cp>[aside postid='arts_13959205']Just last year, readers could finally access a \u003ca href=\"https://www.amazon.com/Diaries-Franz-Kafka/dp/0805243550\">new translation\u003c/a> of Kafka’s diaries, by Ross Benjamin. Prior versions relied on a manuscript heavily edited and redacted by Kafka’s friend Brod, whose version was polished and removed lewd, homoerotic and unflattering material concerning Kafka and himself.\u003c/p>\n\u003cp>The unfiltered version shows a more hesitant Kafka who often left his thoughts unfinished mid-sentence — not surprising for an author who never didn’t complete the three novels he started and whose characters struggled with the impossibility of finishing tasks.\u003c/p>\n\u003cfigure id=\"attachment_13959522\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM.png\" alt=\"Two 1940s era women sit next to each other at a desk looking incredulous.\" width=\"1292\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-1020x632.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-768x476.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Kafka’s longtime fiancée Felice Bauer (Lia von Blarer, right) got so fed up with his constant equivocation that she confronted him alongside her friend, Grete Bloch (Marie-Luise Stockinger), an event that inspired the novel ‘The Trial.’ \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez | Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The feeling to wake up and feel like vermin, like an insect, and feeling the shame and get canceled by the others, is a feeling you know from social media very well,” Schalko said, while pointing to arbitrary arrests in Russia as another example.\u003c/p>\n\u003cp>“He also writes about the bureaucracy and how it feels to be a human being in a system that doesn’t see you as a human being. And that’s a big issue in our times as well.”\u003c/p>\n\u003cp>[aside postid='arts_13958863']In a memorable scene in episode three, Kafka brings home for dinner a traditional Yiddish theater actor he befriended, Yitzhak Löwy. But Kafka’s domineering father, Hermann, disapproves and says Löwy is dirty and compares him to an insect.\u003c/p>\n\u003cp>The confrontation inspired Kafka to write his novella \u003cem>The Metamorphosis\u003c/em>, the story of a man who turns into a bug. Kafka had also written a 100-page letter criticizing his father — the closest he came to writing an autobiography — though he neither sent nor published it.\u003c/p>\n\u003cfigure id=\"attachment_13959523\" class=\"wp-caption aligncenter\" style=\"max-width: 1302px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM.png\" alt=\"A man sits against a tree, clutching a book between his hands in deep thought.\" width=\"1302\" height=\"806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM.png 1302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-1020x631.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-768x475.png 768w\" sizes=\"(max-width: 1302px) 100vw, 1302px\">\u003cfigcaption class=\"wp-caption-text\">The poet Rainer Maria Rilke, played by Lars Eidinger, is shown moved to tears after reading Kafka’s ‘The Metamorphosis,’ the story of a man who turns into an insect that was inspired by a confrontation between Kafka’s domineering father and the writer’s Yiddish actor friend Yitzhak Löwy. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>“For his father, it was more important to be accepted by the elites of Prague; he tried to maybe even hide his Judaism,” Basman said.\u003c/p>\n\u003cp>The Swiss-born actor says he could relate to this ambiguity in Kafka’s family identity because his own father is originally from Israel but he’s an atheist.\u003c/p>\n\u003cp>“I was never Jewish enough, but I also was never Swiss enough … I realized, okay, people want to brand you and if they can’t brand you, they don’t want you on their team,” Basman said.\u003c/p>\n\u003cp>“I think for Kafka, religion was also just a journey of getting to know himself because it was hidden by his father so strongly that he took this journey by himself.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003ch3>Kafka and women\u003c/h3>\n\u003cp>The women in Kafka’s life also left an indelible mark. He was engaged several times but never married. One of his fiancées was Felice Bauer, Brod’s cousin. The pair meet and only get to know each superficially before Kafka sends her hundreds of agonizing letters for months on end, through an initial parting, a second engagement and a final breakup.\u003c/p>\n\u003cp>[aside postid='arts_13959163']Fed up with Kafka’s constant equivocation, Bauer at one point confronts him, letters in hand, with her friend Grete Bloch — another recipient of letters from Kafka — by her side. The episode drawn from the writer’s life inspired his novel \u003cem>The Trial\u003c/em>, published posthumously in 1925.