The best the Bay Area has to offer, from the writers and editors of KQED Arts & Culture.
Critics’ PicksCritics’ Picks
Asylum-Seekers’ Stories Come to The Freight in Berkeley
The Korean Satire ‘No Other Choice’ Is a Masterful Thriller From Park Chan-wook
‘The Housemaid’ Is a Twisty Horror-Thriller With Nudity and Empowerment
‘Avatar: Fire and Ash’ Rewards Fans With 195 Minutes of Wonder and War
Manic ‘Marty Supreme’ Smashes the American Dream
Comedian Kaytlin Bailey Revives the Forgotten Histories of Sex Workers
Cellist Mia Pixley Flourishes in Darkness
‘The Sea Captain’s Wife’ Brings a 19th-Century San Francisco Legend to Life
This San José Pop-Up Bakery Sells 18 Different Varieties of Egg Tarts
Helen Mirren Leads a Distinguished Cast in Touching Family Drama, ‘Goodbye June’
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"content": "\u003cp>When \u003ca href=\"https://eastbaysanctuary.org/\">East Bay Sanctuary Covenant\u003c/a> was founded in 1982, the majority of the \u003ca href=\"https://www.kqed.org/news/tag/asylum-seekers\">asylum seekers\u003c/a> they served were fleeing U.S.-backed violence in Central America.\u003c/p>\n\u003cp>“The Reagan administration at the time was calling them economic refugees,” says Lisa Hoffman, co-executive director of the nonprofit. “[It] was not acknowledging the role that the U.S. government was playing in funding and supporting these death squads that were causing terror.”\u003c/p>\n\u003cp>EBSC knew otherwise, because from its earliest days, the organization was committed to listening to the stories of those fleeing that violence — not only to best meet their needs, but to broaden awareness and spur action in the larger public. It’s a tradition they’ve kept up for the past 43 years and across 4,100 successful asylum cases.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Jan. 4, that deep listening and storytelling takes another form at Berkeley’s The Freight, with a screening of Shabnam Piryaei’s 27-minute documentary \u003ci>\u003ca href=\"https://secure.thefreight.org/15581/15582-no-separate-survival-film-screening-260104\">No Separate Survival\u003c/a>\u003c/i>, and a mini concert from \u003ca href=\"https://www.larryandjoe.com/\">Larry & Joe\u003c/a>, a llanera-bluegrass fusion band based in North Carolina.\u003c/p>\n\u003cp>The event is a fundraiser, as well as an opportunity to learn more about EBSC’s work in a joyous, celebratory atmosphere. Previous screenings, Piryaei said, were more targeted towards asylum seekers and people working within refugee communities.\u003c/p>\n\u003cp>“This one feels the most like it’s speaking to people outside of the experience, people who want to know more about it,” she said of the event.\u003c/p>\n\u003cfigure id=\"attachment_13985085\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985085\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000.jpg\" alt=\"border wall extends down beach into ocean\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the U.S.-Mexico border in a scene from ‘No Separate Survival.’ \u003ccite>(Shabnam Piryaei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piryaei’s film is the result of years of leading arts-based workshops in the Bay Area and at the U.S.-Mexico border. Participants told their stories through short videos, drawings and writing, to which Piryaei added poetic interludes, snippets of animation and the voices of advocates. The result is a dreamy, moving document of the desperate circumstances that drive people to flee their homes — and the lives they can freely lead once their safety is secured.\u003c/p>\n\u003cp>“Run for your life because you want to keep living,” said Irma, one of the film’s four narrators. It’s what she told herself after she was ostracized and physically attacked for her gender identity. In another scene, she flips the pages of a sketchbook to show her delicate drawings of various solitary figures: a girl among sunflowers, a woman in a chair.\u003c/p>\n\u003cp>When a narrator’s story in the film lacks narration, Piryaei dips into black-and-white archival film. The effect is illustrative, but never heavy-handed. If anything, these elements touch on just how long people have sought out better futures in this country, and risked their lives to do so.\u003c/p>\n\u003cfigure id=\"attachment_13985087\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000.jpg\" alt=\"person holds notebook page with handwriting on it\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irma flips through a sketchbook in a scene from ‘No Separate Survival.’ \u003ccite>(Shabnam Piryaei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While EBSC continues to provide free legal and social services to low-income immigrants, the Trump administration has increased its efforts to \u003ca href=\"https://www.kqed.org/forum/2010101912438/trump-expanding-third-country-removals-of-asylum-seekers-in-california\">halt and dismantle the asylum process\u003c/a>.\u003c/p>\n\u003cp>On Nov. 28, U.S. Citizenship and Immigration Services, a branch of Homeland Security, paused all pending asylum cases. Being from one of 40 countries can now be a “significant negative factor” in an asylum case. And the administration has suggested it may also try to reverse previous grants of asylum — no matter where a person is from.\u003c/p>\n\u003cp>“We have a lot of people in the broader community who are becoming more aware of immigration issues and have a desire to learn more and to help out,” Hoffman said. Storytelling, and the Jan. 4 event in particular, she says, can be a meeting place and a starting point for those who want to lend a hand.\u003c/p>\n\u003cp>“I think it brings a lens of positivity in a moment where we’re just inundated by fear and terror,” she added. “We can come together in this joyful, uplifting space with music and stories. I feel like it is nourishment for our souls and we need that desperately now.”\u003c/p>\n\u003chr>\n\u003cp>\u003ci>‘\u003ca href=\"https://secure.thefreight.org/15581/15582-no-separate-survival-film-screening-260104\">No Separate Survival\u003c/a>’ screens at The Freight (2020 Addison St., Berkeley) on Sunday, Jan. 4, 2026, with a performance by Larry & Joe. A pre-screening reception begins at 4:30 p.m. Director Shabnam Piryaei and the narrators will be present for a short Q&A on the making of the film.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Jan. 4, that deep listening and storytelling takes another form at Berkeley’s The Freight, with a screening of Shabnam Piryaei’s 27-minute documentary \u003ci>\u003ca href=\"https://secure.thefreight.org/15581/15582-no-separate-survival-film-screening-260104\">No Separate Survival\u003c/a>\u003c/i>, and a mini concert from \u003ca href=\"https://www.larryandjoe.com/\">Larry & Joe\u003c/a>, a llanera-bluegrass fusion band based in North Carolina.\u003c/p>\n\u003cp>The event is a fundraiser, as well as an opportunity to learn more about EBSC’s work in a joyous, celebratory atmosphere. Previous screenings, Piryaei said, were more targeted towards asylum seekers and people working within refugee communities.\u003c/p>\n\u003cp>“This one feels the most like it’s speaking to people outside of the experience, people who want to know more about it,” she said of the event.\u003c/p>\n\u003cfigure id=\"attachment_13985085\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985085\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000.jpg\" alt=\"border wall extends down beach into ocean\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS1_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A view of the U.S.-Mexico border in a scene from ‘No Separate Survival.’ \u003ccite>(Shabnam Piryaei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Piryaei’s film is the result of years of leading arts-based workshops in the Bay Area and at the U.S.-Mexico border. Participants told their stories through short videos, drawings and writing, to which Piryaei added poetic interludes, snippets of animation and the voices of advocates. The result is a dreamy, moving document of the desperate circumstances that drive people to flee their homes — and the lives they can freely lead once their safety is secured.\u003c/p>\n\u003cp>“Run for your life because you want to keep living,” said Irma, one of the film’s four narrators. It’s what she told herself after she was ostracized and physically attacked for her gender identity. In another scene, she flips the pages of a sketchbook to show her delicate drawings of various solitary figures: a girl among sunflowers, a woman in a chair.\u003c/p>\n\u003cp>When a narrator’s story in the film lacks narration, Piryaei dips into black-and-white archival film. The effect is illustrative, but never heavy-handed. If anything, these elements touch on just how long people have sought out better futures in this country, and risked their lives to do so.\u003c/p>\n\u003cfigure id=\"attachment_13985087\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985087\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000.jpg\" alt=\"person holds notebook page with handwriting on it\" width=\"2000\" height=\"1125\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NSS5_2000-1200x675.jpg 1200w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Irma flips through a sketchbook in a scene from ‘No Separate Survival.’ \u003ccite>(Shabnam Piryaei)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While EBSC continues to provide free legal and social services to low-income immigrants, the Trump administration has increased its efforts to \u003ca href=\"https://www.kqed.org/forum/2010101912438/trump-expanding-third-country-removals-of-asylum-seekers-in-california\">halt and dismantle the asylum process\u003c/a>.\u003c/p>\n\u003cp>On Nov. 28, U.S. Citizenship and Immigration Services, a branch of Homeland Security, paused all pending asylum cases. 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"slug": "no-other-choice-park-chan-wook-movie-review",
"title": "The Korean Satire ‘No Other Choice’ Is a Masterful Thriller From Park Chan-wook",
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"content": "\u003cp>Leaves and bodies fall in \u003cem>No Other Choice\u003c/em>, Park Chan-wook’s masterfully devilish satire with a chilling autumnal wind blowing through it.\u003c/p>\n\u003cp>[aside postID='arts_13984386']“Come on, fall,” urges You Man-su (Lee Byung-hun) as he grills an eel for dinner for his family in the opening moments of Park’s film. He’s eager for the season to start but unprepared for the amount of cyclical collapse — familial, economic, even existential — that Park has in store.\u003c/p>\n\u003cp>Man-su pronounces the very thing no movie protagonist ever should: “I’ve got it all.” He lives with his wife, Miri (Son Ye-jin), and two children (Kim Woo Seung, Choi So Yul) in a handsome modernist house in the woods, with two golden retrievers. But almost as soon as he says that, Man-su’s fortunes turn. After 25 years at a paper mill, Man-su is laid off, as are many others, with little fanfare or apology. Desperation begins to set in. He’s forced to sell the home he loves so dearly, including the attached greenhouse where he tends to plants and bonsai trees. They even have to, horror of horrors, cancel Netflix.\u003c/p>\n\u003cfigure id=\"attachment_13985067\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13985067\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lee Byung-hun in ‘No Other Choice.’ \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another movie might have sunk with Man-su into bankruptcy and midlife struggle, following his quest to find a new line of work and restart his life. This is not that movie. Man-su, considering his prospects, decides he needs to better his odds of new employment. After posting a fake job listing and comparing all the incoming resumes, he decides he’s about the fifth best option for any new paper mill managerial jobs. He decides to kill the ones with better credentials.\u003c/p>\n\u003cp>The concept, a Grade-A barnburner of a movie idea, is not new. \u003cem>No Other Choice\u003c/em>, South Korea’s Oscar submission, is based on Donald Westlake’s 1997 crime novel \u003cem>The Ax\u003c/em>, which Costa-Gavras also made into a film in 2005. But Park, the filmmaker of such diabolical movies as \u003cem>Oldboy\u003c/em>, \u003cem>The Handmaiden\u003c/em> and \u003cem>Decision to Leave\u003c/em>, is exquisitely suited to the material. This is a director capable of conjuring menacing brutality with nothing but a hallway and hammer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And in \u003cem>No Other Choice\u003c/em>, he remains at the peak of his powers, archly and elegantly spinning a yarn about a murderous rampage that accumulates wider and wider reverberations. “Hitchcockian” is a term that often, understandably, finds Park. He is, like Hitch, a seemingly polite and erudite man with a latently dark imagination. But for more than two decades, Park has cut his own bloody, unyieldingly meticulous path in movies that are rarely predictable, very funny and sneakily revelatory.\u003c/p>\n\u003cfigure id=\"attachment_13985068\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13985068\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">So Yul Choi, left, and Son Ye-jin in ‘No Other Choice.’ \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of the delight of \u003cem>No Other Choice\u003c/em>, which Park co-wrote with Lee Kyoung-mi, Don McKellar and Jahye Lee, isn’t just seeing how Man-su’s scheme goes but how Park frames it. He is probably the preeminent filmmaker of putting wild, outrageous happenings into cleverly formal, eminently stylish imagery. As Man-su bumbles from target to target, each potential murder is a window into another family reckoning with unemployment. The way Man-su spies on them (or worse) adds delicious layers of satire. Relish, especially, the way Park uses reflections and trees.\u003c/p>\n\u003cp>How \u003cem>No Other Choice\u003c/em> puts capitalism in the crosshairs, with a handsome house in the center, will no doubt bring to mind another Korean satire: Bong Joon Ho’s \u003cem>Parasite\u003c/em>. Park had been wanting to make his film for almost two decades. Either way, the two movies would make one hell of a destabilizing double feature.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HKZpuG_ezvY\u003c/p>\n\u003cp>If \u003cem>Parasite\u003c/em> was the feat of an ensemble, \u003cem>No Other Choice\u003c/em> belongs to Lee. His Man-su is no killer at heart, and his attempts to become one are as comical as they are Dostoyevskian. The tone is so farcical that the gruesomeness of some of Man-su’s acts come slyly. How many movies have we seen about a parent driven, heroically, to extremes to defend their family? Man-su’s circumstance is frightfully understandable. “Our family is in a war,” he says. To keep them happy — in particular Miri — Man-su thinks whatever it takes is necessary.\u003c/p>\n\u003cp>But what makes \u003cem>No Other Choice\u003c/em> brilliant is how it shows that perceived predicament as a ubiquitous mistake of modern life. I won’t spoil the incredible final minutes of Park’s film, but they expand the notion of necessary termination — of a job, of a life — to automation, AI and beyond. The leaves falling in “No Other Choice” aren’t coming back in the spring.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘No Other Choice’ is in theaters now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Come on, fall,” urges You Man-su (Lee Byung-hun) as he grills an eel for dinner for his family in the opening moments of Park’s film. He’s eager for the season to start but unprepared for the amount of cyclical collapse — familial, economic, even existential — that Park has in store.