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"content": "\u003cp>Here’s my impression of any person telling me how much they loved any episode of \u003ca href=\"https://www.npr.org/2022/05/25/1101255458/this-is-us-finale-ending\">\u003cem>This Is Us\u003c/em>, \u003c/a>the NBC family drama from producer and writer\u003ca href=\"https://www.npr.org/2017/03/14/519986806/this-is-us-creator-dan-fogelman-says-he-didnt-mean-to-make-you-cry\"> Dan Fogelman \u003c/a>that enjoyed a very successful six-season run that ended in the spring of 2022: “I cried until my eyes were swollen shut and I was swimming in a pool of my own salty tears, then I watched it again, then I watched it while slowly contemplating a dying plant and it was even better; it is the best thing I have ever seen on television and I am devastated.”\u003c/p>\n\u003cp>Don’t get me wrong: This is not a criticism. It is extraordinarily impressive to get people to enjoy their own agony this much, and most people have \u003cem>some \u003c/em>kind of art that does something similar for them. Books, music, movies, TV, games — doesn’t matter. This is a weird thing art does that always seems weirder when it’s somebody else’s art than when it’s yours.\u003c/p>\n\u003cp>[aside postid='arts_13923656']The\u003ca href=\"https://www.wbur.org/hereandnow/2020/01/14/dear-edward-novel-ann-napolitano\"> Ann Napolitano novel\u003c/a> \u003cem>Dear Edward\u003c/em> serves as the inspiration for the new Apple TV drama series of the same name, created by Jason Katims, the producer of \u003ca href=\"https://www.npr.org/2011/07/16/137823040/as-friday-night-lights-ends-its-still-texas-forever\">\u003cem>Friday Night Lights\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2015/01/29/382413021/nbcs-parenthood-ends-as-a-family-drama-built-on-small-moments\">\u003cem>Parenthood\u003c/em>,\u003c/a> which were also big successes for people who cry a lot. And while Katims didn’t make \u003cem>This Is Us\u003c/em>, it’s the recent show by which \u003cem>Dear Edward \u003c/em>feels the most inspired.\u003c/p>\n\u003cp>In the story, a 12-year-old boy named Edward (Colin O’Brien) is the sole survivor of a plane crash that kills, among many others, his entire family. He goes to live with his Aunt Lacey and Uncle John (Taylor Schilling and Carter Hudson), who have long struggled with infertility and find their lives very much disrupted by the fact that they suddenly have a 12-year-old. And not just any 12-year-old — Edward is understandably very deeply traumatized, lonely, disoriented and angry, even if it’s in a quiet, interior kind of way. The only person he really relates to in his new home is an extroverted neighbor girl his age named Shay (Eva Ariel Binder). She practices roller derby in the street, and having lost his older brother, he fastens on her for company.\u003c/p>\n\u003cp>Meanwhile, Lacey is attending a support group for people who lost loved ones in the crash, and that’s where the rest of the stories in this many-threaded ensemble show come in. Dee Dee (Connie Britton) is a wealthy woman who lost her husband, and she’s now forced to both forge some kind of independence and confront some things she learns about him only now that he’s gone. Adriana (Anna Uzele) lost her grandmother, who happened to be a beloved New York Congresswoman. She befriends Kojo (Idris Debrand), who lost his sister and has come from Ghana to care for his young niece, who will eventually return there with him. More characters will eventually emerge over the course of 10 episodes, but these are the most important ones in the early going.\u003c/p>\n\u003cfigure id=\"attachment_13924791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-800x363.jpg\" alt=\"Two people embrace. We see the back of one person's head and the face of the woman giving the hug. Her eyes are closed, facial expression pained.\" width=\"800\" height=\"363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-800x363.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-1020x463.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-768x348.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-1536x697.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Connie Britton plays Dee Dee, a wealthy woman who has lost her husband, in ‘Dear Edward.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are a lot of good actors in this cast — nobody does this kind of work like Connie Britton — and to say Katims knows his stuff is an understatement. And his stuff is … well, at least some of it is basically “you crying a lot.” For a producer who loves big feelings, this is not a small move, it is a big move, in terms of sheer audacity — pick up this terribly sad book where a plane full of people die, leaving only one young boy behind, and then surround him with mourners with terrible, agonizing stories of their own. (The book, based on what I know of it, does not do this in the same way, although it does tell the stories of other people who die on the plane). It’s a dark kind of vow from Katims to \u003cem>This Is Us \u003c/em>viewers: If you liked that story where one family dealt with a ton of trauma and loss, you’re going to love a story about a whole \u003cem>lot \u003c/em>of families grieving at the same time, criss-crossing with each other, talking about loss \u003cem>constantly\u003c/em>. You liked the kiddie pool of tears? Dive into the \u003cem>Olympic \u003c/em>pool of tears!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are interesting themes here that are not exclusively about loss: The title of the series (and book) comes from the fact that Edward, as the sole survivor of this tragedy, becomes a figure of great fascination. People write him letters — sometimes because they lost someone in the crash and they want to know whether he saw their loved one at any point, sometimes because they want to give him advice or convert him to their faith, sometimes because they just figure he must have some special knowledge from having this experience. Without spoiling too much, it seems clear that the intent is to explore these letter-writers more in a future season; this theme only begins to emerge in this first set of episodes. I sort of found myself wishing they got more into this part of Edward’s struggle, that they stayed with a little narrower focus.\u003c/p>\n\u003cp>But ultimately, this isn’t that show. This is a rip-your-guts-out show. It’s a show where every moment, even if it’s seemingly small, is conceptually \u003cem>big\u003c/em>, \u003cem>big \u003c/em>with feelings, \u003cem>big \u003c/em>with meaning, \u003cem>big \u003c/em>with a certain kind of coffee-shop indie music that is precisely calculated and entirely expected. It is a show that is, in a word, manipulative. In two words, perhaps \u003cem>proudly \u003c/em>manipulative.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9afVcqqSXVo\u003c/p>\n\u003cp>Because all art manipulates, if by that we only mean provoking a response and doing it intentionally. Breaking your heart, making you mad, keeping you on the edge of your seat, cracking you up — these are all manipulations of the artist, if that term is defined broadly enough. But what we tend to mean in common usage when we refer to sentimentality as manipulative is that it’s too direct, a straight line rather than an interesting path we’ve never walked from provocation to response. We feel shoved along rather than shown the way to where we’re meant to end up.