\u003c/p>\n\u003cp>The protagonist Joseph K. navigates an absurdly complex bureaucratic system and makes mistakes that make him look guilty of an unknown crime for which he is put on trial and then executed “like a dog.”\u003c/p>\n\u003cfigure id=\"attachment_13959525\" class=\"wp-caption aligncenter\" style=\"max-width: 1282px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM.png\" alt=\"A man lies in the grass, while a woman lies partially on his chest, happily reading a letter.\" width=\"1282\" height=\"782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM.png 1282w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-800x488.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-1020x622.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-768x468.png 768w\" sizes=\"(max-width: 1282px) 100vw, 1282px\">\u003cfigcaption class=\"wp-caption-text\">Kafka was engaged four times and never married, keeping most relationships long-distance via extensive letter-writing. His penultimate relationship was with the writer Milena Jesenská (Liv Lisa Fries), who recognizes his talent. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Kafka’ is available to stream on \u003c/em>\u003ca href=\"https://www.chaiflicks.com/videos/kafka-episode-1-1080p-25fps-stereo-1\">ChaiFlicks\u003c/a>\u003cem>. New episodes will release weekly.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve ever felt powerless when confronted with faceless bureaucracy, confounded by absurd accusations or simply hopeless, chances are the word “kafkaesque” might sum up your situation.\u003c/p>\n\u003cp>But a television miniseries released this month shows Prague-born author Franz Kafka, whose work inspired the word, as anything but kafkaesque. Tortured recluse he is not here.\u003c/p>\n\u003cp>Instead, Kafka is a wrangler of labyrinthian bureaucratic systems, so successful in fact that his bosses do all in their power to keep him at home and prevent him from enlisting in World War I. That’s the story according to \u003cem>Kafka\u003c/em>, a six-part series that was co-produced by Germany’s ARD, Austria’s ORF and Superfilm.\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/uAANEfhwgw8'\n title='//www.youtube.com/embed/uAANEfhwgw8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>One perspective per episode\u003c/h3>\n\u003cp>ChaiFlicks, \u003ca href=\"https://www.chaiflicks.com/\">a streaming platform focused on Jewish content\u003c/a>, is releasing new episodes weekly since the June 6 U.S. debut. Each episode focuses on a different perspective of Kafka’s life.\u003c/p>\n\u003cp>The first theme is the author’s relationship with his close friend Max Brod — who ultimately defied Kafka’s wish to have all his manuscripts burned and instead posthumously became his biographer and literary executor.\u003c/p>\n\u003cp>The other episodes focus on his (bourgeois) family, three of his lovers and his role as an insurance lawyer.\u003c/p>\n\u003cfigure id=\"attachment_13959520\" class=\"wp-caption aligncenter\" style=\"max-width: 1290px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM.png\" alt=\"A man wearing a suit and spectacles sits with a woman leaning on his shoulder who has fallen asleep.\" width=\"1290\" height=\"744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM.png 1290w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-800x461.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-1020x588.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-12.58.48-PM-768x443.png 768w\" sizes=\"(max-width: 1290px) 100vw, 1290px\">\u003cfigcaption class=\"wp-caption-text\">Max Brod (David Kross) and his wife Elsa (Tamara Stern) escaped Prague on one of the last trains to leave the city before Nazi forces took control, recognizing the danger to Jews like himself. He carried Franz Kafka’s papers with him in a suitcase. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In episode four, Kafka wins successive court cases and contracts for the company. He is held in high esteem by his superiors at the Workers’ Accident Insurance Institute. They also admire his writings and press him to review their own mediocre texts. It’s an admiration that Kafka does not reciprocate.\u003c/p>\n\u003cp>“He was very good rhetorically and he was fighting for the insurance company,” Schalko said. “It’s not the silent Kafka who is not able to talk in front of other people. It shows a complete different Kafka.”\u003c/p>\n\u003cfigure id=\"attachment_13959521\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM.png\" alt=\"A man with neat black hair stands in a room lit in purple and pink hues.\" width=\"1278\" height=\"770\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-800x482.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-1020x615.