\u003c/p>\n\u003cp>Man-su pronounces the very thing no movie protagonist ever should: “I’ve got it all.” He lives with his wife, Miri (Son Ye-jin), and two children (Kim Woo Seung, Choi So Yul) in a handsome modernist house in the woods, with two golden retrievers. But almost as soon as he says that, Man-su’s fortunes turn. After 25 years at a paper mill, Man-su is laid off, as are many others, with little fanfare or apology. Desperation begins to set in. He’s forced to sell the home he loves so dearly, including the attached greenhouse where he tends to plants and bonsai trees. They even have to, horror of horrors, cancel Netflix.\u003c/p>\n\u003cfigure id=\"attachment_13985067\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13985067\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-2-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Lee Byung-hun in ‘No Other Choice.’ \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another movie might have sunk with Man-su into bankruptcy and midlife struggle, following his quest to find a new line of work and restart his life. This is not that movie. Man-su, considering his prospects, decides he needs to better his odds of new employment. After posting a fake job listing and comparing all the incoming resumes, he decides he’s about the fifth best option for any new paper mill managerial jobs. He decides to kill the ones with better credentials.\u003c/p>\n\u003cp>The concept, a Grade-A barnburner of a movie idea, is not new. \u003cem>No Other Choice\u003c/em>, South Korea’s Oscar submission, is based on Donald Westlake’s 1997 crime novel \u003cem>The Ax\u003c/em>, which Costa-Gavras also made into a film in 2005. But Park, the filmmaker of such diabolical movies as \u003cem>Oldboy\u003c/em>, \u003cem>The Handmaiden\u003c/em> and \u003cem>Decision to Leave\u003c/em>, is exquisitely suited to the material. This is a director capable of conjuring menacing brutality with nothing but a hallway and hammer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And in \u003cem>No Other Choice\u003c/em>, he remains at the peak of his powers, archly and elegantly spinning a yarn about a murderous rampage that accumulates wider and wider reverberations. “Hitchcockian” is a term that often, understandably, finds Park. He is, like Hitch, a seemingly polite and erudite man with a latently dark imagination. But for more than two decades, Park has cut his own bloody, unyieldingly meticulous path in movies that are rarely predictable, very funny and sneakily revelatory.\u003c/p>\n\u003cfigure id=\"attachment_13985068\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13985068\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/no-other-choice-3-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">So Yul Choi, left, and Son Ye-jin in ‘No Other Choice.’ \u003ccite>(Neon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much of the delight of \u003cem>No Other Choice\u003c/em>, which Park co-wrote with Lee Kyoung-mi, Don McKellar and Jahye Lee, isn’t just seeing how Man-su’s scheme goes but how Park frames it. He is probably the preeminent filmmaker of putting wild, outrageous happenings into cleverly formal, eminently stylish imagery. As Man-su bumbles from target to target, each potential murder is a window into another family reckoning with unemployment. The way Man-su spies on them (or worse) adds delicious layers of satire. Relish, especially, the way Park uses reflections and trees.\u003c/p>\n\u003cp>How \u003cem>No Other Choice\u003c/em> puts capitalism in the crosshairs, with a handsome house in the center, will no doubt bring to mind another Korean satire: Bong Joon Ho’s \u003cem>Parasite\u003c/em>. Park had been wanting to make his film for almost two decades. Either way, the two movies would make one hell of a destabilizing double feature.\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/HKZpuG_ezvY'\n title='//www.youtube.com/embed/HKZpuG_ezvY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If \u003cem>Parasite\u003c/em> was the feat of an ensemble, \u003cem>No Other Choice\u003c/em> belongs to Lee. His Man-su is no killer at heart, and his attempts to become one are as comical as they are Dostoyevskian. The tone is so farcical that the gruesomeness of some of Man-su’s acts come slyly. How many movies have we seen about a parent driven, heroically, to extremes to defend their family? Man-su’s circumstance is frightfully understandable. “Our family is in a war,” he says. To keep them happy — in particular Miri — Man-su thinks whatever it takes is necessary.\u003c/p>\n\u003cp>But what makes \u003cem>No Other Choice\u003c/em> brilliant is how it shows that perceived predicament as a ubiquitous mistake of modern life. I won’t spoil the incredible final minutes of Park’s film, but they expand the notion of necessary termination — of a job, of a life — to automation, AI and beyond. The leaves falling in “No Other Choice” aren’t coming back in the spring.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘No Other Choice’ is in theaters now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Santa left us a present this holiday season and it is exactly what we didn’t know we needed: A twisty, psychological horror-thriller with nudity that’s all wrapped up in an empowerment message.\u003c/p>\n\u003cp>\u003cem>The Housemaid\u003c/em> is Paul Feig’s delicious, satirical look at the secret depravity of the ultra-rich, but it’s so well constructed that’s it’s not clear who’s naughty or nice. Halfway through, the movie zigs and everything you expected zags.\u003c/p>\n\u003cp>It’s almost impossible to thread the line between self-winking campy — “That’s a lot of bacon. Are you trying to kill us?” — and carving someone’s stomach with a broken piece of fine china, yet Feig and screenwriter Rebecca Sonnenshine do.\u003c/p>\n\u003cp>Sydney Sweeney stars as a down-on-her luck Millie Calloway, a gal with a troubled past living out of her car who answers an ad for a live-in housekeeper in a tony suburb of New York City. Her resume is fraudulent, as are her references.\u003c/p>\n\u003cfigure id=\"attachment_13985022\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280.jpg\" alt=\"A woman stands in front of bookshelves.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sydney Sweeney in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow, the madam of the mansion, Nina Winchester played with frosty excellence by Amanda Seyfried in pearls and creamy knits, takes a shine to this young soul. “I have a really good feeling about this, Millie,” she says in that perky, slightly crazed clipped way that Seyfried always slays with. “This is going to be fun, Millie.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Maybe not for Millie, but definitely for us. The young housekeeper gets her own room in the attic — weird that it closes with a deadbolt from the outside, but no matter — and we’re off. Mille gets a smartphone with the family’s credit card preloaded and a key for that deadbolt. “What kind of monsters are we?” asks Nina. Indeed.\u003c/p>\n\u003cp>The next day, the house is a mess when the housekeeper comes down and Seyfried is in a wide-eyed, crashing-plates, full-on psychotic rage. The sweet, supportive woman we met the day before is gone. But her hunky husband (Brandon Sklenar) is helpful and apologetic. And smoldering. Uh-oh. Did we mention he’s hunky?\u003c/p>\n\u003cfigure id=\"attachment_13985023\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg\" alt=\"A woman stands in the doorway to a house.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If at first we understand that the housekeeper is being a little manipulative — lying to get the job, for instance, or wearing glasses to seem more serious — we soon realize that all kinds of gaslighting games are being played behind these gates, and they’re much more impactful.\u003c/p>\n\u003cp>Based on Freida McFadden’s novel, \u003cem>The Housemaid\u003c/em> rides waves of manipulation and then turns the tables on what we think we’ve just seen, looking at male-female power structures and how privilege can trap people without it.\u003c/p>\n\u003cp>The film is as good looking as the actors, with nifty touches like having the main house spare, well-lit and bright, while the husband’s private screening room in the basement is done in a hellish red. There are little jokes throughout, like the husband and the housemaid bonding over old episodes of \u003cem>Family Feud\u003c/em>, with the name saying it all.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=48CtX6OgU3s\u003c/p>\n\u003cp>Feig and his team also have fun with horror movie conventions, like having a silent, foreboding groundskeeper, adding a creepy dollhouse and placing lightning and thunder during a pivotal scene. They surround the mansion with fussy, aristocratic PTA moms who have tea parties and say things like “You know what yoga means to me.”\u003c/p>\n\u003cp>Feig’s fascinating combination of gore, torture and hot sex ends happily, capped off with Taylor Swift’s perfectly conjured “I Did Something Bad” playing over the end credits. Not at all: This naughty movie is definitely on the nice list.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Housemaid’ opens in theaters Dec. 19, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Santa left us a present this holiday season and it is exactly what we didn’t know we needed: A twisty, psychological horror-thriller with nudity that’s all wrapped up in an empowerment message.\u003c/p>\n\u003cp>\u003cem>The Housemaid\u003c/em> is Paul Feig’s delicious, satirical look at the secret depravity of the ultra-rich, but it’s so well constructed that’s it’s not clear who’s naughty or nice. Halfway through, the movie zigs and everything you expected zags.\u003c/p>\n\u003cp>It’s almost impossible to thread the line between self-winking campy — “That’s a lot of bacon. Are you trying to kill us?” — and carving someone’s stomach with a broken piece of fine china, yet Feig and screenwriter Rebecca Sonnenshine do.\u003c/p>\n\u003cp>Sydney Sweeney stars as a down-on-her luck Millie Calloway, a gal with a troubled past living out of her car who answers an ad for a live-in housekeeper in a tony suburb of New York City. Her resume is fraudulent, as are her references.\u003c/p>\n\u003cfigure id=\"attachment_13985022\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280.jpg\" alt=\"A woman stands in front of bookshelves.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sydney Sweeney in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow, the madam of the mansion, Nina Winchester played with frosty excellence by Amanda Seyfried in pearls and creamy knits, takes a shine to this young soul. “I have a really good feeling about this, Millie,” she says in that perky, slightly crazed clipped way that Seyfried always slays with. “This is going to be fun, Millie.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maybe not for Millie, but definitely for us. The young housekeeper gets her own room in the attic — weird that it closes with a deadbolt from the outside, but no matter — and we’re off. Mille gets a smartphone with the family’s credit card preloaded and a key for that deadbolt. “What kind of monsters are we?” asks Nina. Indeed.\u003c/p>\n\u003cp>The next day, the house is a mess when the housekeeper comes down and Seyfried is in a wide-eyed, crashing-plates, full-on psychotic rage. The sweet, supportive woman we met the day before is gone. But her hunky husband (Brandon Sklenar) is helpful and apologetic. And smoldering. Uh-oh. Did we mention he’s hunky?\u003c/p>\n\u003cfigure id=\"attachment_13985023\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg\" alt=\"A woman stands in the doorway to a house.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If at first we understand that the housekeeper is being a little manipulative — lying to get the job, for instance, or wearing glasses to seem more serious — we soon realize that all kinds of gaslighting games are being played behind these gates, and they’re much more impactful.\u003c/p>\n\u003cp>Based on Freida McFadden’s novel, \u003cem>The Housemaid\u003c/em> rides waves of manipulation and then turns the tables on what we think we’ve just seen, looking at male-female power structures and how privilege can trap people without it.\u003c/p>\n\u003cp>The film is as good looking as the actors, with nifty touches like having the main house spare, well-lit and bright, while the husband’s private screening room in the basement is done in a hellish red. There are little jokes throughout, like the husband and the housemaid bonding over old episodes of \u003cem>Family Feud\u003c/em>, with the name saying it all.\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/48CtX6OgU3s'\n title='//www.youtube.com/embed/48CtX6OgU3s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Feig and his team also have fun with horror movie conventions, like having a silent, foreboding groundskeeper, adding a creepy dollhouse and placing lightning and thunder during a pivotal scene. They surround the mansion with fussy, aristocratic PTA moms who have tea parties and say things like “You know what yoga means to me.”\u003c/p>\n\u003cp>Feig’s fascinating combination of gore, torture and hot sex ends happily, capped off with Taylor Swift’s perfectly conjured “I Did Something Bad” playing over the end credits. Not at all: This naughty movie is definitely on the nice list.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Housemaid’ opens in theaters Dec. 19, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Avatar: Fire and Ash’ Rewards Fans With 195 Minutes of Wonder and War",