\u003c/p>\n\u003cp>[aside postid='arts_13924687']It’s awfully hard not to feel shoved along by \u003cem>Dear Edward\u003c/em>. It is swimming in death. Everybody is sad all the time. And when they are briefly not sad, even \u003cem>that\u003c/em> is sad, or at least bittersweet, because what in the life of a person deep in grief is not, even at its sweetest, only bittersweet? Grief is worth examining, grief is worth recognizing, and yet at some level, I did feel like the labors of everyone involved were so … well, \u003cem>labored\u003c/em> that it was almost like distorted sound when speakers are overwhelmed. I felt driven to all the intended feelings so hard that they couldn’t quite thrive. If there were any stories \u003cem>not \u003c/em>suffused by grief, as there usually are in ensemble dramas that follow multiple threads at the same time, it might be easier to catch your breath and stay in the story.\u003c/p>\n\u003cp>This show is just so \u003cem>much\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And yet, even as I watched it and felt a bit put off by it, I never doubted that it will have an audience. Sometimes people \u003cem>need \u003c/em>to cry, then cry again. They need to at least cry at something they can put away afterwards because it isn’t their reality. Tear-jerkers — and that has perhaps never been a more apt description — jerk tears from people who are prepared to have their tears jerked, just like a horror movie is there to startle people who showed up to be startled. I’m not sure \u003cem>Dear Edward \u003c/em>is the most nuanced or the most interesting show, but that same directness that can seem like manipulation can also be simple truth in advertising. If you loved crying at \u003cem>This Is Us \u003c/em>or \u003cem>Parenthood\u003c/em>, you will probably also enjoy crying at \u003cem>Dear Edward\u003c/em>. A lot! And that’s fine. Nothing wrong with a few tears, as long as you know what you’re getting into.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Dear+Edward%27+tugs+%E2%80%94+and+tugs%2C+and+tugs+%E2%80%94+at+your+heartstrings&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here’s my impression of any person telling me how much they loved any episode of \u003ca href=\"https://www.npr.org/2022/05/25/1101255458/this-is-us-finale-ending\">\u003cem>This Is Us\u003c/em>, \u003c/a>the NBC family drama from producer and writer\u003ca href=\"https://www.npr.org/2017/03/14/519986806/this-is-us-creator-dan-fogelman-says-he-didnt-mean-to-make-you-cry\"> Dan Fogelman \u003c/a>that enjoyed a very successful six-season run that ended in the spring of 2022: “I cried until my eyes were swollen shut and I was swimming in a pool of my own salty tears, then I watched it again, then I watched it while slowly contemplating a dying plant and it was even better; it is the best thing I have ever seen on television and I am devastated.”\u003c/p>\n\u003cp>Don’t get me wrong: This is not a criticism. It is extraordinarily impressive to get people to enjoy their own agony this much, and most people have \u003cem>some \u003c/em>kind of art that does something similar for them. Books, music, movies, TV, games — doesn’t matter. This is a weird thing art does that always seems weirder when it’s somebody else’s art than when it’s yours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The\u003ca href=\"https://www.wbur.org/hereandnow/2020/01/14/dear-edward-novel-ann-napolitano\"> Ann Napolitano novel\u003c/a> \u003cem>Dear Edward\u003c/em> serves as the inspiration for the new Apple TV drama series of the same name, created by Jason Katims, the producer of \u003ca href=\"https://www.npr.org/2011/07/16/137823040/as-friday-night-lights-ends-its-still-texas-forever\">\u003cem>Friday Night Lights\u003c/em> \u003c/a>and \u003ca href=\"https://www.npr.org/2015/01/29/382413021/nbcs-parenthood-ends-as-a-family-drama-built-on-small-moments\">\u003cem>Parenthood\u003c/em>,\u003c/a> which were also big successes for people who cry a lot. And while Katims didn’t make \u003cem>This Is Us\u003c/em>, it’s the recent show by which \u003cem>Dear Edward \u003c/em>feels the most inspired.\u003c/p>\n\u003cp>In the story, a 12-year-old boy named Edward (Colin O’Brien) is the sole survivor of a plane crash that kills, among many others, his entire family. He goes to live with his Aunt Lacey and Uncle John (Taylor Schilling and Carter Hudson), who have long struggled with infertility and find their lives very much disrupted by the fact that they suddenly have a 12-year-old. And not just any 12-year-old — Edward is understandably very deeply traumatized, lonely, disoriented and angry, even if it’s in a quiet, interior kind of way. The only person he really relates to in his new home is an extroverted neighbor girl his age named Shay (Eva Ariel Binder). She practices roller derby in the street, and having lost his older brother, he fastens on her for company.\u003c/p>\n\u003cp>Meanwhile, Lacey is attending a support group for people who lost loved ones in the crash, and that’s where the rest of the stories in this many-threaded ensemble show come in. Dee Dee (Connie Britton) is a wealthy woman who lost her husband, and she’s now forced to both forge some kind of independence and confront some things she learns about him only now that he’s gone. Adriana (Anna Uzele) lost her grandmother, who happened to be a beloved New York Congresswoman. She befriends Kojo (Idris Debrand), who lost his sister and has come from Ghana to care for his young niece, who will eventually return there with him. More characters will eventually emerge over the course of 10 episodes, but these are the most important ones in the early going.\u003c/p>\n\u003cfigure id=\"attachment_13924791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13924791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-800x363.jpg\" alt=\"Two people embrace. We see the back of one person's head and the face of the woman giving the hug. Her eyes are closed, facial expression pained.\" width=\"800\" height=\"363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-800x363.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-1020x463.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-160x73.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-768x348.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511-1536x697.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/dear_edward_photo_010204_custom-595dc611012dca44fee9c825fa07f95c74bd5ab1-scaled-e1675714024511.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Connie Britton plays Dee Dee, a wealthy woman who has lost her husband, in ‘Dear Edward.’ \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are a lot of good actors in this cast — nobody does this kind of work like Connie Britton — and to say Katims knows his stuff is an understatement. And his stuff is … well, at least some of it is basically “you crying a lot.” For a producer who loves big feelings, this is not a small move, it is a big move, in terms of sheer audacity — pick up this terribly sad book where a plane full of people die, leaving only one young boy behind, and then surround him with mourners with terrible, agonizing stories of their own. (The book, based on what I know of it, does not do this in the same way, although it does tell the stories of other people who die on the plane). It’s a dark kind of vow from Katims to \u003cem>This Is Us \u003c/em>viewers: If you liked that story where one family dealt with a ton of trauma and loss, you’re going to love a story about a whole \u003cem>lot \u003c/em>of families grieving at the same time, criss-crossing with each other, talking about loss \u003cem>constantly\u003c/em>. You liked the kiddie pool of tears? Dive into the \u003cem>Olympic \u003c/em>pool of tears!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are interesting themes here that are not exclusively about loss: The title of the series (and book) comes from the fact that Edward, as the sole survivor of this tragedy, becomes a figure of great fascination. People write him letters — sometimes because they lost someone in the crash and they want to know whether he saw their loved one at any point, sometimes because they want to give him advice or convert him to their faith, sometimes because they just figure he must have some special knowledge from having this experience. Without spoiling too much, it seems clear that the intent is to explore these letter-writers more in a future season; this theme only begins to emerge in this first set of episodes. I sort of found myself wishing they got more into this part of Edward’s struggle, that they stayed with a little narrower focus.\u003c/p>\n\u003cp>But ultimately, this isn’t that show. This is a rip-your-guts-out show. It’s a show where every moment, even if it’s seemingly small, is conceptually \u003cem>big\u003c/em>, \u003cem>big \u003c/em>with feelings, \u003cem>big \u003c/em>with meaning, \u003cem>big \u003c/em>with a certain kind of coffee-shop indie music that is precisely calculated and entirely expected. It is a show that is, in a word, manipulative. In two words, perhaps \u003cem>proudly \u003c/em>manipulative.\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/9afVcqqSXVo'\n title='//www.youtube.com/embed/9afVcqqSXVo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Because all art manipulates, if by that we only mean provoking a response and doing it intentionally. Breaking your heart, making you mad, keeping you on the edge of your seat, cracking you up — these are all manipulations of the artist, if that term is defined broadly enough. But what we tend to mean in common usage when we refer to sentimentality as manipulative is that it’s too direct, a straight line rather than an interesting path we’ve never walked from provocation to response. We feel shoved along rather than shown the way to where we’re meant to end up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s awfully hard not to feel shoved along by \u003cem>Dear Edward\u003c/em>. It is swimming in death. Everybody is sad all the time. And when they are briefly not sad, even \u003cem>that\u003c/em> is sad, or at least bittersweet, because what in the life of a person deep in grief is not, even at its sweetest, only bittersweet? Grief is worth examining, grief is worth recognizing, and yet at some level, I did feel like the labors of everyone involved were so … well, \u003cem>labored\u003c/em> that it was almost like distorted sound when speakers are overwhelmed. I felt driven to all the intended feelings so hard that they couldn’t quite thrive. If there were any stories \u003cem>not \u003c/em>suffused by grief, as there usually are in ensemble dramas that follow multiple threads at the same time, it might be easier to catch your breath and stay in the story.\u003c/p>\n\u003cp>This show is just so \u003cem>much\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And yet, even as I watched it and felt a bit put off by it, I never doubted that it will have an audience. Sometimes people \u003cem>need \u003c/em>to cry, then cry again. They need to at least cry at something they can put away afterwards because it isn’t their reality. Tear-jerkers — and that has perhaps never been a more apt description — jerk tears from people who are prepared to have their tears jerked, just like a horror movie is there to startle people who showed up to be startled. I’m not sure \u003cem>Dear Edward \u003c/em>is the most nuanced or the most interesting show, but that same directness that can seem like manipulation can also be simple truth in advertising. If you loved crying at \u003cem>This Is Us \u003c/em>or \u003cem>Parenthood\u003c/em>, you will probably also enjoy crying at \u003cem>Dear Edward\u003c/em>. A lot! And that’s fine. Nothing wrong with a few tears, as long as you know what you’re getting into.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Dear+Edward%27+tugs+%E2%80%94+and+tugs%2C+and+tugs+%E2%80%94+at+your+heartstrings&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Raymond & Ray' Offers Catharsis For the Emotionally Wounded",
"headTitle": "‘Raymond & Ray’ Offers Catharsis For the Emotionally Wounded | KQED",
"content": "\u003cp>When I was in my early twenties I spent three years in a relationship with a man that I came to regard as monstrous. We happened to be married for six months of that, so when he died suddenly a decade after we had ceased all contact, I was inundated with well-meaning sympathy messages. His death had not inspired any feelings of grief in me, and I resented the expectation that it should. Instead, his demise merely dragged back up all of the resentments I felt towards him, and forced me to finally reckon with them.\u003c/p>\n\u003cp>[aside postid='arts_13919938']I wouldn’t ordinarily start a movie review with a personal anecdote — especially not one this intimate. But when it comes to evaluating \u003cem>Raymond & Ray \u003c/em>— the story of two abused brothers reuniting to deal with the burial of their vindictive father — it feels impossible not to mention. A movie about having to put on a polite, respectful face to bury someone you hate is not going to be for everyone. But I related to, and enjoyed, it immensely.\u003c/p>\n\u003cp>The basis of \u003cem>Raymond & Ray\u003c/em> remains more taboo than it should be. The film is in some ways an examination of how our culture automatically expects grief when someone dies, no matter who they were or what they did in life. Death is the point, we are told, when all should be forgiven. (Just ask Jennette McCurdy, whose autobiography, \u003ca href=\"https://www.simonandschuster.com/books/Im-Glad-My-Mom-Died/Jennette-McCurdy/9781982185824\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I’m Glad My Mom Died\u003c/em>\u003c/a>, inspired ripples of shock when it was released two months ago.) The reality, of course, is infinitely more complicated — something \u003cem>Raymond and Ray\u003c/em> goes to some pains to explore.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3fzW5DpoApg\u003c/p>\n\u003cp>The movie does an excellent job of capturing the complexity of handling the deaths of people who have hurt but indelibly impacted our lives. As the titular characters, Ewan McGregor and Ethan Hawke both beautifully convey just how the betrayal of a loved one can wreak havoc on people in permanent ways. The way that both of them deal with that hurt — McGregor’s Raymond tries to lean into forgiveness, Hawke’s Ray embraces his anger — is appropriately messy but ultimately liberating.