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.02.20-PM-768x463.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">The series alternates between biographical material, historical context and scenes from Kafka’s writings. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Basman says he felt compelled in portraying Kafka to “get away from the cliché of him being a depressed person. First of all, he’s a funny man. He’s got humor. And of course, he’s got his issues, and we all got them in our lives, but he was far away from depressed.”\u003c/p>\n\u003ch3>A century since Kafka’s death\u003c/h3>\n\u003cp>The series’ release coincides with the 100th anniversary of Kafka’s death this month. And it comes at a time of renewed interest in the writer, who has become an unexpected hot item among a younger generation reflecting on alienation via \u003ca href=\"https://www.tiktok.com/@aquariuscat444/video/7263000782516030752\">posts\u003c/a> on TikTok.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Just last year, readers could finally access a \u003ca href=\"https://www.amazon.com/Diaries-Franz-Kafka/dp/0805243550\">new translation\u003c/a> of Kafka’s diaries, by Ross Benjamin. Prior versions relied on a manuscript heavily edited and redacted by Kafka’s friend Brod, whose version was polished and removed lewd, homoerotic and unflattering material concerning Kafka and himself.\u003c/p>\n\u003cp>The unfiltered version shows a more hesitant Kafka who often left his thoughts unfinished mid-sentence — not surprising for an author who never didn’t complete the three novels he started and whose characters struggled with the impossibility of finishing tasks.\u003c/p>\n\u003cfigure id=\"attachment_13959522\" class=\"wp-caption aligncenter\" style=\"max-width: 1292px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM.png\" alt=\"Two 1940s era women sit next to each other at a desk looking incredulous.\" width=\"1292\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM.png 1292w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-1020x632.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.05.44-PM-768x476.png 768w\" sizes=\"(max-width: 1292px) 100vw, 1292px\">\u003cfigcaption class=\"wp-caption-text\">Kafka’s longtime fiancée Felice Bauer (Lia von Blarer, right) got so fed up with his constant equivocation that she confronted him alongside her friend, Grete Bloch (Marie-Luise Stockinger), an event that inspired the novel ‘The Trial.’ \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez | Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The feeling to wake up and feel like vermin, like an insect, and feeling the shame and get canceled by the others, is a feeling you know from social media very well,” Schalko said, while pointing to arbitrary arrests in Russia as another example.\u003c/p>\n\u003cp>“He also writes about the bureaucracy and how it feels to be a human being in a system that doesn’t see you as a human being. And that’s a big issue in our times as well.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a memorable scene in episode three, Kafka brings home for dinner a traditional Yiddish theater actor he befriended, Yitzhak Löwy. But Kafka’s domineering father, Hermann, disapproves and says Löwy is dirty and compares him to an insect.\u003c/p>\n\u003cp>The confrontation inspired Kafka to write his novella \u003cem>The Metamorphosis\u003c/em>, the story of a man who turns into a bug. Kafka had also written a 100-page letter criticizing his father — the closest he came to writing an autobiography — though he neither sent nor published it.\u003c/p>\n\u003cfigure id=\"attachment_13959523\" class=\"wp-caption aligncenter\" style=\"max-width: 1302px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM.png\" alt=\"A man sits against a tree, clutching a book between his hands in deep thought.\" width=\"1302\" height=\"806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM.png 1302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-800x495.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-1020x631.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.16.30-PM-768x475.png 768w\" sizes=\"(max-width: 1302px) 100vw, 1302px\">\u003cfigcaption class=\"wp-caption-text\">The poet Rainer Maria Rilke, played by Lars Eidinger, is shown moved to tears after reading Kafka’s ‘The Metamorphosis,’ the story of a man who turns into an insect that was inspired by a confrontation between Kafka’s domineering father and the writer’s Yiddish actor friend Yitzhak Löwy. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003cp>“For his father, it was more important to be accepted by the elites of Prague; he tried to maybe even hide his Judaism,” Basman said.