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"content": "\u003cp>When I came down with a cold the day after I saw the third and latest \u003ci>Avatar\u003c/i> film, \u003ci>Fire and Ash\u003c/i>, I half-wondered if I had picked it up on Pandora.\u003c/p>\n\u003cp>The promise of Cameron’s 3D trilogy has always been immersion: immersion in a science-fiction world, in technological wonder, in a maybe future of movies. \u003cem>Avatar\u003c/em> is almost more a place to go than a movie to see.\u003c/p>\n\u003cp>[aside postID='arts_13984991']Still, it’s now been two decades since Cameron set off on this blue-tinted quest. The sheen of newness is off, or at least less pronounced, with new technological advances to contend with. \u003cem>Fire and Ash\u003c/em> is running with a behind-the-scenes video about how performance capture was used during the film’s making. The implicit message is: No, this isn’t AI.\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films, with their visual-effects wizardry and clunky revisionist Western storytelling, have always felt, most of all, like an immersion in a dream of James Cameron’s. The idea of these movies, after all, first came to Cameron, he has said, in a bioluminescent vision decades ago. At their best, the \u003cem>Avatar\u003c/em> movies have felt like an otherworldly stage for Cameron to juggle so many of the things — hulking weaponry, ecological wonder, foolhardy human arrogance — that have marked his movies.\u003c/p>\n\u003cfigure id=\"attachment_13985012\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg\" alt=\"flying alien ships in purple pink sky\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, at well more than three hours, is our longest stay yet on Pandora and the one most likely to make you ponder why you came here in the first place. These remain epics of craft and conviction. You can feel Cameron’s deep devotion to the dynamics of his central characters, even when his interest outstrips our own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s especially true in \u003cem>Fire and Ash\u003c/em>, which, following the deep-sea, family-focused part two, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13922812/take-the-plunge-avatars-underwater-scenes-are-immersive-and-extraordinary\">The Way of Water\u003c/a>\u003c/em>, pivots to a new chapter of culture clash. It introduces a violent rival Na’vi clan whose rageful leader, Varang (Oona Chaplin), partners with Stephen Lang’s booming Col. Miles Quaritch and the human colonizers.\u003c/p>\n\u003cp>For those who have closely followed the \u003cem>Avatar\u003c/em> saga, I suspect \u003cem>Fire and Ash\u003c/em> will be a rewarding experience. Quaritch, Pandora’s answer to Robert Duvall’s Bill Kilgore in \u003cem>Apocalypse Now\u003c/em>, remains a ferociously captivating character. And the introduction of Chaplin’s Varang gives this installment an electricity that the previous two were missing.\u003c/p>\n\u003cp>But for those whose trips to Pandora have made less of an impact, \u003cem>Fire and Ash\u003c/em> is a bit like returning to a half-remembered vacation spot, only one where the local ponytail style is a little strange and everyone seems to have the waist of a supermodel.\u003c/p>\n\u003cfigure id=\"attachment_13985013\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg\" alt=\"two aliens sharing a moment on shore under moonlight\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Lo’ak, performed by Britain Dalton, left, and Tsireya, performed by Bailey Bass, in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Time has only reinforced the sense that these films are hermetically sealed movie terrariums. They’re like a $1 billion beta test that, for all their box-office success, have ultimately proven that all the design capabilities in the world can’t conjure a story of meaningful impact. The often-remarked light cultural footprint left by the first two blockbusters only hints at why these movie seem to evaporate by the ending credits. It’s the lack of inner life to any of the characters and the bland, screen-saver aesthetics. At this point in a trilogy, nine hours in, that hollowness makes \u003cem>Fire and Ash\u003c/em> feel like almost theoretical drama: more avatar than genuine article.\u003c/p>\n\u003cp>These movies have had to work extremely hard, moment to moment, just to pass as believable. But almost every gesture, every movement and every bit of dialogue has had something unnatural about it. (The high frame rate is partially to blame.) That’s made these uncanny movies a combination, in equal measure, of things you’ve never seen before, and things you can’t unsee.\u003c/p>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, scripted by Cameron, Rick Jaffa and Amanda Silver, picks up with the aftermath of the climatic battle of \u003cem>The Way of Water\u003c/em>. The Na’vi and their seafaring allies, the Metkayina clan, are nursing their wounds and recovering the human weapons that sunk to the sea floor.\u003c/p>\n\u003cp>When a rival clan called the Mangkwan or Ash People come to challenge the Na’vi, those weapons represent an ethical quandary. Should they use such firepower in their own local battles? This is a more difficult question partially because the fire-mad Mangkwan are especially bloodthirsty, led by their slinky sorceress, Vanang (played with seductive sadism by Chaplin, granddaughter of Charlie).\u003c/p>\n\u003cp>But their fight is only a piece of the larger war of \u003cem>Fire and Ash\u003c/em>. The focus of this third chapter (films four and five are said to be written but not greenlit) is interspecies coexistence. As human and Na’vi lines continue to blur, the question becomes whether the human invaders will transform Pandora or if Pandora will transform them.\u003c/p>\n\u003cfigure id=\"attachment_13985014\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg\" alt=\"aliens in military attire glower\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Lang’s character Quaritch in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That puts the focus on the three characters in various in-between states. First, there’s Spider (Jack Champion), the human son of Quaritch who lives happily with the Na’vi while breathing through a machine to survive the Pandora atmosphere. (Champion has the double misfortune of wearing a mask and looking downright puny next to the tall and slender natives.) But in \u003cem>Fire and Ash\u003c/em>, he discovers he can breathe unfiltered, a development that prompts intense military interest in a potentially hugely profitable breakthrough in Pandora assimilation.\u003c/p>\n\u003cp>There’s also Jake Sully (Sam Worthington), the former human who has made a Na’vi family with Neytiri (Zoe Saldaña). For Neytiri, the growing menace of human warfare causes her to doubt her bond with Jake. The prejudices of \u003cem>Fire and Ash\u003c/em> seep even into the home.\u003c/p>\n\u003cp>Most interesting of the three, though, remains Quaritch. He may be violently trying to subjugate Pandora but he also obviously delights in his Na’vi body and in his life on this distant moon. You can see him flinch when his commander, General Ardmore (Edie Falco), refers to their Mangkwan allies as “savages.” Meanwhile, Quaritch and Vanang hit it off like gangbusters.\u003c/p>\n\u003cp>“You’ve got new eyes, colonel,” one character tells Quaritch. “All you’ve got to do is open them.”\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films have done plenty to open eyes over the past 16 years. To new cinematic horizons, to the boundlessness of Cameron’s visions, to the Papyrus font. But the most endearing quality of \u003cem>Avatar\u003c/em> is that Cameron believes so ardently in it. I might be caught up less in the goings on Pandora, but I’m kind of glad that he is. There are worse things than dreaming up a better world, with still a fighting chance.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Avatar: Fire and Ash,’ opens in theaters Dec. 19, 2025.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I came down with a cold the day after I saw the third and latest \u003ci>Avatar\u003c/i> film, \u003ci>Fire and Ash\u003c/i>, I half-wondered if I had picked it up on Pandora.\u003c/p>\n\u003cp>The promise of Cameron’s 3D trilogy has always been immersion: immersion in a science-fiction world, in technological wonder, in a maybe future of movies. \u003cem>Avatar\u003c/em> is almost more a place to go than a movie to see.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, it’s now been two decades since Cameron set off on this blue-tinted quest. The sheen of newness is off, or at least less pronounced, with new technological advances to contend with. \u003cem>Fire and Ash\u003c/em> is running with a behind-the-scenes video about how performance capture was used during the film’s making. The implicit message is: No, this isn’t AI.\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films, with their visual-effects wizardry and clunky revisionist Western storytelling, have always felt, most of all, like an immersion in a dream of James Cameron’s. The idea of these movies, after all, first came to Cameron, he has said, in a bioluminescent vision decades ago. At their best, the \u003cem>Avatar\u003c/em> movies have felt like an otherworldly stage for Cameron to juggle so many of the things — hulking weaponry, ecological wonder, foolhardy human arrogance — that have marked his movies.\u003c/p>\n\u003cfigure id=\"attachment_13985012\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg\" alt=\"flying alien ships in purple pink sky\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, at well more than three hours, is our longest stay yet on Pandora and the one most likely to make you ponder why you came here in the first place. These remain epics of craft and conviction. You can feel Cameron’s deep devotion to the dynamics of his central characters, even when his interest outstrips our own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s especially true in \u003cem>Fire and Ash\u003c/em>, which, following the deep-sea, family-focused part two, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13922812/take-the-plunge-avatars-underwater-scenes-are-immersive-and-extraordinary\">The Way of Water\u003c/a>\u003c/em>, pivots to a new chapter of culture clash. It introduces a violent rival Na’vi clan whose rageful leader, Varang (Oona Chaplin), partners with Stephen Lang’s booming Col. Miles Quaritch and the human colonizers.\u003c/p>\n\u003cp>For those who have closely followed the \u003cem>Avatar\u003c/em> saga, I suspect \u003cem>Fire and Ash\u003c/em> will be a rewarding experience. Quaritch, Pandora’s answer to Robert Duvall’s Bill Kilgore in \u003cem>Apocalypse Now\u003c/em>, remains a ferociously captivating character. And the introduction of Chaplin’s Varang gives this installment an electricity that the previous two were missing.\u003c/p>\n\u003cp>But for those whose trips to Pandora have made less of an impact, \u003cem>Fire and Ash\u003c/em> is a bit like returning to a half-remembered vacation spot, only one where the local ponytail style is a little strange and everyone seems to have the waist of a supermodel.\u003c/p>\n\u003cfigure id=\"attachment_13985013\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg\" alt=\"two aliens sharing a moment on shore under moonlight\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Lo’ak, performed by Britain Dalton, left, and Tsireya, performed by Bailey Bass, in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Time has only reinforced the sense that these films are hermetically sealed movie terrariums. They’re like a $1 billion beta test that, for all their box-office success, have ultimately proven that all the design capabilities in the world can’t conjure a story of meaningful impact. The often-remarked light cultural footprint left by the first two blockbusters only hints at why these movie seem to evaporate by the ending credits. It’s the lack of inner life to any of the characters and the bland, screen-saver aesthetics. At this point in a trilogy, nine hours in, that hollowness makes \u003cem>Fire and Ash\u003c/em> feel like almost theoretical drama: more avatar than genuine article.\u003c/p>\n\u003cp>These movies have had to work extremely hard, moment to moment, just to pass as believable. But almost every gesture, every movement and every bit of dialogue has had something unnatural about it. (The high frame rate is partially to blame.) That’s made these uncanny movies a combination, in equal measure, of things you’ve never seen before, and things you can’t unsee.\u003c/p>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, scripted by Cameron, Rick Jaffa and Amanda Silver, picks up with the aftermath of the climatic battle of \u003cem>The Way of Water\u003c/em>. The Na’vi and their seafaring allies, the Metkayina clan, are nursing their wounds and recovering the human weapons that sunk to the sea floor.\u003c/p>\n\u003cp>When a rival clan called the Mangkwan or Ash People come to challenge the Na’vi, those weapons represent an ethical quandary. Should they use such firepower in their own local battles? This is a more difficult question partially because the fire-mad Mangkwan are especially bloodthirsty, led by their slinky sorceress, Vanang (played with seductive sadism by Chaplin, granddaughter of Charlie).\u003c/p>\n\u003cp>But their fight is only a piece of the larger war of \u003cem>Fire and Ash\u003c/em>. The focus of this third chapter (films four and five are said to be written but not greenlit) is interspecies coexistence. As human and Na’vi lines continue to blur, the question becomes whether the human invaders will transform Pandora or if Pandora will transform them.\u003c/p>\n\u003cfigure id=\"attachment_13985014\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg\" alt=\"aliens in military attire glower\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Lang’s character Quaritch in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That puts the focus on the three characters in various in-between states. First, there’s Spider (Jack Champion), the human son of Quaritch who lives happily with the Na’vi while breathing through a machine to survive the Pandora atmosphere. (Champion has the double misfortune of wearing a mask and looking downright puny next to the tall and slender natives.) But in \u003cem>Fire and Ash\u003c/em>, he discovers he can breathe unfiltered, a development that prompts intense military interest in a potentially hugely profitable breakthrough in Pandora assimilation.\u003c/p>\n\u003cp>There’s also Jake Sully (Sam Worthington), the former human who has made a Na’vi family with Neytiri (Zoe Saldaña). For Neytiri, the growing menace of human warfare causes her to doubt her bond with Jake. The prejudices of \u003cem>Fire and Ash\u003c/em> seep even into the home.\u003c/p>\n\u003cp>Most interesting of the three, though, remains Quaritch. He may be violently trying to subjugate Pandora but he also obviously delights in his Na’vi body and in his life on this distant moon. You can see him flinch when his commander, General Ardmore (Edie Falco), refers to their Mangkwan allies as “savages.” Meanwhile, Quaritch and Vanang hit it off like gangbusters.\u003c/p>\n\u003cp>“You’ve got new eyes, colonel,” one character tells Quaritch. “All you’ve got to do is open them.”\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films have done plenty to open eyes over the past 16 years. To new cinematic horizons, to the boundlessness of Cameron’s visions, to the Papyrus font. But the most endearing quality of \u003cem>Avatar\u003c/em> is that Cameron believes so ardently in it. I might be caught up less in the goings on Pandora, but I’m kind of glad that he is. There are worse things than dreaming up a better world, with still a fighting chance.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Avatar: Fire and Ash,’ opens in theaters Dec. 19, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rooting for the underdog, on the field or in a movie, is one of America’s greatest traditions. You can trace it all the way back to our time-honored, tea-stained origin story of a ragtag band of farmers and shopkeepers taking on the British Empire. \u003c/p>\n\u003cp>[aside postID='arts_13984386']\u003cem>Marty Supreme\u003c/em> (opening Dec. 25), Josh Safdie’s beautifully crafted runaway train with an astonishing Timothée Chalamet as its pedal-to-the-metal engineer, turns the basic underdog dynamic, with all its brio and bravery and desperation and bullshit, into a feverish exposé of the fury and folly of the American Dream. If that isn’t your cup of mead, friend, what kind of patriot are you?\u003c/p>\n\u003cp>Josh Safdie’s best films (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13872331/uncut-gems-glittering-darkly\">Uncut Gems\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.npr.org/2017/08/11/542423079/stylishly-gritty-this-chase-thriller-really-is-a-good-time\">Good Time\u003c/a>\u003c/em>, co-directed with his brother Bennie, who also directed a sports movie on his own this year, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13982077/smashing-machine-movie-review-mark-kerr-biopic-mma-dwayne-rock-johnson\">The Smashing Machine\u003c/a>\u003c/em>) center on men who know only one direction (forward) and one speed (faster). Are those protagonists (played by Adam Sandler and Robert Pattinson) and Marty running toward something or away from something? It’s a trick question, of course.\u003c/p>\n\u003cfigure id=\"attachment_13984493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg\" alt=\"blurry image of man running down busy city street with valise\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13984493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chalamet’s Marty Mauser is inspired by the late Marty Reisman, who titled his (ghostwritten) 1974 autobiography \u003cem>\u003ca href=\"https://archive.org/details/moneyplayercon00reis\">The Money Player: The Confessions of America’s Greatest Table Tennis Champion and Hustler\u003c/a>\u003c/em>. But we have no clue this skinny kid is an athlete when we are introduced to him in the early 1950s. He’s conning a customer in his uncle’s Lower East Side shoe store into buying the too-tight pair he’s passing off as her size.