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Given the subject matter, it’s somewhat surprising how much levity creeps into \u003cem>Raymond & Ray\u003c/em>. The humor here is dark — nowhere more so than when Raymond unpacks the cardboard box of junk that his father left to him — but it does feel consistently real. Nowhere more so than in the sheer number of other characters who offer the brothers sympathy, and obliviously sing their old man’s praises, regardless of their stony facial expressions.\u003c/p>\n\u003cp>\u003cem>Raymond & Ray\u003c/em> is also a meditation on fathers and sons; men and boys. The issue of boyhood in particular rears up repeatedly as the characters ponder where exactly their lives went off the rails. Ray notes that he can’t picture his father as a small boy, and admits that he never had children because he “wouldn’t know what do with a kid — especially a boy.” Raymond, on meeting an unsullied younger brother that he didn’t know he had, grumbles: “That boy, he bugs me.” The brothers weren’t permitted a happy childhood, so they have skewed ideas of what boyhood should actually be or, at the very least, look like.\u003c/p>\n\u003cfigure id=\"attachment_13920431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920431\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-14-at-4.18.51-PM-800x537.png\" alt=\"Two women sit on a blanket beneath trees, laughing in a graveyard.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-14-at-4.18.51-PM-800x537.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-14-at-4.18.51-PM-1020x684.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-14-at-4.18.51-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-14-at-4.18.51-PM-768x515.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-14-at-4.18.51-PM-1536x1030.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-14-at-4.18.51-PM.png 1756w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maribel Verdú and Sophie Okonedo as Lucia and Kiera in ‘Raymond & Ray’. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As is to be expected from a movie that leans so much into the masculine, the female characters here, though given their own layers, are only about two steps away from being tropes. Both Lucia (Maribel Verdú) and Kiera (Sophie Okonedo) are caretakers at their core, and both become romantic interests to the brothers. Thankfully, neither woman behaves as predictably as one might expect, and both Verdú and Okonedo’s engaging characterizations push past the limitations of their roles.\u003c/p>\n\u003cp>[aside postid='arts_13920031']Where \u003cem>Raymond & Ray\u003c/em> falls a little short is in its conclusion. How both men react at the end of their father’s funeral is infinitely more satisfying than anything that comes after. The subsequent scenes feel in some ways tacked on for the sake of a neater conclusion than is necessary. Instead of sunnying things up at the end, it would have been better to hone in a little more on the thing \u003cem>Raymond & Ray\u003c/em> does best. And that’s giving the audience permission to explore their own resentments loudly and unapologetically. Given my own history, I appreciated that. If you have a messy past of your own, you probably will too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Raymond & Ray’ premieres on Apple TV+ on Oct. 21st, 2022.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I was in my early twenties I spent three years in a relationship with a man that I came to regard as monstrous. We happened to be married for six months of that, so when he died suddenly a decade after we had ceased all contact, I was inundated with well-meaning sympathy messages. His death had not inspired any feelings of grief in me, and I resented the expectation that it should. Instead, his demise merely dragged back up all of the resentments I felt towards him, and forced me to finally reckon with them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I wouldn’t ordinarily start a movie review with a personal anecdote — especially not one this intimate. But when it comes to evaluating \u003cem>Raymond & Ray \u003c/em>— the story of two abused brothers reuniting to deal with the burial of their vindictive father — it feels impossible not to mention. A movie about having to put on a polite, respectful face to bury someone you hate is not going to be for everyone. But I related to, and enjoyed, it immensely.\u003c/p>\n\u003cp>The basis of \u003cem>Raymond & Ray\u003c/em> remains more taboo than it should be. The film is in some ways an examination of how our culture automatically expects grief when someone dies, no matter who they were or what they did in life. Death is the point, we are told, when all should be forgiven. (Just ask Jennette McCurdy, whose autobiography, \u003ca href=\"https://www.simonandschuster.com/books/Im-Glad-My-Mom-Died/Jennette-McCurdy/9781982185824\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I’m Glad My Mom Died\u003c/em>\u003c/a>, inspired ripples of shock when it was released two months ago.) The reality, of course, is infinitely more complicated — something \u003cem>Raymond and Ray\u003c/em> goes to some pains to explore.\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/3fzW5DpoApg'\n title='//www.youtube.com/embed/3fzW5DpoApg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The movie does an excellent job of capturing the complexity of handling the deaths of people who have hurt but indelibly impacted our lives. As the titular characters, Ewan McGregor and Ethan Hawke both beautifully convey just how the betrayal of a loved one can wreak havoc on people in permanent ways. The way that both of them deal with that hurt — McGregor’s Raymond tries to lean into forgiveness, Hawke’s Ray embraces his anger — is appropriately messy but ultimately liberating.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Given the subject matter, it’s somewhat surprising how much levity creeps into \u003cem>Raymond & Ray\u003c/em>. The humor here is dark — nowhere more so than when Raymond unpacks the cardboard box of junk that his father left to him — but it does feel consistently real. Nowhere more so than in the sheer number of other characters who offer the brothers sympathy, and obliviously sing their old man’s praises, regardless of their stony facial expressions.\u003c/p>\n\u003cp>\u003cem>Raymond & Ray\u003c/em> is also a meditation on fathers and sons; men and boys. The issue of boyhood in particular rears up repeatedly as the characters ponder where exactly their lives went off the rails. Ray notes that he can’t picture his father as a small boy, and admits that he never had children because he “wouldn’t know what do with a kid — especially a boy.” Raymond, on meeting an unsullied younger brother that he didn’t know he had, grumbles: “That boy, he bugs me.” The brothers weren’t permitted a happy childhood, so they have skewed ideas of what boyhood should actually be or, at the very least, look like.\u003c/p>\n\u003cfigure id=\"attachment_13920431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13920431\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/Screen-Shot-2022-10-14-at-4.18.51-PM-800x537.png\" alt=\"Two women sit on a blanket beneath trees, laughing in a graveyard.