\u003c/p>\n\u003cp>The Swiss-born actor says he could relate to this ambiguity in Kafka’s family identity because his own father is originally from Israel but he’s an atheist.\u003c/p>\n\u003cp>“I was never Jewish enough, but I also was never Swiss enough … I realized, okay, people want to brand you and if they can’t brand you, they don’t want you on their team,” Basman said.\u003c/p>\n\u003cp>“I think for Kafka, religion was also just a journey of getting to know himself because it was hidden by his father so strongly that he took this journey by himself.”\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003c/figure>\n\u003ch3>Kafka and women\u003c/h3>\n\u003cp>The women in Kafka’s life also left an indelible mark. He was engaged several times but never married. One of his fiancées was Felice Bauer, Brod’s cousin. The pair meet and only get to know each superficially before Kafka sends her hundreds of agonizing letters for months on end, through an initial parting, a second engagement and a final breakup.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Fed up with Kafka’s constant equivocation, Bauer at one point confronts him, letters in hand, with her friend Grete Bloch — another recipient of letters from Kafka — by her side. The episode drawn from the writer’s life inspired his novel \u003cem>The Trial\u003c/em>, published posthumously in 1925.\u003c/p>\n\u003cp>The protagonist Joseph K. navigates an absurdly complex bureaucratic system and makes mistakes that make him look guilty of an unknown crime for which he is put on trial and then executed “like a dog.”\u003c/p>\n\u003cfigure id=\"attachment_13959525\" class=\"wp-caption aligncenter\" style=\"max-width: 1282px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959525\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM.png\" alt=\"A man lies in the grass, while a woman lies partially on his chest, happily reading a letter.\" width=\"1282\" height=\"782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM.png 1282w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-800x488.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-1020x622.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-10-at-1.21.02-PM-768x468.png 768w\" sizes=\"(max-width: 1282px) 100vw, 1282px\">\u003cfigcaption class=\"wp-caption-text\">Kafka was engaged four times and never married, keeping most relationships long-distance via extensive letter-writing. His penultimate relationship was with the writer Milena Jesenská (Liv Lisa Fries), who recognizes his talent. \u003ccite>(Copyright ORF/Superfilm/Nicole Albiez/Superfilm)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Kafka’ is available to stream on \u003c/em>\u003ca href=\"https://www.chaiflicks.com/videos/kafka-episode-1-1080p-25fps-stereo-1\">ChaiFlicks\u003c/a>\u003cem>. New episodes will release weekly.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "becoming-karl-lagerfeld-review-hulu-french-tv-series-fashion-designer",
"title": "‘Becoming Karl Lagerfeld’ Is the Smart Backstory of a Complicated Style Icon",
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"content": "\u003cp>We live in an age obsessed with self-creation. Our social media-fueled culture is less about changing the world than about shaping how the world sees us.\u003c/p>\n\u003cp>Nobody did it any better than \u003ca href=\"https://www.npr.org/tags/695894666/karl-lagerfeld\" target=\"695894666\" rel=\"noopener\">Karl Lagerfeld\u003c/a>, who died in 2019 after four decades as a lion king in the fashion world. Beginning as a somewhat ridiculous outsider from Germany, Lagerfeld used his genius for self-invention to wind up designing for \u003ca href=\"https://www.npr.org/tags/533752330/fendi\" target=\"533752330\" rel=\"noopener\">Fendi\u003c/a>, resurrecting the moribund house of Chanel and creating a personal look so distinctive — white hair, dark sunglasses, fingerless gloves and crisp detachable collars — that it could serve as the emoji for Fashion Designer.\u003c/p>\n\u003cp>[aside postid='arts_13928464']His hard-won rise in ‘70s Paris is the theme of \u003cem>Becoming Karl Lagerfeld\u003c/em>, a smart, dishy, hugely entertaining new French series on Hulu. The show doesn’t pretend to offer the definitive take on an enormously complicated man. Instead, its brisk six episodes offer emblematic incidents — or perhaps pressure points — that take us surprisingly deep inside a figure who moved constantly forward, spurred on by ambition, loneliness and a keen sense of self-protection.\u003c/p>\n\u003cp>We first meet Karl in Paris through the eyes of Jacques de Bascher, a self-destructive young aristocrat played with scene-stealing charisma by the French Canadian actor Théodore Pellerin. Always looking for distractions, Jacques fixates on the uncharismatic Karl — that’s the superb German actor Daniel Brühl — who at this point is something of a brainy schlub who lives with his acerbic mother and stuffs his face with sweets when he’s angry. You know you’re watching a French series, not an American one, when, in this show’s equivalent of a meet cute, Jacques and Karl discover their affinity by quoting the daunting Austrian novelist Robert Musil.