\u003c/p>\n\u003cp>She’s too savvy to fall for Marty’s spiel — much of the tension in \u003cem>Marty Supreme\u003c/em> derives from whether people will fold or stiffen in the face of his high-speed verbal onslaughts — but she’s instantly displaced by the arrival of a young woman who has some urgent footwear business with Marty that takes them downstairs to the storeroom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em>’s early scenes, set in confined spaces, convey the claustrophobia driving its namesake to exceed the world’s expectations and escape the crummy, anonymous life everyone around him seems fated to. But we aren’t prepared for Marty’s lunatic ambition, and his off-putting brand of American exceptionalism in which he effortlessly shifts from hero to victim to suit his schemes.\u003c/p>\n\u003cfigure id=\"attachment_13985002\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg\" alt=\"black man and white man gesture over ping pong table in bowling alley\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, the Creator and Timothée Chalamet in a scene from ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We are both charmed by and leery of this showman, gambler and flamboyant self-promoter who, we come to see, is indifferent to the damage he leaves in his wake. If Marty is a kind of forerunner for larger-than-life competitors like Muhammad Ali, Evel Knievel, Pete Rose and John McEnroe, he’s also cut from the same cloth as the “pal” who borrowed your car and lied about the scratches and dents.\u003c/p>\n\u003cp>Most filmmakers would be content to highlight the working-class desolation of Marty’s milieu, and let the high-stakes drama of far-flung table-tennis tournaments and New Jersey bowling alley scams rivet the viewer. Safdie and co-writer Ronald Bronstein bravely go further, repeatedly reminding us of Marty’s Jewishness in ways that are edgy and shocking.\u003c/p>\n\u003cp>In one scene, Marty cajoles fellow player Béla (Hungarian actor Géza Rohrig of the shattering 2015 concentration-camp saga \u003cem>\u003ca href=\"https://www.kqed.org/arts/11241009/shallow-focus-creates-depth-of-feeling-in-son-of-saul\">Son of Saul\u003c/a>\u003c/em>) to reveal the tattooed numbers on his arm to a stranger. Later, on a trip to the Middle East, Marty shamelessly chips off a piece from a pyramid that he gifts to his mother with the line, “We built it.”\u003c/p>\n\u003cfigure id=\"attachment_13985003\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg\" alt=\"blond woman in hat looking up\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gwyneth Paltrow in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t enough for Marty to make some money, get his picture in the papers and travel abroad. Nor is it enough to capture the attention of a one-time movie star (Gwyneth Paltrow) with a rich husband. Sadly, he isn’t satisfied with success.\u003c/p>\n\u003cp>If I were a lousy psychotherapist, I might see \u003cem>Marty Supreme\u003c/em> as a Holocaust-revenge movie. Marty’s taking (back) what’s his (or what he sees as the Jewish people’s). The problem with that interpretation is that Marty directs his white-hot frenzy at anyone in his path, including erstwhile friends and supporters. He combines the ambition of \u003ca href=\"https://www.youtube.com/watch?v=1ADWjL42OGc\">Duddy Kravitz\u003c/a>, the zero-to-60 acceleration of the Roadrunner and the relentlessness of the Terminator with their accompanying lack of scruples.\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em> is far and away one of the best movies of 2025, and its brilliant execution extends to the way it guides your feelings toward its anti-hero. There comes a point, sooner or later, where you will stop taking Marty’s side. You may even hope for his comeuppance, as I did. And then there’s a turn where Safdie and Chalamet will likely make you root for Marty again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>American movies typically encourage us to cheer for the underdog. \u003cem>Marty Supreme\u003c/em> makes you question that simple loyalty, and ponder how much a child of immigrants who seeks to prove that the streets are paved with gold is allowed to get away with.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rooting for the underdog, on the field or in a movie, is one of America’s greatest traditions. You can trace it all the way back to our time-honored, tea-stained origin story of a ragtag band of farmers and shopkeepers taking on the British Empire. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Marty Supreme\u003c/em> (opening Dec. 25), Josh Safdie’s beautifully crafted runaway train with an astonishing Timothée Chalamet as its pedal-to-the-metal engineer, turns the basic underdog dynamic, with all its brio and bravery and desperation and bullshit, into a feverish exposé of the fury and folly of the American Dream. If that isn’t your cup of mead, friend, what kind of patriot are you?\u003c/p>\n\u003cp>Josh Safdie’s best films (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13872331/uncut-gems-glittering-darkly\">Uncut Gems\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.npr.org/2017/08/11/542423079/stylishly-gritty-this-chase-thriller-really-is-a-good-time\">Good Time\u003c/a>\u003c/em>, co-directed with his brother Bennie, who also directed a sports movie on his own this year, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13982077/smashing-machine-movie-review-mark-kerr-biopic-mma-dwayne-rock-johnson\">The Smashing Machine\u003c/a>\u003c/em>) center on men who know only one direction (forward) and one speed (faster). Are those protagonists (played by Adam Sandler and Robert Pattinson) and Marty running toward something or away from something? It’s a trick question, of course.\u003c/p>\n\u003cfigure id=\"attachment_13984493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg\" alt=\"blurry image of man running down busy city street with valise\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13984493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chalamet’s Marty Mauser is inspired by the late Marty Reisman, who titled his (ghostwritten) 1974 autobiography \u003cem>\u003ca href=\"https://archive.org/details/moneyplayercon00reis\">The Money Player: The Confessions of America’s Greatest Table Tennis Champion and Hustler\u003c/a>\u003c/em>. But we have no clue this skinny kid is an athlete when we are introduced to him in the early 1950s. He’s conning a customer in his uncle’s Lower East Side shoe store into buying the too-tight pair he’s passing off as her size.\u003c/p>\n\u003cp>She’s too savvy to fall for Marty’s spiel — much of the tension in \u003cem>Marty Supreme\u003c/em> derives from whether people will fold or stiffen in the face of his high-speed verbal onslaughts — but she’s instantly displaced by the arrival of a young woman who has some urgent footwear business with Marty that takes them downstairs to the storeroom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em>’s early scenes, set in confined spaces, convey the claustrophobia driving its namesake to exceed the world’s expectations and escape the crummy, anonymous life everyone around him seems fated to. But we aren’t prepared for Marty’s lunatic ambition, and his off-putting brand of American exceptionalism in which he effortlessly shifts from hero to victim to suit his schemes.\u003c/p>\n\u003cfigure id=\"attachment_13985002\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg\" alt=\"black man and white man gesture over ping pong table in bowling alley\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, the Creator and Timothée Chalamet in a scene from ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We are both charmed by and leery of this showman, gambler and flamboyant self-promoter who, we come to see, is indifferent to the damage he leaves in his wake. If Marty is a kind of forerunner for larger-than-life competitors like Muhammad Ali, Evel Knievel, Pete Rose and John McEnroe, he’s also cut from the same cloth as the “pal” who borrowed your car and lied about the scratches and dents.\u003c/p>\n\u003cp>Most filmmakers would be content to highlight the working-class desolation of Marty’s milieu, and let the high-stakes drama of far-flung table-tennis tournaments and New Jersey bowling alley scams rivet the viewer. Safdie and co-writer Ronald Bronstein bravely go further, repeatedly reminding us of Marty’s Jewishness in ways that are edgy and shocking.\u003c/p>\n\u003cp>In one scene, Marty cajoles fellow player Béla (Hungarian actor Géza Rohrig of the shattering 2015 concentration-camp saga \u003cem>\u003ca href=\"https://www.kqed.org/arts/11241009/shallow-focus-creates-depth-of-feeling-in-son-of-saul\">Son of Saul\u003c/a>\u003c/em>) to reveal the tattooed numbers on his arm to a stranger. Later, on a trip to the Middle East, Marty shamelessly chips off a piece from a pyramid that he gifts to his mother with the line, “We built it.”\u003c/p>\n\u003cfigure id=\"attachment_13985003\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg\" alt=\"blond woman in hat looking up\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gwyneth Paltrow in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t enough for Marty to make some money, get his picture in the papers and travel abroad. Nor is it enough to capture the attention of a one-time movie star (Gwyneth Paltrow) with a rich husband. Sadly, he isn’t satisfied with success.\u003c/p>\n\u003cp>If I were a lousy psychotherapist, I might see \u003cem>Marty Supreme\u003c/em> as a Holocaust-revenge movie. Marty’s taking (back) what’s his (or what he sees as the Jewish people’s). The problem with that interpretation is that Marty directs his white-hot frenzy at anyone in his path, including erstwhile friends and supporters. He combines the ambition of \u003ca href=\"https://www.youtube.com/watch?v=1ADWjL42OGc\">Duddy Kravitz\u003c/a>, the zero-to-60 acceleration of the Roadrunner and the relentlessness of the Terminator with their accompanying lack of scruples.\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em> is far and away one of the best movies of 2025, and its brilliant execution extends to the way it guides your feelings toward its anti-hero. There comes a point, sooner or later, where you will stop taking Marty’s side. You may even hope for his comeuppance, as I did. And then there’s a turn where Safdie and Chalamet will likely make you root for Marty again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>American movies typically encourage us to cheer for the underdog. \u003cem>Marty Supreme\u003c/em> makes you question that simple loyalty, and ponder how much a child of immigrants who seeks to prove that the streets are paved with gold is allowed to get away with.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Comedian Kaytlin Bailey Revives the Forgotten Histories of Sex Workers",
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"content": "\u003cp>Kaytlin Bailey didn’t originally set out to become a sex worker rights activist. She just wanted to be funny.\u003c/p>\n\u003cp>But in 2018, under the first Trump administration, the FOSTA-SESTA bill passed, criminalizing the online assistance, facilitation and support systems sex workers relied on to stay safe. Bailey, a New York–based stand-up comedian and former sex worker, felt compelled to use her platform to speak out against the law’s devastating impact.\u003c/p>\n\u003cp>“I believe that if you can make people laugh, you can make people listen,” Bailey said. “Comedy has a long history of that, and it’s a great way to cut through a lot of noise.”\u003c/p>\n\u003cp>Since then, Bailey’s career has expanded well beyond the stand-up stage. She is the founder and executive director of \u003ca href=\"https://oldprosonline.org/\">Old Pros\u003c/a>, a sex worker–led nonprofit focused on advocacy through storytelling; the host of \u003ci>The Oldest Profession\u003c/i> podcast; and the writer and performer behind a series of one-woman shows.\u003c/p>\n\u003cp>Her most recent one-woman show, also called \u003ci>The Oldest Profession\u003c/i>, comes to San Francisco on Dec. 17, at the Lost Church. The 70-minute solo performance is a narrative sprint through 10,000 years of sex worker history as it has manifested globally, dating back as early as ancient Mesopotamia. Bailey brings her trademark irreverence to this hybrid of history lecture, comedic monologue and cultural critique that explores and revives the marginalized stories of sex workers.\u003c/p>\n\u003cfigure id=\"attachment_13984970\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984970\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1.jpg\" alt=\"A woman holding a microphone as she speaks on stage.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bailey performing her previous one-woman show, ‘Whore’s Eye View,’ in Orlando. \u003ccite>(Ashleigh Ann Gardner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before doors open for the performance, the Lost Church will host a free community event honoring sex workers who’ve passed away. The gathering is part of the \u003ca href=\"https://www.nswp.org/event/international-day-end-violence-against-sex-workers-6\">International Day to End Violence Against Sex Workers\u003c/a>, founded by San Francisco–based sex worker activists Annie Sprinkle and Robyn Few, who also founded the \u003ca href=\"https://www.nswp.org/featured/swop-usa\">Sex Workers Outreach Project USA\u003c/a> (SWOP-USA).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s a lot of examples of sex workers coming together and organizing and making their voices heard in San Francisco, which is why I’m so excited to be bringing this show there and performing it in front of people that do this work,” Bailey said.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13894842']\u003c/span>Throughout her career, Bailey has witnessed the “pendulum swing both ways” with regard to attitudes toward sex work. She recalls that when she first started out in the early 2000s, a time steeped in fat-shaming and slut-shaming, pop culture icons like Christina Aguilera seemed to promise a new era of freedom.\u003c/p>\n\u003cp>“It once felt inconceivable that \u003ci>Roe v. Wade\u003c/i> could be overturned. It felt like opportunities for women were always expanding,” she said.\u003c/p>\n\u003cp>Yet progress has proven fragile, and many of the legal and cultural barriers from decades past persist and have intensified under the current political climate.\u003c/p>\n\u003cp>The first Trump administration’s nomination of three conservative Supreme Court justices shifted the Court’s balance and set the stage for the \u003ca href=\"https://www.npr.org/2022/06/24/1102305878/supreme-court-abortion-roe-v-wade-decision-overturn\">overturn of \u003ci>Roe v. Wade\u003c/i>\u003c/a> in 2022. This shift in reproductive rights reflected a larger pattern of restricting sexual autonomy — a reality that sex workers, in particular, continue to confront. For the next generation of feminists, Bailey urges expanding rights and resources for sex workers, and not mistaking prohibition for protection.\u003c/p>\n\u003cp>“I believe that we will work towards a future with less sexual violence and less gender-based violence, not by policing anyone’s sex life harder, but by giving more people, including the most vulnerable people, more access to rights and resources,” Bailey said. “Criminalizing our work and criminalizing our livelihood just isn’t how you get there.