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-14-at-4.18.51-PM-800x537.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-14-at-4.18.51-PM-1020x684.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-14-at-4.18.51-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-14-at-4.18.51-PM-768x515.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-14-at-4.18.51-PM-1536x1030.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/Screen-Shot-2022-10-14-at-4.18.51-PM.png 1756w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maribel Verdú and Sophie Okonedo as Lucia and Kiera in ‘Raymond & Ray’. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As is to be expected from a movie that leans so much into the masculine, the female characters here, though given their own layers, are only about two steps away from being tropes. Both Lucia (Maribel Verdú) and Kiera (Sophie Okonedo) are caretakers at their core, and both become romantic interests to the brothers. Thankfully, neither woman behaves as predictably as one might expect, and both Verdú and Okonedo’s engaging characterizations push past the limitations of their roles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Where \u003cem>Raymond & Ray\u003c/em> falls a little short is in its conclusion. How both men react at the end of their father’s funeral is infinitely more satisfying than anything that comes after. The subsequent scenes feel in some ways tacked on for the sake of a neater conclusion than is necessary. Instead of sunnying things up at the end, it would have been better to hone in a little more on the thing \u003cem>Raymond & Ray\u003c/em> does best. And that’s giving the audience permission to explore their own resentments loudly and unapologetically. Given my own history, I appreciated that. If you have a messy past of your own, you probably will too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Raymond & Ray’ premieres on Apple TV+ on Oct. 21st, 2022.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Age is Just a Number in 'Good Luck to You, Leo Grande' and 'Cha Cha Real Smooth'",
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"content": "\u003cp>Beyond the fact that they’re arriving on streaming platforms the same week, the Sundance hits \u003cem>Good Luck to You, Leo Grande\u003c/em> and \u003cem>Cha Cha Real Smooth\u003c/em> have a couple of things in common. They both mix comedy and drama and have somewhat odd, unwieldy titles. They both focus on a hazily defined relationship between a younger man and an older woman. And while I definitely prefer one to the other, both movies are well worth your time.\u003c/p>\n\u003cp>The better of the two is Hulu’s \u003cem>Good Luck to You, Leo Grande\u003c/em>, a funny and strikingly intimate British chamber piece that unfolds almost entirely between two people in a hotel room. Emma Thompson plays Nancy, a retired schoolteacher in her 50s, and Daryl McCormack plays Leo Grande, the 20-something sex worker she’s hired.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UZAgk9-e_rc\u003c/p>\n\u003cp>After a stable but unexciting long marriage to a husband who died two years earlier, Nancy now wants to have the kind of sex she’s always dreamed of. But she’s also extremely nervous and embarrassed, and initially tries to talk herself and Leo out of their arrangement.\u003c/p>\n\u003cp>Nancy and Leo do eventually have sex, on multiple occasions. The movie, elegantly directed by Sophie Hyde from a sharp script by Katy Brand, takes place over four separate appointments, all at the same hotel. But most of the action takes place \u003cem>before\u003c/em> the sex, as the characters talk about what they’re about to do, and Leo helps Nancy work through her fears.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Confronting issues of ageism and sexism in a very different way from her 2019 comedy \u003cem>Late Night\u003c/em>, Emma Thompson brilliantly teases out Nancy’s desires and her insecurities about those desires. She frets about her age, her body and the fact that she’s never done anything like this before. At times she projects her worries onto Leo, pressing him about his personal background—Leo Grande isn’t his real name—and whether he ever feels degraded by his work. McCormack, an Irish actor known for the series \u003cem>Peaky Blinders\u003c/em>, is superb as a young man who’s very good at doing his job and defending it from the judgments of others.\u003c/p>\n\u003cp>[aside postid='pop_112397']The sex scenes strike a fine balance between discretion and frankness, and Thompson has one nude scene that boldly challenges the idea that a middle-aged woman’s body is unworthy of the camera’s attention. At times the movie feels like a PSA aimed at promoting sex positivity and debunking outdated assumptions about women’s desire. I mean that as a compliment; all PSAs should be this entertaining.\u003c/p>\n\u003cp>The other movie streaming this week, Apple TV+’s \u003cem>Cha Cha Real Smooth\u003c/em>, is about a much more chaste but similarly ambiguous relationship. Cooper Raiff, the movie’s writer, director and star, plays Andrew, a 22-year-old college grad who’s living back at home with his hard-working mom, grumpy stepdad and adoring younger brother.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VgYVtqeVK3I\u003c/p>\n\u003cp>Andrew lacks direction, but he’s also charismatic and smart, with a natural gift for befriending other people. One night, he singlehandedly jumpstarts a low-energy bar mitzvah party, even talking a shy, autistic teenager named Lola, winningly played by newcomer Vanessa Burghardt, onto the dance floor.\u003c/p>\n\u003cp>[aside postid='arts_13914146']He also meets Lola’s mom, Domino, played by a terrific Dakota Johnson, and becomes immediately smitten with her. Domino clearly returns Andrew’s affections, up to a point. But she also holds herself back for a couple of reasons: She’s engaged, for one thing, and wary of introducing more upheaval into her family’s life. But Andrew also provides some stability, especially when he becomes a good friend and occasional babysitter to Lola.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cha Cha Real Smooth\u003c/em> won an audience award at this year’s Sundance, and it sometimes too closely resembles any number of Sundance-premiered indies about restless 20-something screw-ups. Raiff is a real talent and a charming screen presence, but while you can sense him trying to tell a nuanced, emotionally honest story, he also really, really wants you to like Andrew, to see how amazing he is despite his many questionable decisions. I wanted a little less of him and a lot more of Domino, the more intriguing and complicated figure by far. Dakota Johnson might just be one of the most interesting actors working today, and she’s the reason to watch this likable but not entirely satisfying movie.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Age+is+just+a+number+in+Sundance+hits+%27Leo+Grande%27+and+%27Cha+Cha+Real+Smooth%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Hulu and Apple TV+ are both premiering refreshing movies this week about older women with younger male companions.