\u003c/p>\n\u003cp>Jacques dreams of being a great writer, but he fritters away his gifts in drink and drugs and sex; he yearns for love. Although Karl cares for him, he’s too relentless a work-machine to provide such consolations. Karl never stops hustling and scheming. He’s chasing a stardom to equal his one-time-friend, now-nemesis Yves Saint Laurent — that’s a terrific Arnaud Valois — who’s celebrated as a haute-couture genius with his own label while Karl toils away on ready-to-wear for the house of Chloe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dWs94_ZaDLw\u003c/p>\n\u003cp>Jacques and Karl share a long, tortuous, asexual sort of love. Their relationship becomes the through-line of Karl’s story, which includes his battles with fashion power broker Pierre Bergé, Jacques’ disastrous affair with Saint Laurent, and Karl’s struggles designing a dress for \u003ca href=\"https://www.npr.org/2017/06/19/533090309/gallery-gives-movie-star-marlene-dietrich-the-big-picture-treatment\" target=\"533090309\" rel=\"noopener\">Marlene Dietrich\u003c/a> who pointedly asks, “Do you have a style?” This was always the big question about Lagerfeld, who, like that other self-inventor, \u003ca href=\"https://www.npr.org/artists/15289962/david-bowie\" target=\"15289962\" rel=\"noopener\">David Bowie\u003c/a>, tried on many styles and used whichever one would help him get ahead at that moment.\u003c/p>\n\u003cp>In this year’s other fashion series, The New Look, Christian Dior and \u003ca href=\"https://www.npr.org/2005/05/05/4630900/the-timeless-appeal-of-coco-chanel\" target=\"4630900\" rel=\"noopener\">Coco Chanel\u003c/a> felt like animatronic creatures in a diorama. By contrast, \u003cem>Becoming Karl Lagerfeld\u003c/em> feels urgent and alive — like a present day story that happens to be set in the past. Whether it’s Jacques’ desperation, Karl’s impacted passion or shocking betrayals, the show pulses with feeling, even wringing genuine poignancy from the pop song “Take on Me.”\u003c/p>\n\u003cp>[aside postid='arts_13958404']Without flaunting its seriousness, the show gets you thinking about the characters — for instance, how the controlled Karl and out-of-control Jacques are complementary halves of a complete human being. And it explores the isolation, even lunacy lurking inside the quest for fame.\u003c/p>\n\u003cp>Focusing on a brief period of time, \u003cem>Becoming Karl Lagerfeld\u003c/em> never overtly tries to explain its often-contradictory hero. Instead, it lets Brühl reveal the powerful emotions that flit across Karl’s face even as he attempts to bottle them up. By the end, I felt I understood him surprisingly well and grasped how he could become a fashion legend.\u003c/p>\n\u003cp>Now is the show completely true? Did Dietrich really castigate Karl for a dress he made her? Did Karl really flee when Jacques tried to sleep with him? Who cares! The opening crawl acknowledges that much of the action is fictionalized. Besides, \u003cem>Becoming Karl Lagerfeld\u003c/em> isn’t about the Kennedy assassination or World War II. It’s about a fashion designer, one who cultivated his personal mythology and became notorious for his delight in saying reprehensible things.\u003c/p>\n\u003cp>“I have no human feelings,” Lagerfeld famously told an interviewer. What he’d like least about this show, I suspect, is that it shows he did.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Becoming Karl Lagerfeld’ begins streaming on Hulu on June 7, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We live in an age obsessed with self-creation. Our social media-fueled culture is less about changing the world than about shaping how the world sees us.\u003c/p>\n\u003cp>Nobody did it any better than \u003ca href=\"https://www.npr.org/tags/695894666/karl-lagerfeld\" target=\"695894666\" rel=\"noopener\">Karl Lagerfeld\u003c/a>, who died in 2019 after four decades as a lion king in the fashion world. Beginning as a somewhat ridiculous outsider from Germany, Lagerfeld used his genius for self-invention to wind up designing for \u003ca href=\"https://www.npr.org/tags/533752330/fendi\" target=\"533752330\" rel=\"noopener\">Fendi\u003c/a>, resurrecting the moribund house of Chanel and creating a personal look so distinctive — white hair, dark sunglasses, fingerless gloves and crisp detachable collars — that it could serve as the emoji for Fashion Designer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>His hard-won rise in ‘70s Paris is the theme of \u003cem>Becoming Karl Lagerfeld\u003c/em>, a smart, dishy, hugely entertaining new French series on Hulu. The show doesn’t pretend to offer the definitive take on an enormously complicated man. Instead, its brisk six episodes offer emblematic incidents — or perhaps pressure points — that take us surprisingly deep inside a figure who moved constantly forward, spurred on by ambition, loneliness and a keen sense of self-protection.