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Bailey’s one-woman show, \u003c/i>The Oldest Profession\u003ci>, comes to the Lost Church (988 Columbus Ave., San Francisco) on December 17. Doors open at 7:30 p.m., with a free community event starting at 6 p.m. Tickets and more information \u003c/i>\u003ca href=\"https://thelostchurch.my.salesforce-sites.com/ticket/#/instances/a0FTU00000M8OtJ2AV\">\u003ci>here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kaytlin Bailey didn’t originally set out to become a sex worker rights activist. She just wanted to be funny.\u003c/p>\n\u003cp>But in 2018, under the first Trump administration, the FOSTA-SESTA bill passed, criminalizing the online assistance, facilitation and support systems sex workers relied on to stay safe. Bailey, a New York–based stand-up comedian and former sex worker, felt compelled to use her platform to speak out against the law’s devastating impact.\u003c/p>\n\u003cp>“I believe that if you can make people laugh, you can make people listen,” Bailey said. “Comedy has a long history of that, and it’s a great way to cut through a lot of noise.”\u003c/p>\n\u003cp>Since then, Bailey’s career has expanded well beyond the stand-up stage. She is the founder and executive director of \u003ca href=\"https://oldprosonline.org/\">Old Pros\u003c/a>, a sex worker–led nonprofit focused on advocacy through storytelling; the host of \u003ci>The Oldest Profession\u003c/i> podcast; and the writer and performer behind a series of one-woman shows.\u003c/p>\n\u003cp>Her most recent one-woman show, also called \u003ci>The Oldest Profession\u003c/i>, comes to San Francisco on Dec. 17, at the Lost Church. The 70-minute solo performance is a narrative sprint through 10,000 years of sex worker history as it has manifested globally, dating back as early as ancient Mesopotamia. Bailey brings her trademark irreverence to this hybrid of history lecture, comedic monologue and cultural critique that explores and revives the marginalized stories of sex workers.\u003c/p>\n\u003cfigure id=\"attachment_13984970\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984970\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1.jpg\" alt=\"A woman holding a microphone as she speaks on stage.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bailey performing her previous one-woman show, ‘Whore’s Eye View,’ in Orlando. \u003ccite>(Ashleigh Ann Gardner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before doors open for the performance, the Lost Church will host a free community event honoring sex workers who’ve passed away. The gathering is part of the \u003ca href=\"https://www.nswp.org/event/international-day-end-violence-against-sex-workers-6\">International Day to End Violence Against Sex Workers\u003c/a>, founded by San Francisco–based sex worker activists Annie Sprinkle and Robyn Few, who also founded the \u003ca href=\"https://www.nswp.org/featured/swop-usa\">Sex Workers Outreach Project USA\u003c/a> (SWOP-USA).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s a lot of examples of sex workers coming together and organizing and making their voices heard in San Francisco, which is why I’m so excited to be bringing this show there and performing it in front of people that do this work,” Bailey said.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Throughout her career, Bailey has witnessed the “pendulum swing both ways” with regard to attitudes toward sex work. She recalls that when she first started out in the early 2000s, a time steeped in fat-shaming and slut-shaming, pop culture icons like Christina Aguilera seemed to promise a new era of freedom.\u003c/p>\n\u003cp>“It once felt inconceivable that \u003ci>Roe v. Wade\u003c/i> could be overturned. It felt like opportunities for women were always expanding,” she said.\u003c/p>\n\u003cp>Yet progress has proven fragile, and many of the legal and cultural barriers from decades past persist and have intensified under the current political climate.\u003c/p>\n\u003cp>The first Trump administration’s nomination of three conservative Supreme Court justices shifted the Court’s balance and set the stage for the \u003ca href=\"https://www.npr.org/2022/06/24/1102305878/supreme-court-abortion-roe-v-wade-decision-overturn\">overturn of \u003ci>Roe v. Wade\u003c/i>\u003c/a> in 2022. This shift in reproductive rights reflected a larger pattern of restricting sexual autonomy — a reality that sex workers, in particular, continue to confront. For the next generation of feminists, Bailey urges expanding rights and resources for sex workers, and not mistaking prohibition for protection.\u003c/p>\n\u003cp>“I believe that we will work towards a future with less sexual violence and less gender-based violence, not by policing anyone’s sex life harder, but by giving more people, including the most vulnerable people, more access to rights and resources,” Bailey said. “Criminalizing our work and criminalizing our livelihood just isn’t how you get there.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Bailey’s one-woman show, \u003c/i>The Oldest Profession\u003ci>, comes to the Lost Church (988 Columbus Ave., San Francisco) on December 17. Doors open at 7:30 p.m., with a free community event starting at 6 p.m. Tickets and more information \u003c/i>\u003ca href=\"https://thelostchurch.my.salesforce-sites.com/ticket/#/instances/a0FTU00000M8OtJ2AV\">\u003ci>here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "mia-pixley-jazz-cello-new-album-review-love-dark-bloom-berkeley-concert",
"title": "Cellist Mia Pixley Flourishes in Darkness",
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"content": "\u003cp>As cold weather and lack of sunlight cause the leaves’ dominant shades of green to fade, other pigments, like the orange and yellow carotenoids and red and purple anthocyanins, become more visible. The beautiful colors lie dormant in the leaves year-round, only to be revealed by darkness.\u003c/p>\n\u003cp>This is a perfect metaphor for \u003ca href=\"https://www.instagram.com/miapixley/\">Mia Pixley\u003c/a>’s new album, \u003ca href=\"https://soundcloud.com/miapixley/sets/love-dark-bloom/s-GNOs40YEvhV\">\u003ci>Love. Dark. Bloom.\u003c/i>\u003c/a> The soulful jazz singer and cellist pulls from the unknown, the absence of light and even the underworld in her latest body of work.\u003c/p>\n\u003cfigure id=\"attachment_13984301\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984301\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-scaled.jpg\" alt=\"A woman with an afro sings while on stage.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1368x2048.jpg 1368w\" sizes=\"auto, (max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Multitalented musician Mia Pixley, seen here performing at Ciel Creative Space in Berkeley, is using her music to explore the beautiful things that can come from the darker side of life. \u003ccite>(Josh Sugitan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I naturally gravitate towards what’s unseen,” says Pixley during a phone call, explaining that her attraction to “what’s underneath” or what some people might deem as “taboo” is pushed by her understanding that darkness is a huge part of who we are as people.\u003c/p>\n\u003cp>“And so when I’m approaching my art, I’m interested in looking at these areas,” she says in reference to darkness, adding that she’s mindful of finding ways to them “zing.”\u003c/p>\n\u003cp>That alchemy is shown from the start of the nine-track album, \u003ca href=\"https://miapixley.com/contact-1\">which she’ll be performing\u003c/a> across the state, in Occidental on Dec. 20 and at \u003ca href=\"https://secure.thefreight.org/15380/15381-barbara-higbie-and-friends-winter-solstice-celebration-251221\">The Freight\u003c/a> in Berkeley on Dec. 21, the evening of the Winter Solstice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The album kicks off with the song “Like Water, Like Love,” providing theme music for an adventure into the depths. The rhythmic thud of Pixley’s cello is paired with drums, creating a sound that’s tailor-made for a lovely jaunt into the unknown.\u003c/p>\n\u003cp>By the end of the song, the drums are stripped from the track and the jaunting is over; the only thing left is Pixley’s haunting hymns and the umph of the string instrument. The journey toward darkness begins.\u003c/p>\n\u003cp>The album proceeds to a jazzy, uptempo, smoky-room-sounding song in “Gimmie The Juice,” before leading us to “Dirty” (inspired by the James Baldwin’s \u003cem>Previous Condition\u003c/em>) and “Marigold” (inspired by Toni Morrison’s \u003cem>The Bluest Eye\u003c/em>).\u003c/p>\n\u003cp>Pixley, the co-organizer of \u003ca href=\"https://www.instagram.com/bushwickbookcluboakland/?hl=en\">the Bushwick Book Club Oakland\u003c/a>, periodically meets with other local musicians, reads the same book and then writes music inspired by the literature. If so moved, the artists perform their song for an audience. (Pixley, \u003ca href=\"https://nikbomusic.com/\">Nikbo \u003c/a>and \u003ca href=\"https://clairecalderon.com/\">Claire Calderón\u003c/a> also co-wrote the song “Mother Told Me,” which appears later in the album; it was inspired by the book \u003cem>Women Who Run with the Wolves\u003c/em>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PZxtGhk8rPA\u003c/p>\n\u003cp>Just past the halfway point of the project, the fifth song brings us into peak darkness. And it’s beautiful. The track, “A Woman, A Wind,” opens with a foot-tapping rhythm as Pixley plays the cello and sings in a gritty tone, “She was walking along the road…”\u003c/p>\n\u003cp>The song literally came to Pixley during a walk, when she had this idea about a person wearing a top hat. A people pleaser like herself, the top-hatter had to learn how to not “dance and jive for people,” she tells me. Instead, both she and the fictional character had to learn to “let it go.”\u003c/p>\n\u003cp>The driving rhythm — an urgent strumming of the cello strings that sounds like change is coming — came to her thereafter. She paired it with a benevolently delightful melody for juxtaposition. “It’s, like, free,” Pixley says in reference to the lighter side of the song’s counterbalance.\u003c/p>\n\u003cp>She laid it all down on a five-channel looper and then mapped out where the supporting artists would fit in.\u003c/p>\n\u003cp>“I do all the harmonies,” says Pixley, bringing me into the magic behind the scenes. “And then,” she says, “in the recording session is when I invite people that I think whose artistic sensibilities can take those ideas to the next level.” On this track those “artistic sensibilities” were provided by \u003ca href=\"https://linktr.ee/hapabass?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnKDAfxmOM8xik_-ykOJmi_zmfTHhPI7m0mr31HW3YzSkmOg8-vCJIcTDI77E_aem_BhexGW1hvR6uWl9-i1H_eg\">Kevin Goldberg\u003c/a>, \u003ca href=\"https://chezhanny.com/isaac_schwartz_2022.html\">Isaac Schwartz\u003c/a>, \u003ca href=\"https://www.instagram.com/mc.arthurgiuseppe/?hl=en\">Ian McArdle\u003c/a> and \u003ca href=\"https://www.instagram.com/bryancsimmons/?hl=en\">Bryan C. Simmons\u003c/a>.\u003c/p>\n\u003cp>The song is a journey and, arguably, the epitome of the album. It takes the listener from the darkness of confusion through the driving sound of change before ending on a profound note.\u003c/p>\n\u003cp>“And it don’t matter where that wind blows,” Pixley sings in an ominous tone over slow strums of the cello at the very end of the song. “Just know, it gets harder when you won’t let go.”\u003c/p>\n\u003cfigure id=\"attachment_13984302\" class=\"wp-caption aligncenter\" style=\"max-width: 774px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley.png\" alt=\"A woman sits, posing for a photo, holding her cello vertically. \" width=\"774\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley.png 774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley-160x161.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley-768x774.png 768w\" sizes=\"auto, (max-width: 774px) 100vw, 774px\">\u003cfigcaption class=\"wp-caption-text\">Mia Pixley, who has been playing the cello since about the age of four, uses the instrument to guide her through dark times as an adult. \u003ccite>(Victor Xie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A psychologist as well as an artist, Pixley says her dealings in darkness in both practices “cross-pollinate.” At the heart of it all is the idea of “transforming hard things into new energy.”\u003c/p>\n\u003cp>Through listening, feeling and intuiting — trusting her intuition — Pixley gathers the information she needs for her work. “I like being \u003cem>in the things,” \u003c/em>she says of her ability to use more than her eyes to explore.\u003c/p>\n\u003cp>Artistically inclined from a young age, Pixley asserts that her time in New York studying at Columbia University nurtured her natural proclivities.\u003c/p>\n\u003cp>Born in Texas during the winter months, Pixley used to not like the cold season. But through the process of making this album, she’s shifted her relationship with winter and simultaneously broken free of repeating patterns in her life by simply “feeling” her way through it, she says.\u003c/p>\n\u003cp>“Darkness requires a different kind of sensing,” states Pixley, explaining that this season is all about hearing, tasting, feeling and “listening to ancestral guidance.” And because it requires a different set of senses, some people can find it “totally unnerving.”\u003c/p>\n\u003cp>For Pixley, navigating darkness, be it from lack of light or clarity, is like the child’s game of “Lights Out,” or Hide-And-Go-Seek in the dark. To play the game, she says, you have to move slower.\u003c/p>\n\u003cp>As the album concludes, it goes from the cold, somber depths of the songs “Dark” and “Line” to remerge with light in the final track, “Bloom.”\u003c/p>\n\u003cp>The track was originally written as a commissioned piece for famed violinist\u003ca href=\"https://www.npr.org/artists/570165123/anne-akiko-meyers\"> Anne Akiko Meyers\u003c/a>, who was moved by Pixley’s performance of “\u003ca href=\"https://www.youtube.com/watch?v=PZxtGhk8rPA\">Everything is Slow Motion\u003c/a>” at the de Young Museum with Mercury Soul.\u003c/p>\n\u003cp>“She reached out to me and said, ‘Could you write me a song?'” recalls Pixley, who then wrote “Bloom,” but Meyers never used it. “So,” explains Pixley, “I asked her permission if I could put it on this project because it felt like the right track to close the album.” Meyers agreed, under one condition: that Pixley note that it was originally penned for her.\u003c/p>\n\u003cp>“Whenever I need good external validation,” Pixley reflects, with a lightness in her tone, “I’m like, ‘But Anne believes in me.'” More seriously, she notes that reassurance is a necessity when you’re on a path through darkness.\u003c/p>\n\u003cp>“If I do this journey with openness and with surrender and with love,” says Pixley, “It’s gonna bloom.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Mia Pixley’s album \u003ca href=\"https://soundcloud.com/miapixley/sets/love-dark-bloom/s-GNOs40YEvhV?si=e2bbb10ddc484e9d8d6e38eb7cac4a44&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing\">Love. Dark. Bloom.\u003c/a> was released on Dec. 4. She’ll be performing on Dec. 21, as a part of Barbara Higbie and Friends Winter Solstice Celebration (with Vicki Randle, Kofy Brown, Michaelle Goerlitz and Jasper Manning). Doors open at 6 p.m., and the event starts at 7 p.m. at The Freight in Berkeley (2020 Addison St.). \u003ca href=\"https://secure.thefreight.org/15380/15381-barbara-higbie-and-friends-winter-solstice-celebration-251221\">Check here for more information\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As cold weather and lack of sunlight cause the leaves’ dominant shades of green to fade, other pigments, like the orange and yellow carotenoids and red and purple anthocyanins, become more visible. The beautiful colors lie dormant in the leaves year-round, only to be revealed by darkness.