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyond the fact that they’re arriving on streaming platforms the same week, the Sundance hits \u003cem>Good Luck to You, Leo Grande\u003c/em> and \u003cem>Cha Cha Real Smooth\u003c/em> have a couple of things in common. They both mix comedy and drama and have somewhat odd, unwieldy titles. They both focus on a hazily defined relationship between a younger man and an older woman. And while I definitely prefer one to the other, both movies are well worth your time.\u003c/p>\n\u003cp>The better of the two is Hulu’s \u003cem>Good Luck to You, Leo Grande\u003c/em>, a funny and strikingly intimate British chamber piece that unfolds almost entirely between two people in a hotel room. Emma Thompson plays Nancy, a retired schoolteacher in her 50s, and Daryl McCormack plays Leo Grande, the 20-something sex worker she’s hired.\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/UZAgk9-e_rc'\n title='//www.youtube.com/embed/UZAgk9-e_rc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After a stable but unexciting long marriage to a husband who died two years earlier, Nancy now wants to have the kind of sex she’s always dreamed of. But she’s also extremely nervous and embarrassed, and initially tries to talk herself and Leo out of their arrangement.\u003c/p>\n\u003cp>Nancy and Leo do eventually have sex, on multiple occasions. The movie, elegantly directed by Sophie Hyde from a sharp script by Katy Brand, takes place over four separate appointments, all at the same hotel. But most of the action takes place \u003cem>before\u003c/em> the sex, as the characters talk about what they’re about to do, and Leo helps Nancy work through her fears.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Confronting issues of ageism and sexism in a very different way from her 2019 comedy \u003cem>Late Night\u003c/em>, Emma Thompson brilliantly teases out Nancy’s desires and her insecurities about those desires. She frets about her age, her body and the fact that she’s never done anything like this before. At times she projects her worries onto Leo, pressing him about his personal background—Leo Grande isn’t his real name—and whether he ever feels degraded by his work. McCormack, an Irish actor known for the series \u003cem>Peaky Blinders\u003c/em>, is superb as a young man who’s very good at doing his job and defending it from the judgments of others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The sex scenes strike a fine balance between discretion and frankness, and Thompson has one nude scene that boldly challenges the idea that a middle-aged woman’s body is unworthy of the camera’s attention. At times the movie feels like a PSA aimed at promoting sex positivity and debunking outdated assumptions about women’s desire. I mean that as a compliment; all PSAs should be this entertaining.\u003c/p>\n\u003cp>The other movie streaming this week, Apple TV+’s \u003cem>Cha Cha Real Smooth\u003c/em>, is about a much more chaste but similarly ambiguous relationship. Cooper Raiff, the movie’s writer, director and star, plays Andrew, a 22-year-old college grad who’s living back at home with his hard-working mom, grumpy stepdad and adoring younger brother.\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/VgYVtqeVK3I'\n title='//www.youtube.com/embed/VgYVtqeVK3I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Andrew lacks direction, but he’s also charismatic and smart, with a natural gift for befriending other people. One night, he singlehandedly jumpstarts a low-energy bar mitzvah party, even talking a shy, autistic teenager named Lola, winningly played by newcomer Vanessa Burghardt, onto the dance floor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He also meets Lola’s mom, Domino, played by a terrific Dakota Johnson, and becomes immediately smitten with her. Domino clearly returns Andrew’s affections, up to a point. But she also holds herself back for a couple of reasons: She’s engaged, for one thing, and wary of introducing more upheaval into her family’s life. But Andrew also provides some stability, especially when he becomes a good friend and occasional babysitter to Lola.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Cha Cha Real Smooth\u003c/em> won an audience award at this year’s Sundance, and it sometimes too closely resembles any number of Sundance-premiered indies about restless 20-something screw-ups. Raiff is a real talent and a charming screen presence, but while you can sense him trying to tell a nuanced, emotionally honest story, he also really, really wants you to like Andrew, to see how amazing he is despite his many questionable decisions. I wanted a little less of him and a lot more of Domino, the more intriguing and complicated figure by far. Dakota Johnson might just be one of the most interesting actors working today, and she’s the reason to watch this likable but not entirely satisfying movie.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Age+is+just+a+number+in+Sundance+hits+%27Leo+Grande%27+and+%27Cha+Cha+Real+Smooth%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "These Are the Movies NPR Critics Are Looking Forward to This Summer",
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"content": "\u003cp>Just like there’s \u003ca href=\"https://www.kqed.org/arts/13913871\" target=\"_blank\" rel=\"noopener noreferrer\">too much TV to keep track of\u003c/a>, the summer movie slate is jam-packed after years of pandemic-induced disruption.\u003c/p>\n\u003cp>As temperatures get hotter, burgers, bat mitzvahs and Baz Luhrmann are headed to the big screen. Here’s what NPR critics have their eyes on, in order of release date.\u003c/p>\n\u003ch3>The Bob’s Burgers Movie\u003c/h3>\n\u003cp>\u003cem>In theaters May 27\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hbGXqUumtqg\u003c/p>\n\u003cp>I’ve seen every episode of \u003cem>Bob’s Burgers\u003c/em> at least once. Every week my partner and I will sit down, have dinner and watch the newest episode. And we are excited for this movie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Little has been divulged. We know the main cast will be there—Bob, Linda, Tina, all of them. Apparently, they have, like, a week to keep their restaurant afloat, and the kids get into a mystery of some sort to try and save it. The trailer is a lot of Gene yelling things at the other siblings, and lots of one-liners.\u003c/p>\n\u003cp>There are many things \u003cem>Bob’s Burgers\u003c/em> does well. But one of the best things is obviously the music and the songs, so I’m excited for those.\u003c/p>\n\u003cp>I do worry that this film has kind of gotten buried. It’s opening in theaters, but I probably would have been fine seeing it on streaming first. —\u003cstrong>Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Fire Island\u003c/h3>\n\u003cp>\u003cem>Hulu, June 3\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6lKuKcVc3bU\u003c/p>\n\u003cp>This is a film written by and starring the very funny Joel Kim Booster, directed by Andrew Ahn. He directed two films I really like called \u003cem>Spa Night\u003c/em> and \u003cem>Driveways\u003c/em>. Both of those movies are really kind of quiet and introspective, but this doesn’t seem to be. This seems to be a kind of raucous gay romcom set in a very privileged queer vacation destination, Fire Island.