\u003c/p>\n\u003cp>We first meet Karl in Paris through the eyes of Jacques de Bascher, a self-destructive young aristocrat played with scene-stealing charisma by the French Canadian actor Théodore Pellerin. Always looking for distractions, Jacques fixates on the uncharismatic Karl — that’s the superb German actor Daniel Brühl — who at this point is something of a brainy schlub who lives with his acerbic mother and stuffs his face with sweets when he’s angry. You know you’re watching a French series, not an American one, when, in this show’s equivalent of a meet cute, Jacques and Karl discover their affinity by quoting the daunting Austrian novelist Robert Musil.\u003c/p>\n\u003cp>Jacques dreams of being a great writer, but he fritters away his gifts in drink and drugs and sex; he yearns for love. Although Karl cares for him, he’s too relentless a work-machine to provide such consolations. Karl never stops hustling and scheming. He’s chasing a stardom to equal his one-time-friend, now-nemesis Yves Saint Laurent — that’s a terrific Arnaud Valois — who’s celebrated as a haute-couture genius with his own label while Karl toils away on ready-to-wear for the house of Chloe.\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/dWs94_ZaDLw'\n title='//www.youtube.com/embed/dWs94_ZaDLw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jacques and Karl share a long, tortuous, asexual sort of love. Their relationship becomes the through-line of Karl’s story, which includes his battles with fashion power broker Pierre Bergé, Jacques’ disastrous affair with Saint Laurent, and Karl’s struggles designing a dress for \u003ca href=\"https://www.npr.org/2017/06/19/533090309/gallery-gives-movie-star-marlene-dietrich-the-big-picture-treatment\" target=\"533090309\" rel=\"noopener\">Marlene Dietrich\u003c/a> who pointedly asks, “Do you have a style?” This was always the big question about Lagerfeld, who, like that other self-inventor, \u003ca href=\"https://www.npr.org/artists/15289962/david-bowie\" target=\"15289962\" rel=\"noopener\">David Bowie\u003c/a>, tried on many styles and used whichever one would help him get ahead at that moment.\u003c/p>\n\u003cp>In this year’s other fashion series, The New Look, Christian Dior and \u003ca href=\"https://www.npr.org/2005/05/05/4630900/the-timeless-appeal-of-coco-chanel\" target=\"4630900\" rel=\"noopener\">Coco Chanel\u003c/a> felt like animatronic creatures in a diorama. By contrast, \u003cem>Becoming Karl Lagerfeld\u003c/em> feels urgent and alive — like a present day story that happens to be set in the past. Whether it’s Jacques’ desperation, Karl’s impacted passion or shocking betrayals, the show pulses with feeling, even wringing genuine poignancy from the pop song “Take on Me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Without flaunting its seriousness, the show gets you thinking about the characters — for instance, how the controlled Karl and out-of-control Jacques are complementary halves of a complete human being. And it explores the isolation, even lunacy lurking inside the quest for fame.\u003c/p>\n\u003cp>Focusing on a brief period of time, \u003cem>Becoming Karl Lagerfeld\u003c/em> never overtly tries to explain its often-contradictory hero. Instead, it lets Brühl reveal the powerful emotions that flit across Karl’s face even as he attempts to bottle them up. By the end, I felt I understood him surprisingly well and grasped how he could become a fashion legend.\u003c/p>\n\u003cp>Now is the show completely true? Did Dietrich really castigate Karl for a dress he made her? Did Karl really flee when Jacques tried to sleep with him? Who cares! The opening crawl acknowledges that much of the action is fictionalized. Besides, \u003cem>Becoming Karl Lagerfeld\u003c/em> isn’t about the Kennedy assassination or World War II. It’s about a fashion designer, one who cultivated his personal mythology and became notorious for his delight in saying reprehensible things.\u003c/p>\n\u003cp>“I have no human feelings,” Lagerfeld famously told an interviewer. What he’d like least about this show, I suspect, is that it shows he did.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Becoming Karl Lagerfeld’ begins streaming on Hulu on June 7, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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