\u003c/p>\n\u003cp>This is a perfect metaphor for \u003ca href=\"https://www.instagram.com/miapixley/\">Mia Pixley\u003c/a>’s new album, \u003ca href=\"https://soundcloud.com/miapixley/sets/love-dark-bloom/s-GNOs40YEvhV\">\u003ci>Love. Dark. Bloom.\u003c/i>\u003c/a> The soulful jazz singer and cellist pulls from the unknown, the absence of light and even the underworld in her latest body of work.\u003c/p>\n\u003cfigure id=\"attachment_13984301\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984301\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-scaled.jpg\" alt=\"A woman with an afro sings while on stage.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/download-1368x2048.jpg 1368w\" sizes=\"auto, (max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">Multitalented musician Mia Pixley, seen here performing at Ciel Creative Space in Berkeley, is using her music to explore the beautiful things that can come from the darker side of life. \u003ccite>(Josh Sugitan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I naturally gravitate towards what’s unseen,” says Pixley during a phone call, explaining that her attraction to “what’s underneath” or what some people might deem as “taboo” is pushed by her understanding that darkness is a huge part of who we are as people.\u003c/p>\n\u003cp>“And so when I’m approaching my art, I’m interested in looking at these areas,” she says in reference to darkness, adding that she’s mindful of finding ways to them “zing.”\u003c/p>\n\u003cp>That alchemy is shown from the start of the nine-track album, \u003ca href=\"https://miapixley.com/contact-1\">which she’ll be performing\u003c/a> across the state, in Occidental on Dec. 20 and at \u003ca href=\"https://secure.thefreight.org/15380/15381-barbara-higbie-and-friends-winter-solstice-celebration-251221\">The Freight\u003c/a> in Berkeley on Dec. 21, the evening of the Winter Solstice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The album kicks off with the song “Like Water, Like Love,” providing theme music for an adventure into the depths. The rhythmic thud of Pixley’s cello is paired with drums, creating a sound that’s tailor-made for a lovely jaunt into the unknown.\u003c/p>\n\u003cp>By the end of the song, the drums are stripped from the track and the jaunting is over; the only thing left is Pixley’s haunting hymns and the umph of the string instrument. The journey toward darkness begins.\u003c/p>\n\u003cp>The album proceeds to a jazzy, uptempo, smoky-room-sounding song in “Gimmie The Juice,” before leading us to “Dirty” (inspired by the James Baldwin’s \u003cem>Previous Condition\u003c/em>) and “Marigold” (inspired by Toni Morrison’s \u003cem>The Bluest Eye\u003c/em>).\u003c/p>\n\u003cp>Pixley, the co-organizer of \u003ca href=\"https://www.instagram.com/bushwickbookcluboakland/?hl=en\">the Bushwick Book Club Oakland\u003c/a>, periodically meets with other local musicians, reads the same book and then writes music inspired by the literature. If so moved, the artists perform their song for an audience. (Pixley, \u003ca href=\"https://nikbomusic.com/\">Nikbo \u003c/a>and \u003ca href=\"https://clairecalderon.com/\">Claire Calderón\u003c/a> also co-wrote the song “Mother Told Me,” which appears later in the album; it was inspired by the book \u003cem>Women Who Run with the Wolves\u003c/em>.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PZxtGhk8rPA'\n title='//www.youtube.com/embed/PZxtGhk8rPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Just past the halfway point of the project, the fifth song brings us into peak darkness. And it’s beautiful. The track, “A Woman, A Wind,” opens with a foot-tapping rhythm as Pixley plays the cello and sings in a gritty tone, “She was walking along the road…”\u003c/p>\n\u003cp>The song literally came to Pixley during a walk, when she had this idea about a person wearing a top hat. A people pleaser like herself, the top-hatter had to learn how to not “dance and jive for people,” she tells me. Instead, both she and the fictional character had to learn to “let it go.”\u003c/p>\n\u003cp>The driving rhythm — an urgent strumming of the cello strings that sounds like change is coming — came to her thereafter. She paired it with a benevolently delightful melody for juxtaposition. “It’s, like, free,” Pixley says in reference to the lighter side of the song’s counterbalance.\u003c/p>\n\u003cp>She laid it all down on a five-channel looper and then mapped out where the supporting artists would fit in.\u003c/p>\n\u003cp>“I do all the harmonies,” says Pixley, bringing me into the magic behind the scenes. “And then,” she says, “in the recording session is when I invite people that I think whose artistic sensibilities can take those ideas to the next level.” On this track those “artistic sensibilities” were provided by \u003ca href=\"https://linktr.ee/hapabass?utm_source=ig&utm_medium=social&utm_content=link_in_bio&fbclid=PAZXh0bgNhZW0CMTEAc3J0YwZhcHBfaWQMMjU2MjgxMDQwNTU4AAGnKDAfxmOM8xik_-ykOJmi_zmfTHhPI7m0mr31HW3YzSkmOg8-vCJIcTDI77E_aem_BhexGW1hvR6uWl9-i1H_eg\">Kevin Goldberg\u003c/a>, \u003ca href=\"https://chezhanny.com/isaac_schwartz_2022.html\">Isaac Schwartz\u003c/a>, \u003ca href=\"https://www.instagram.com/mc.arthurgiuseppe/?hl=en\">Ian McArdle\u003c/a> and \u003ca href=\"https://www.instagram.com/bryancsimmons/?hl=en\">Bryan C. Simmons\u003c/a>.\u003c/p>\n\u003cp>The song is a journey and, arguably, the epitome of the album. It takes the listener from the darkness of confusion through the driving sound of change before ending on a profound note.\u003c/p>\n\u003cp>“And it don’t matter where that wind blows,” Pixley sings in an ominous tone over slow strums of the cello at the very end of the song. “Just know, it gets harder when you won’t let go.”\u003c/p>\n\u003cfigure id=\"attachment_13984302\" class=\"wp-caption aligncenter\" style=\"max-width: 774px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984302\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley.png\" alt=\"A woman sits, posing for a photo, holding her cello vertically. \" width=\"774\" height=\"780\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley.png 774w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley-160x161.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Headshot-by-Victor-Xie-Mia-Pixley-768x774.png 768w\" sizes=\"auto, (max-width: 774px) 100vw, 774px\">\u003cfigcaption class=\"wp-caption-text\">Mia Pixley, who has been playing the cello since about the age of four, uses the instrument to guide her through dark times as an adult. \u003ccite>(Victor Xie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A psychologist as well as an artist, Pixley says her dealings in darkness in both practices “cross-pollinate.” At the heart of it all is the idea of “transforming hard things into new energy.”\u003c/p>\n\u003cp>Through listening, feeling and intuiting — trusting her intuition — Pixley gathers the information she needs for her work. “I like being \u003cem>in the things,” \u003c/em>she says of her ability to use more than her eyes to explore.\u003c/p>\n\u003cp>Artistically inclined from a young age, Pixley asserts that her time in New York studying at Columbia University nurtured her natural proclivities.\u003c/p>\n\u003cp>Born in Texas during the winter months, Pixley used to not like the cold season. But through the process of making this album, she’s shifted her relationship with winter and simultaneously broken free of repeating patterns in her life by simply “feeling” her way through it, she says.\u003c/p>\n\u003cp>“Darkness requires a different kind of sensing,” states Pixley, explaining that this season is all about hearing, tasting, feeling and “listening to ancestral guidance.” And because it requires a different set of senses, some people can find it “totally unnerving.”\u003c/p>\n\u003cp>For Pixley, navigating darkness, be it from lack of light or clarity, is like the child’s game of “Lights Out,” or Hide-And-Go-Seek in the dark. To play the game, she says, you have to move slower.\u003c/p>\n\u003cp>As the album concludes, it goes from the cold, somber depths of the songs “Dark” and “Line” to remerge with light in the final track, “Bloom.”\u003c/p>\n\u003cp>The track was originally written as a commissioned piece for famed violinist\u003ca href=\"https://www.npr.org/artists/570165123/anne-akiko-meyers\"> Anne Akiko Meyers\u003c/a>, who was moved by Pixley’s performance of “\u003ca href=\"https://www.youtube.com/watch?v=PZxtGhk8rPA\">Everything is Slow Motion\u003c/a>” at the de Young Museum with Mercury Soul.\u003c/p>\n\u003cp>“She reached out to me and said, ‘Could you write me a song?'” recalls Pixley, who then wrote “Bloom,” but Meyers never used it. “So,” explains Pixley, “I asked her permission if I could put it on this project because it felt like the right track to close the album.” Meyers agreed, under one condition: that Pixley note that it was originally penned for her.\u003c/p>\n\u003cp>“Whenever I need good external validation,” Pixley reflects, with a lightness in her tone, “I’m like, ‘But Anne believes in me.'” More seriously, she notes that reassurance is a necessity when you’re on a path through darkness.\u003c/p>\n\u003cp>“If I do this journey with openness and with surrender and with love,” says Pixley, “It’s gonna bloom.”\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>Mia Pixley’s album \u003ca href=\"https://soundcloud.com/miapixley/sets/love-dark-bloom/s-GNOs40YEvhV?si=e2bbb10ddc484e9d8d6e38eb7cac4a44&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing\">Love. Dark. Bloom.\u003c/a> was released on Dec. 4. She’ll be performing on Dec. 21, as a part of Barbara Higbie and Friends Winter Solstice Celebration (with Vicki Randle, Kofy Brown, Michaelle Goerlitz and Jasper Manning). Doors open at 6 p.m., and the event starts at 7 p.m. at The Freight in Berkeley (2020 Addison St.). \u003ca href=\"https://secure.thefreight.org/15380/15381-barbara-higbie-and-friends-winter-solstice-celebration-251221\">Check here for more information\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘The Sea Captain’s Wife’ Brings a 19th-Century San Francisco Legend to Life | KQED",
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"content": "\u003cfigure id=\"attachment_13984417\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984417\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife.png\" alt=\"A blue book cover featuring a large clipper ship, the silhouette of a sextant and a photograph of a young woman from the 1850s.\" width=\"1366\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife.png 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife-768x1124.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife-1049x1536.png 1049w\" sizes=\"auto, (max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">‘The Sea Captain’s Wife: A True Story of Mutiny, Love, and Adventure at the Bottom of the World’ by Tilar J. Mazzeo. \u003ccite>(St. Martin's Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A couple of years ago, I stumbled across a most unusual story from the annals of old San Francisco. It concerned a 19-year-old woman named \u003ca href=\"https://www.kqed.org/arts/13937270/the-pregnant-teen-who-captained-a-clipper-ship-in-1856\">Mary Ann Patten\u003c/a> who spent two months captaining a 216-foot-long clipper ship after her husband fell deathly ill during an around-the-world journey. In that time, Patten squashed an on-board mutiny, won the loyalty of the crew \u003cem>and\u003c/em> kept her husband alive. The kicker? She did all of this while pregnant with her first child.\u003c/p>\n\u003cp>Patten guided that ship, Neptune’s Car, into the port of San Francisco on Nov. 13, 1856, becoming the first American woman in history to captain a merchant vessel. Though she quickly became an overnight celebrity, Patten remained humble. “I … endeavored to perform that which seemed to me, under the circumstances, only the plain duty of a wife towards a good husband,” she said at the time.\u003c/p>\n\u003cp>[aside postid='arts_13937270']After I stumbled across Patten’s fascinating story, I did some research in the newspaper archives and wrote an essay in remembrance of her. But there was clearly so much more to her story to tell. This month, \u003cem>New York Times\u003c/em> bestselling author Tilar J. Mazzeo is honoring Patten with an entire book. \u003ca href=\"https://us.macmillan.com/books/9781250352583/theseacaptainswife/\">\u003cem>The Sea Captain’s Wife: A True Story of Mutiny, Love, and Adventure at the Bottom of the World\u003c/em>\u003c/a> brings Patten’s story to vivid life and makes clear just how much terror and tribulation were involved in her remarkable journey.\u003c/p>\n\u003cp>Mazzeo provides ample details of Patten’s family history, giving the reader extra reasons to root for her, as well as an understanding of where Patten got her fortitude. “Mary Ann grew up in [a tenement in] the North End of Boston,” Mazzeo notes, “then a neighborhood on the downswing and quickly becoming a bawdy maritime red-light district.”\u003c/p>\n\u003cp>That background also explains why Patten supported her husband’s grueling around-the-word trips. “Most clipper captains were able to earn [a] $100,000 fortune under a decade at sea and… that meant a lucky sea captain might be able to afford to retire by 30,” the book notes. “Then, if a captain were sailing against competitors, there was the money he could earn from what was, essentially, betting.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mazzeo paints vivid vistas of the lives of mariners during the mid-19th century — and it’s decidedly not a pretty picture. Honorable though the captains often were, Mazzeo suggests that many seamen of the era were an international coterie of incompetent, untrustworthy “vagrants with an attitude.”\u003c/p>\n\u003cp>It was for this reason that Patten was not supposed to associate with anyone on board except for her husband, their steward and the first mate. She was forbidden from wandering the decks. She was restrained by the women’s clothes of the day: stiff skirts, corsets and bonnets. Which makes it all the more remarkable when we finally see Patten take control of Neptune’s Car and swiftly win the dedicated support of the crew on board.\u003c/p>\n\u003cp>In its final third, \u003cem>The Sea Captain’s Wife\u003c/em> plays out like a movie — one that would seem entirely unrealistic if it wasn’t, in fact, all true. There are two key villains in this portion: the first is the mutinous first mate William Keeler, presented as an almost Dickensian miscreant. The second is the shipping company that refuses to pay up because it was Patten and not her husband who completed the journey.\u003c/p>\n\u003cp>[aside postid='arts_13984392']At times, \u003cem>The Sea Captain’s Wife\u003c/em> plays out like a good, old-fashioned, around-the-world adventure. The “forest of masts” at San Francisco’s Gold Rush-clogged shoreline. The floating, lamplit brothel boats that greeted Neptune’s Car in Hong Kong. The teeming warehouses of London’s docklands. The gardens and church steeples of New York City. Mazzeo describes each new city in ways that transport the reader back to the place, era and, frankly, the smells.\u003c/p>\n\u003cp>There are more mundane elements padding out \u003cem>The Sea Captain’s Wife\u003c/em> too — the tools of navigation, ship hierarchies and shipping industry politics in the 1800s. There are also many details about the hardships associated with specific patches of open waters. (If there is a moral to this story, it’s probably to avoid Drake’s Passage — the waters between South America and Antarctica — at all costs.) But these peripheral details are essential to understanding the full circumstances of Mary Ann Patten’s story.