\u003c/p>\n\u003cp>And the idea behind this movie is just so simple and inevitable. Take the bones of \u003cem>Pride And Prejudice\u003c/em>, and map it over the way that gay men tend to sort ourselves into these very insular cliques based on things like race and income level and age and body fat percentage, and frankly, it just works. It matters who’s telling the story, because the film’s two leads are Booster and Bowen Yang. It’s going to be telling this very familiar story from a perspective we haven’t seen a lot before. According to the trailer, at least, it’s going to be directly addressing the white, rich, cis privilege of the queer community, and of Fire Island in particular. —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Neptune Frost\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Pss6jTzwxQ8\u003c/p>\n\u003cp>An afro-futurist, sci-fi musical set and shot in Rwanda, this first film by slam-poet/composer Saul Williams and actor/writer Anisia Uzeyman debuted in 2021 at Cannes, and became a festival darling invited to show at Toronto, Sundance, London, New York and a host of other fests last year. It’s enigmatic, poetic, allegorical, operatic, eerie, and so determinedly non-linear, it’s hard to tell what’s going on at any given moment. But if experimental and ambitious count as draws for you, this has plenty of both those qualities. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Crimes of the Future\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AD8dt9ndGgg\u003c/p>\n\u003cp>David Cronenberg is back, and back to his old trippy/gooey/disquietingly pulsating body-horror tricks, bless him. This time, Viggo Mortensen and Lea Seydoux are a pair of performance artists who perform live surgery in front of audiences, demonstrating how Viggo’s character can grow and mutate his internal organs due to a condition called “Accelerated Evolution Syndrome.” Sing with me: “Tale as old as tiiiiiiiiime….” —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Father of the Bride\u003c/h3>\n\u003cp>\u003cem>HBO Max, June 16\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Iwm0IO-NFRM\u003c/p>\n\u003cp>One of the movies that is a gigantic comfort-food pick for me is the ’90s-era Nancy Meyers \u003cem>Father Of The Bride\u003c/em> with Steve Martin. And that is obviously a remake of a Spencer Tracy movie, where Elizabeth Taylor played his daughter. Of course, you definitely do not want to spend too much time with the harried father paying for the expensive wedding. But I’ve always thought this movie was funny and ultimately, really sweet.\u003c/p>\n\u003cp>The ’90s version was a very particular era of Steve Martin. There’s a moment in that movie where Martin, who is a sneaker magnate, has a bedazzled pair of tennis shoes made for his daughter to wear under her wedding dress. And when my sister got married a few years after this movie, which we both loved, I made her a pair of bedazzled tennis shoes, which she wore at the reception under her dress when she got out of her heels.\u003c/p>\n\u003cp>They are doing a remake of this with a Latinx family; Andy Garcia is the patriarch, Gloria Estefan is the mom. And I am really psyched.\u003cstrong> —Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Cha Cha Real Smooth\u003c/h3>\n\u003cp>\u003cem>In theaters and Apple TV+ June 17\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QRyyagJ9GPo\u003c/p>\n\u003cp>Cooper Raiff follows up his charming (if terribly titled) filmmaking debut \u003cem>S***house\u003c/em>, with an indie romance at least twice as charming. Raiff is writer/director and ingratiating leading man, fresh-out-of-college and sleeping on a cot in his little brother’s bedroom. When their mom makes him take the kid to a friend’s bat mitzvah, he meets and falls for Dakota Johnson, gets her autistic daughter to dance, and is immediately swarmed by Jewish mothers who want to hire him as a party-starter for their kids’ bar and bat mitzvahs.\u003c/p>\n\u003cp>Presumably, Raiff is more driven in real life than his character is—you don’t get two films produced in three years without having sharp elbows—but he makes puppyish vulnerability enormously appealing. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Good Luck to You, Leo Grande\u003c/h3>\n\u003cp>\u003cem>In theaters and on Hulu June 17\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UZAgk9-e_rc\u003c/p>\n\u003cp>A widowed ex-teacher (Emma Thompson) hires a much younger male escort (Daryl McCormack) hoping to make up for a lifetime of sexual timidity and boredom in this winning, surprising, funny, touching, and decidedly feminine (if not precisely feminist) take on self-discovery.\u003c/p>\n\u003cp>Sophie Hyde’s direction is sensitive, and the performers have great chemistry—Thompson initially deflecting the escort’s every attempt to do what she’s hired him to do; McCormack by turns reassuring (“you’re conflicted; conflict is interesting”) and gentle (“may I kiss you on the cheek?”). That their roles will alter over time is a given—”I have some feedback and a couple of attainment goals” says Thompson at the start of a second meeting—and the situation grows interestingly complex. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Elvis\u003c/h3>\n\u003cp>\u003cem>In theaters June 24\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gp2BNHwbwvI\u003c/p>\n\u003cp>Austin Butler is a hip-swiveling Elvis Presley and Tom Hanks his manipulative manager “Colonel” Tom Parker in what director Baz Luhrmann has been telling interviewers will be an impressionist tapestry exploring mid-20th century America, with all its hangups about race relations and celebrity culture.\u003c/p>\n\u003cp>“It’s a bit like [how] Shakespeare takes a historical figure and uses it to look at a bigger picture,” he told \u003cem>Entertainment Weekly\u003c/em>. Suspicious minds might question that, but since Luhrmann did a decent job with the Leonardo DiCaprio/Claire Danes \u003cem>Romeo and Juliet\u003c/em>, we can probably take him at his word. He went on to say it’s a tale of The King told in three acts—Elvis the punk, Elvis the family-friendly movie star, and Elvis the ’70s jumpsuit fan. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>The Princess\u003c/h3>\n\u003cp>\u003cem>Hulu, July 1\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13914148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914148\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/pcs-04199_r_custom-455e7f865a983f6577d5fcfa5f1ac1c37a900912-800x533.jpg\" alt=\"A woman with wild red hair holds a bloody sword aloft as she stands back to back with another woman.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Joey King and Veronica Ngo in ‘The Princess.’ \u003ccite>(2022 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little is known about this R-rated dark fantasy film, in which a princess (Joey King) refuses to marry the evil man to whom she is betrothed (Dominic Cooper), gets trapped in a tower, and proceeds to kick medieval butt to save her family as mercenaries attack. We do know it’s directed by Le-Van Kiet, the Vietnamese filmmaker whose 2019 feature \u003cem>Furie\u003c/em>, a gleefully over-the-top martial-arts action film, featured a mother rescuing her daughter from a trafficking ring. This princess is no damsel. \u003cstrong>—Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Thor: Love and Thunder\u003c/h3>\n\u003cp>\u003cem>In theaters July 8\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Go8nTmfrQd8\u003c/p>\n\u003cp>Look, you’ve got in the world your \u003cem>Thor: Ragnarok\u003c/em> people and your not-so-much \u003cem>Thor: Ragnaro\u003c/em>k people. I am the former. I think \u003cem>Thor: Ragnarok \u003c/em>was full of good jokes. \u003cem>Thor: Love and Thunder\u003c/em> is another Taika Waititi \u003cem>Thor \u003c/em>movie, and I’m here for it.