\u003c/p>\n\u003cp>Mazzeo wants the reader to take all of these facts as a whole and contemplate what they mean in a larger sense — a beautiful impulse in this book. About the Pattens, she writes: “Their story is the story of all those other nameless people whom history has not remembered but who once, out of love and loyalty and hope, did something amazing.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://us.macmillan.com/books/9781250352583/theseacaptainswife/\">\u003cem>‘The Sea Captain’s Wife: A True Story of Mutiny, Love, and Adventure at the Bottom of the World’\u003c/em>\u003c/a> \u003cem>by Tilar J. Mazzeo is out now, via St. Martin’s Press.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13984417\" class=\"wp-caption aligncenter\" style=\"max-width: 1366px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984417\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife.png\" alt=\"A blue book cover featuring a large clipper ship, the silhouette of a sextant and a photograph of a young woman from the 1850s.\" width=\"1366\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife.png 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife-768x1124.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/sea-captains-wife-1049x1536.png 1049w\" sizes=\"auto, (max-width: 1366px) 100vw, 1366px\">\u003cfigcaption class=\"wp-caption-text\">‘The Sea Captain’s Wife: A True Story of Mutiny, Love, and Adventure at the Bottom of the World’ by Tilar J. Mazzeo. \u003ccite>(St. Martin's Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A couple of years ago, I stumbled across a most unusual story from the annals of old San Francisco. It concerned a 19-year-old woman named \u003ca href=\"https://www.kqed.org/arts/13937270/the-pregnant-teen-who-captained-a-clipper-ship-in-1856\">Mary Ann Patten\u003c/a> who spent two months captaining a 216-foot-long clipper ship after her husband fell deathly ill during an around-the-world journey. In that time, Patten squashed an on-board mutiny, won the loyalty of the crew \u003cem>and\u003c/em> kept her husband alive. The kicker? She did all of this while pregnant with her first child.\u003c/p>\n\u003cp>Patten guided that ship, Neptune’s Car, into the port of San Francisco on Nov. 13, 1856, becoming the first American woman in history to captain a merchant vessel. Though she quickly became an overnight celebrity, Patten remained humble. “I … endeavored to perform that which seemed to me, under the circumstances, only the plain duty of a wife towards a good husband,” she said at the time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After I stumbled across Patten’s fascinating story, I did some research in the newspaper archives and wrote an essay in remembrance of her. But there was clearly so much more to her story to tell. This month, \u003cem>New York Times\u003c/em> bestselling author Tilar J. Mazzeo is honoring Patten with an entire book. \u003ca href=\"https://us.macmillan.com/books/9781250352583/theseacaptainswife/\">\u003cem>The Sea Captain’s Wife: A True Story of Mutiny, Love, and Adventure at the Bottom of the World\u003c/em>\u003c/a> brings Patten’s story to vivid life and makes clear just how much terror and tribulation were involved in her remarkable journey.\u003c/p>\n\u003cp>Mazzeo provides ample details of Patten’s family history, giving the reader extra reasons to root for her, as well as an understanding of where Patten got her fortitude. “Mary Ann grew up in [a tenement in] the North End of Boston,” Mazzeo notes, “then a neighborhood on the downswing and quickly becoming a bawdy maritime red-light district.”\u003c/p>\n\u003cp>That background also explains why Patten supported her husband’s grueling around-the-word trips. “Most clipper captains were able to earn [a] $100,000 fortune under a decade at sea and… that meant a lucky sea captain might be able to afford to retire by 30,” the book notes. “Then, if a captain were sailing against competitors, there was the money he could earn from what was, essentially, betting.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mazzeo paints vivid vistas of the lives of mariners during the mid-19th century — and it’s decidedly not a pretty picture. Honorable though the captains often were, Mazzeo suggests that many seamen of the era were an international coterie of incompetent, untrustworthy “vagrants with an attitude.”\u003c/p>\n\u003cp>It was for this reason that Patten was not supposed to associate with anyone on board except for her husband, their steward and the first mate. She was forbidden from wandering the decks. She was restrained by the women’s clothes of the day: stiff skirts, corsets and bonnets. Which makes it all the more remarkable when we finally see Patten take control of Neptune’s Car and swiftly win the dedicated support of the crew on board.\u003c/p>\n\u003cp>In its final third, \u003cem>The Sea Captain’s Wife\u003c/em> plays out like a movie — one that would seem entirely unrealistic if it wasn’t, in fact, all true. There are two key villains in this portion: the first is the mutinous first mate William Keeler, presented as an almost Dickensian miscreant. The second is the shipping company that refuses to pay up because it was Patten and not her husband who completed the journey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At times, \u003cem>The Sea Captain’s Wife\u003c/em> plays out like a good, old-fashioned, around-the-world adventure. The “forest of masts” at San Francisco’s Gold Rush-clogged shoreline. The floating, lamplit brothel boats that greeted Neptune’s Car in Hong Kong. The teeming warehouses of London’s docklands. The gardens and church steeples of New York City. Mazzeo describes each new city in ways that transport the reader back to the place, era and, frankly, the smells.\u003c/p>\n\u003cp>There are more mundane elements padding out \u003cem>The Sea Captain’s Wife\u003c/em> too — the tools of navigation, ship hierarchies and shipping industry politics in the 1800s. There are also many details about the hardships associated with specific patches of open waters. (If there is a moral to this story, it’s probably to avoid Drake’s Passage — the waters between South America and Antarctica — at all costs.) But these peripheral details are essential to understanding the full circumstances of Mary Ann Patten’s story.\u003c/p>\n\u003cp>Mazzeo wants the reader to take all of these facts as a whole and contemplate what they mean in a larger sense — a beautiful impulse in this book. About the Pattens, she writes: “Their story is the story of all those other nameless people whom history has not remembered but who once, out of love and loyalty and hope, did something amazing.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://us.macmillan.com/books/9781250352583/theseacaptainswife/\">\u003cem>‘The Sea Captain’s Wife: A True Story of Mutiny, Love, and Adventure at the Bottom of the World’\u003c/em>\u003c/a> \u003cem>by Tilar J. Mazzeo is out now, via St. Martin’s Press.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "egg-tarts-san-jose-pop-up-bakery-a-m-patisserie-pastel-de-nata",
"title": "This San José Pop-Up Bakery Sells 18 Different Varieties of Egg Tarts",
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"content": "\u003cp>You might imagine that most egg tarts are relatively indistinguishable, with their pastry cups and plain, sunglow-colored custard filling. You wouldn’t necessarily expect the treats to get remixed into dozens of different flavors.\u003c/p>\n\u003cp>That hasn’t stopped \u003ca href=\"https://www.instagram.com/a.m.patisserie\">A&M Pâtisserie\u003c/a>. The San José–based bakery pop-up sells a whopping eighteen different egg tart flavors, many of them inspired by various Asian cuisines. At a makers’ market at the Santa Clara Convention Center in November, a perpetual line of at least fifty customers swarmed the A&M booth for hours, everyone scanning the banner menu to decide which of the palm-sized egg tarts to order. A wide range of unconventional toppings included things like toasted marshmallows, flame-kissed corn kernels, \u003ca href=\"https://www.epicurious.com/recipes/food/views/milk-crumb-382321\">milk crumbs\u003c/a> and caramelized banana slices.\u003c/p>\n\u003cp>Alice Ngo and Minh Pham first started making egg tarts at home during the COVID lockdown. “We got laid off and had nothing to do,” says Pham. “Alice got bored and started baking.”\u003c/p>\n\u003cp>Ngo taught herself how to make Portuguese egg tarts (aka pastéis de nata) by watching YouTube videos. After getting positive feedback from friends and family, the couple started selling the pastries to the public through Instagram and Facebook.\u003c/p>\n\u003cfigure id=\"attachment_13984906\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984906\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham.jpg\" alt=\"An Asian woman and man in matching black hooded sweatshirts.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A&M founders Alice Ngo (left) and Minh Pham. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I wasn’t a baker, I was a cook,” says Pham. “But I enjoy pastries since I was born in France.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He moved to the United States in 2016 to pursue a tech career, but decided against working a desk job. Instead, he started working in restaurants and took cooking classes through the hospitality management program at Mission College. These days, Pham is the primary egg tart producer, juggling the pop-up with his day job as a baker at Alexander’s Patisserie. Meanwhile, Ngo uses her experience working at a hotel to handle the pop-up’s front-of-house operations and customer service.\u003c/p>\n\u003cp>The defining characteristic of a Portuguese-style egg tart is the custard filling’s blistered, caramelized top, which sets it apart from both British egg tarts and Cantonese \u003ca href=\"https://www.seriouseats.com/daan-tat-hong-kong-style-egg-tart-5208534\">dan tat\u003c/a> — the popular dim sum dish that is probably the best-known egg tart variation here in the Bay Area. Meanwhile, Macau, a former Portuguese territory, is known for egg tarts with a scorched custard that’s eggier and less sweet than pastel de nata. The distinctions between the styles have blurred over time, but originally British custard tarts used a shortbread crust and the others were made with puff pastry.\u003c/p>\n\u003cfigure id=\"attachment_13984904\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984904\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case.jpg\" alt=\"Display case with 18 different varieties of egg tarts.\" width=\"2000\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case-768x355.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case-1536x710.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">All 18 flavors in the display case at an A&M pop-up event in November 2025. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ngo and Pham eventually shifted away from the traditional pastel de nata because they wanted their egg tarts to be lighter and less sweet. They make the puff pastry shell extra-crispy and flaky to complement their creamy custards.\u003c/p>\n\u003cp>“I wanted something in between so I took the best of both and created my own,” says Pham. “It’s not Macau. It’s not Portuguese. It’s A&M’s.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13983625,arts_13984330,arts_13981935']\u003c/span>But the biggest thing that sets A&M Pâtisserie’s egg tarts apart is the sheer variety of flavors. The menu is ever growing as the bakers draw inspiration from their favorite pastries and restaurant dishes. Their guava egg tart is modeled after the guava-and-cheese strudel at Porto’s, the legendary Los Angeles–based Cuban bakery. The corn cheese flavor was inspired by kon-chijeu, their favorite Korean banchan. A few of A&M’s egg tarts, like the honey-garlic flavor, even have savory elements. The bakery also sells cookies, macarons and canelés.\u003c/p>\n\u003cp>A&M’s first large pop-ups were at FoodieLand’s 2023 festival series, which spanned several cities including Sacramento, Berkeley and San Mateo. Now, the bakery’s busiest events of the year are SJMade’s November Holiday Fair and its Winter Wonder Market in December. “The first year, we brought 600 and sold out within three hours,” Pham says of the holiday fair. “Then, the second year we brought 800 and sold out by 2 p.m.” This year, they scaled up to 1,500 egg tarts for each day of the two-day event, which required an entire month of prep time. The most time-consuming component is the multi-layered puff pastry, which takes hours to assemble.\u003c/p>\n\u003cfigure id=\"attachment_13984903\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984903\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM.jpg\" alt=\"Long line of customers waiting to buy egg tarts. A large banner overhead shows the different flavors available. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A long line of customers waiting to order at one of A&M’s pop-ups. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During my visit to the A&M booth at last month’s SJMade Holiday Fair, I split a six-pack of egg tarts with my fiancée, my cousin and his girlfriend. After each bite, there was an audible “mmm” from each member of the party. We loved the classic egg tart custard’s glassy surface and creamy, light interior. My favorite was the yuzu egg tart, which had an intense acidity to balance the butteriness of the crust and strips of candied yuzu peel to mellow out the experience. A close second was the seasonal pistachio egg tart with chunks of pistachio on top for some crunch. Each person in the group had their own favorite.\u003c/p>\n\u003cp>The bakery’s next step will be to experiment with savory egg tarts that have a quiche-like filling. Pham plans to introduce these to the menu once he figures out a way to bring an oven into their pop-up space, so he can serve them warm. He and Ngo are also constantly improving their existing flavors — the matcha egg tart is being upgraded to matcha mochi, and the s’mores tart will soon incorporate homemade marshmallow. The pop-up’s next seasonal special is a salted egg yolk tart that’s scheduled to release around Lunar New Year.\u003c/p>\n\u003cp>“We have 18 flavors of egg tarts now,” says Pham. “I can say confidently we’re the only ones offering that many flavors.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/a.m.patisserie/\">\u003ci>A&M Pâtisserie\u003c/i>\u003c/a>\u003ci> pops up at events around the Bay. The next pop-up is at the \u003c/i>\u003ca href=\"https://www.sanjosemade.com/pages/winter-wonder-market-2025\">\u003ci>SJ Made Winter Wonder Market\u003c/i>\u003c/a>\u003ci> at South Hall (435 S. Market St., San José) on Dec. 13–14, 11 a.m.–6 p.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You might imagine that most egg tarts are relatively indistinguishable, with their pastry cups and plain, sunglow-colored custard filling. You wouldn’t necessarily expect the treats to get remixed into dozens of different flavors.\u003c/p>\n\u003cp>That hasn’t stopped \u003ca href=\"https://www.instagram.com/a.m.patisserie\">A&M Pâtisserie\u003c/a>. The San José–based bakery pop-up sells a whopping eighteen different egg tart flavors, many of them inspired by various Asian cuisines. At a makers’ market at the Santa Clara Convention Center in November, a perpetual line of at least fifty customers swarmed the A&M booth for hours, everyone scanning the banner menu to decide which of the palm-sized egg tarts to order. A wide range of unconventional toppings included things like toasted marshmallows, flame-kissed corn kernels, \u003ca href=\"https://www.epicurious.com/recipes/food/views/milk-crumb-382321\">milk crumbs\u003c/a> and caramelized banana slices.\u003c/p>\n\u003cp>Alice Ngo and Minh Pham first started making egg tarts at home during the COVID lockdown. “We got laid off and had nothing to do,” says Pham. “Alice got bored and started baking.”\u003c/p>\n\u003cp>Ngo taught herself how to make Portuguese egg tarts (aka pastéis de nata) by watching YouTube videos. After getting positive feedback from friends and family, the couple started selling the pastries to the public through Instagram and Facebook.\u003c/p>\n\u003cfigure id=\"attachment_13984906\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984906\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham.jpg\" alt=\"An Asian woman and man in matching black hooded sweatshirts.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Alice-Ngo-and-Minh-Pham-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A&M founders Alice Ngo (left) and Minh Pham. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I wasn’t a baker, I was a cook,” says Pham. “But I enjoy pastries since I was born in France.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He moved to the United States in 2016 to pursue a tech career, but decided against working a desk job. Instead, he started working in restaurants and took cooking classes through the hospitality management program at Mission College. These days, Pham is the primary egg tart producer, juggling the pop-up with his day job as a baker at Alexander’s Patisserie. Meanwhile, Ngo uses her experience working at a hotel to handle the pop-up’s front-of-house operations and customer service.\u003c/p>\n\u003cp>The defining characteristic of a Portuguese-style egg tart is the custard filling’s blistered, caramelized top, which sets it apart from both British egg tarts and Cantonese \u003ca href=\"https://www.seriouseats.com/daan-tat-hong-kong-style-egg-tart-5208534\">dan tat\u003c/a> — the popular dim sum dish that is probably the best-known egg tart variation here in the Bay Area. Meanwhile, Macau, a former Portuguese territory, is known for egg tarts with a scorched custard that’s eggier and less sweet than pastel de nata. The distinctions between the styles have blurred over time, but originally British custard tarts used a shortbread crust and the others were made with puff pastry.\u003c/p>\n\u003cfigure id=\"attachment_13984904\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984904\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case.jpg\" alt=\"Display case with 18 different varieties of egg tarts.\" width=\"2000\" height=\"924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case-768x355.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Display-Case-1536x710.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">All 18 flavors in the display case at an A&M pop-up event in November 2025. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ngo and Pham eventually shifted away from the traditional pastel de nata because they wanted their egg tarts to be lighter and less sweet. They make the puff pastry shell extra-crispy and flaky to complement their creamy custards.\u003c/p>\n\u003cp>“I wanted something in between so I took the best of both and created my own,” says Pham. “It’s not Macau. It’s not Portuguese. It’s A&M’s.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>But the biggest thing that sets A&M Pâtisserie’s egg tarts apart is the sheer variety of flavors. The menu is ever growing as the bakers draw inspiration from their favorite pastries and restaurant dishes. Their guava egg tart is modeled after the guava-and-cheese strudel at Porto’s, the legendary Los Angeles–based Cuban bakery. The corn cheese flavor was inspired by kon-chijeu, their favorite Korean banchan. A few of A&M’s egg tarts, like the honey-garlic flavor, even have savory elements. The bakery also sells cookies, macarons and canelés.\u003c/p>\n\u003cp>A&M’s first large pop-ups were at FoodieLand’s 2023 festival series, which spanned several cities including Sacramento, Berkeley and San Mateo. Now, the bakery’s busiest events of the year are SJMade’s November Holiday Fair and its Winter Wonder Market in December. “The first year, we brought 600 and sold out within three hours,” Pham says of the holiday fair. “Then, the second year we brought 800 and sold out by 2 p.m.” This year, they scaled up to 1,500 egg tarts for each day of the two-day event, which required an entire month of prep time. The most time-consuming component is the multi-layered puff pastry, which takes hours to assemble.\u003c/p>\n\u003cfigure id=\"attachment_13984903\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984903\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM.jpg\" alt=\"Long line of customers waiting to buy egg tarts. A large banner overhead shows the different flavors available. \" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Line-of-customers-at-AM-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A long line of customers waiting to order at one of A&M’s pop-ups. \u003ccite>(Octavio Peña)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During my visit to the A&M booth at last month’s SJMade Holiday Fair, I split a six-pack of egg tarts with my fiancée, my cousin and his girlfriend. After each bite, there was an audible “mmm” from each member of the party. We loved the classic egg tart custard’s glassy surface and creamy, light interior. My favorite was the yuzu egg tart, which had an intense acidity to balance the butteriness of the crust and strips of candied yuzu peel to mellow out the experience. A close second was the seasonal pistachio egg tart with chunks of pistachio on top for some crunch. Each person in the group had their own favorite.\u003c/p>\n\u003cp>The bakery’s next step will be to experiment with savory egg tarts that have a quiche-like filling. Pham plans to introduce these to the menu once he figures out a way to bring an oven into their pop-up space, so he can serve them warm. He and Ngo are also constantly improving their existing flavors — the matcha egg tart is being upgraded to matcha mochi, and the s’mores tart will soon incorporate homemade marshmallow. The pop-up’s next seasonal special is a salted egg yolk tart that’s scheduled to release around Lunar New Year.\u003c/p>\n\u003cp>“We have 18 flavors of egg tarts now,” says Pham. “I can say confidently we’re the only ones offering that many flavors.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/a.m.patisserie/\">\u003ci>A&M Pâtisserie\u003c/i>\u003c/a>\u003ci> pops up at events around the Bay. The next pop-up is at the \u003c/i>\u003ca href=\"https://www.sanjosemade.com/pages/winter-wonder-market-2025\">\u003ci>SJ Made Winter Wonder Market\u003c/i>\u003c/a>\u003ci> at South Hall (435 S. Market St., San José) on Dec. 13–14, 11 a.m.–6 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "goodbye-june-movie-review-kate-winslet-joe-anders-family-drama",
"title": "Helen Mirren Leads a Distinguished Cast in Touching Family Drama, ‘Goodbye June’",
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"content": "\u003cp>Kate Winslet is due a very thoughtful Christmas gift this year. The veteran actor made a pretty extraordinary maternal gesture, directing, producing and starring in a film her son, Joe Anders, wrote, \u003cem>Goodbye June\u003c/em>, which is in limited release this weekend and streaming on Netflix Dec. 24.\u003c/p>\n\u003cp>While it might be worth pointing out that the script originated in a screenwriting class, there will be no nepo baby jokes here. Put alongside most of the Christmas offerings on Netflix, which seem to veer more toward the secret princess/fantasy/romance side of things, and aren’t even attempting to be, well, very good, \u003cem>Goodbye June\u003c/em> is an admirably solid, if generic, drama about family and death with a very distinguished cast.\u003c/p>\n\u003cp>[aside postid='arts_13984386']Terminal illness, estranged adult siblings and hospital rooms are certainly not going to be everyone’s cup of tea around the holidays, but you probably already know by this point whether this is an experience you want to sign up for. It remains a mystery why so many holiday movies feel the need to include a dying mother. Perhaps it’s because, from an emotional standpoint, it rarely misses.\u003c/p>\n\u003cp>Unlike, say \u003cem>The Family Stone\u003c/em> however, \u003cem>Goodbye June\u003c/em> actually places the audience in that most unpleasant of settings: The hospital. It begins with a nightmare scenario, with the elderly mother, June (Helen Mirren) collapsing as the kettle cries out on the stove. Her grown son Connor (Johnny Flynn) finds her, collects his father Bernie (Timothy Spall), and they race off to the hospital, forgetting to turn off the tap in the sink before they leave. \u003cem>Goodbye June\u003c/em> has an eye for the mundane details that make up everyday life that all seem so small in the face of loss.\u003c/p>\n\u003cp>Soon, they’re greeted by the rest of June and Bernie’s daughters, Julia (Winslet), a successful, busy and exhausted mom of three; Molly (Andrea Riseborough), a hippie mom of many who resents Julia and can’t accept that her mother is dying; and Helen (Toni Collette), who likes crystals. The four grown children are wildly unprepared to deal with their mother’s decline. Molly, perhaps the most baffling character, shoos away the palliative care workers, insisting on taking June home immediately.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>June, calmly telling her kids that she would rather stay in the hospital than go home, is a balm in all of the craziness. At least one person is ready to face it all head on.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vIDoYSWCuzQ\u003c/p>\n\u003cp>Certainly this is a story about how so many people aren’t ready to deal with the one inevitability in life, and how imminent grief affects everyone differently. But the script doesn’t do a character like Molly many favors. Her smug rejection of reality borders on annoying and the eventual explanation of why she’s been estranged from Julia for so many years doesn’t help.\u003c/p>\n\u003cp>[aside postid='arts_13984241']Winslet, making her feature directorial debut, isn’t doing anything flashy here, with stylish choices or long takes, like Anders’ father Sam Mendes might. She shoots it simply, which is fitting for the story. This is a piece about characters and Winslet gives her actors space to build people that by and large feel pretty real — the standouts are really Flynn, as the sensitive son still living at home and closest to his parents, and Spall, believably oblivious in that charmingly British way.\u003c/p>\n\u003cp>The story progresses in mostly expected ways, with each child getting their own moment with mom before the end. Aside from several questionable choices to make the audience wonder whether or not June has died, and a nurse character named Angel (Fisayo Akinade), \u003cem>Goodbye June\u003c/em> does also have moments of grace, humor and insight.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Goodbye June’ is playing at the Landmark Opera Plaza Cinema (601 Van Ness Ave.) in San Francisco from Dec. 12, and begins streaming on Netflix on Dec. 24, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kate Winslet is due a very thoughtful Christmas gift this year. The veteran actor made a pretty extraordinary maternal gesture, directing, producing and starring in a film her son, Joe Anders, wrote, \u003cem>Goodbye June\u003c/em>, which is in limited release this weekend and streaming on Netflix Dec. 24.\u003c/p>\n\u003cp>While it might be worth pointing out that the script originated in a screenwriting class, there will be no nepo baby jokes here. Put alongside most of the Christmas offerings on Netflix, which seem to veer more toward the secret princess/fantasy/romance side of things, and aren’t even attempting to be, well, very good, \u003cem>Goodbye June\u003c/em> is an admirably solid, if generic, drama about family and death with a very distinguished cast.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Terminal illness, estranged adult siblings and hospital rooms are certainly not going to be everyone’s cup of tea around the holidays, but you probably already know by this point whether this is an experience you want to sign up for. It remains a mystery why so many holiday movies feel the need to include a dying mother. Perhaps it’s because, from an emotional standpoint, it rarely misses.\u003c/p>\n\u003cp>Unlike, say \u003cem>The Family Stone\u003c/em> however, \u003cem>Goodbye June\u003c/em> actually places the audience in that most unpleasant of settings: The hospital. It begins with a nightmare scenario, with the elderly mother, June (Helen Mirren) collapsing as the kettle cries out on the stove. Her grown son Connor (Johnny Flynn) finds her, collects his father Bernie (Timothy Spall), and they race off to the hospital, forgetting to turn off the tap in the sink before they leave. \u003cem>Goodbye June\u003c/em> has an eye for the mundane details that make up everyday life that all seem so small in the face of loss.\u003c/p>\n\u003cp>Soon, they’re greeted by the rest of June and Bernie’s daughters, Julia (Winslet), a successful, busy and exhausted mom of three; Molly (Andrea Riseborough), a hippie mom of many who resents Julia and can’t accept that her mother is dying; and Helen (Toni Collette), who likes crystals. The four grown children are wildly unprepared to deal with their mother’s decline. Molly, perhaps the most baffling character, shoos away the palliative care workers, insisting on taking June home immediately.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>June, calmly telling her kids that she would rather stay in the hospital than go home, is a balm in all of the craziness. At least one person is ready to face it all head on.\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/vIDoYSWCuzQ'\n title='//www.youtube.com/embed/vIDoYSWCuzQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Certainly this is a story about how so many people aren’t ready to deal with the one inevitability in life, and how imminent grief affects everyone differently. But the script doesn’t do a character like Molly many favors. Her smug rejection of reality borders on annoying and the eventual explanation of why she’s been estranged from Julia for so many years doesn’t help.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Winslet, making her feature directorial debut, isn’t doing anything flashy here, with stylish choices or long takes, like Anders’ father Sam Mendes might. She shoots it simply, which is fitting for the story. This is a piece about characters and Winslet gives her actors space to build people that by and large feel pretty real — the standouts are really Flynn, as the sensitive son still living at home and closest to his parents, and Spall, believably oblivious in that charmingly British way.\u003c/p>\n\u003cp>The story progresses in mostly expected ways, with each child getting their own moment with mom before the end. Aside from several questionable choices to make the audience wonder whether or not June has died, and a nurse character named Angel (Fisayo Akinade), \u003cem>Goodbye June\u003c/em> does also have moments of grace, humor and insight.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Goodbye June’ is playing at the Landmark Opera Plaza Cinema (601 Van Ness Ave.) in San Francisco from Dec. 12, and begins streaming on Netflix on Dec. 24, 2025.\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": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"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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},
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"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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"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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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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