\u003c/p>\n\u003cp>Not for nothing, the thing that I liked the most about the original MCU \u003cem>Thor \u003c/em>was Natalie Portman, and Natalie Portman is coming back for this movie. You’ve also got your Chris Hemsworth, your Tessa Thompson. At this point with the MCU, I want funny movies. I am somewhat over practically everything else. \u003cstrong>—Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Nope\u003c/h3>\n\u003cp>\u003cem>In theaters July 22\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=In8fuzj3gck\u003c/p>\n\u003cp>We know very little about what this movie is about, which is always a good sign with Jordan Peele. I feel like the less we know going into anything he’s working on, the better.\u003c/p>\n\u003cp>There are small hints in the trailer. It opens up with Keke Palmer’s character talking about how one of the first moving images created was of a Black man riding a horse. She claims that it’s her great-great-grandfather, and that she is now part of a collective of the only Black horse trainers in Hollywood. But then the trailer is just lots of images going back and forth, and it’s great. You have Stevie Wonder’s “Fingertips Part II” being cut and sliced and made into creepy music, the way we do with trailers.\u003c/p>\n\u003cp>I’ve seen people trying to decode the movie already, which – if you’re doing that, you’re doing it wrong. \u003cstrong>—Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Bullet Train\u003c/h3>\n\u003cp>\u003cem>In theaters August 5\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0IOsk2Vlc4o\u003c/p>\n\u003cp>Five assassins are working interrelated missions on a 250-mph dash across Japan in stuntman-turned-director David Leitch’s action-comedy. Brad Pitt’s the one who left his gun at home—”if you put peace out in the world, you get peace back” he tells handler Sandra Bullock (who replaced Lady Gaga midway through the shoot).\u003c/p>\n\u003cp>Based on a novel by Kotaro Isaka, the film is encountering headwinds for casting non-Asian actors in leading roles, though the author’s on record as being enthusiastic. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Three Thousand Years of Longing\u003c/h3>\n\u003cp>\u003cem>In theaters August 31\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TWGvntl9itE\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Based on an A.S. Byatt short story, this fantasy film about a scholar (Tilda Swinton) who frees a Djinn (Idris Elba) while visiting Istanbul is co-writer/director George Miller’s first film since the jaw-dropping visual (and logistical) stunner \u003cem>Mad Max: Fury Road\u003c/em>. The trailer promises dazzling visuals, a millennia-spanning story that’s epic in scope (and kinda funny), and a protagonist who, thankfully, knows very well how stories about magical wish-granting usually end. \u003cstrong>—Glen Weldon\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+are+the+movies+NPR+critics+are+looking+forward+to+this+summer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"description": "Jordan Peele's 'Nope,' 'The Bob's Burger's Movie' and 'Fire Island' with Bowen Yang all made the list. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just like there’s \u003ca href=\"https://www.kqed.org/arts/13913871\" target=\"_blank\" rel=\"noopener noreferrer\">too much TV to keep track of\u003c/a>, the summer movie slate is jam-packed after years of pandemic-induced disruption.\u003c/p>\n\u003cp>As temperatures get hotter, burgers, bat mitzvahs and Baz Luhrmann are headed to the big screen. Here’s what NPR critics have their eyes on, in order of release date.\u003c/p>\n\u003ch3>The Bob’s Burgers Movie\u003c/h3>\n\u003cp>\u003cem>In theaters May 27\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/hbGXqUumtqg'\n title='//www.youtube.com/embed/hbGXqUumtqg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I’ve seen every episode of \u003cem>Bob’s Burgers\u003c/em> at least once. Every week my partner and I will sit down, have dinner and watch the newest episode. And we are excited for this movie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Little has been divulged. We know the main cast will be there—Bob, Linda, Tina, all of them. Apparently, they have, like, a week to keep their restaurant afloat, and the kids get into a mystery of some sort to try and save it. The trailer is a lot of Gene yelling things at the other siblings, and lots of one-liners.\u003c/p>\n\u003cp>There are many things \u003cem>Bob’s Burgers\u003c/em> does well. But one of the best things is obviously the music and the songs, so I’m excited for those.\u003c/p>\n\u003cp>I do worry that this film has kind of gotten buried. It’s opening in theaters, but I probably would have been fine seeing it on streaming first. —\u003cstrong>Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Fire Island\u003c/h3>\n\u003cp>\u003cem>Hulu, June 3\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/6lKuKcVc3bU'\n title='//www.youtube.com/embed/6lKuKcVc3bU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is a film written by and starring the very funny Joel Kim Booster, directed by Andrew Ahn. He directed two films I really like called \u003cem>Spa Night\u003c/em> and \u003cem>Driveways\u003c/em>. Both of those movies are really kind of quiet and introspective, but this doesn’t seem to be. This seems to be a kind of raucous gay romcom set in a very privileged queer vacation destination, Fire Island.\u003c/p>\n\u003cp>And the idea behind this movie is just so simple and inevitable. Take the bones of \u003cem>Pride And Prejudice\u003c/em>, and map it over the way that gay men tend to sort ourselves into these very insular cliques based on things like race and income level and age and body fat percentage, and frankly, it just works. It matters who’s telling the story, because the film’s two leads are Booster and Bowen Yang. It’s going to be telling this very familiar story from a perspective we haven’t seen a lot before. According to the trailer, at least, it’s going to be directly addressing the white, rich, cis privilege of the queer community, and of Fire Island in particular. —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Neptune Frost\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\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/Pss6jTzwxQ8'\n title='//www.youtube.com/embed/Pss6jTzwxQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An afro-futurist, sci-fi musical set and shot in Rwanda, this first film by slam-poet/composer Saul Williams and actor/writer Anisia Uzeyman debuted in 2021 at Cannes, and became a festival darling invited to show at Toronto, Sundance, London, New York and a host of other fests last year. It’s enigmatic, poetic, allegorical, operatic, eerie, and so determinedly non-linear, it’s hard to tell what’s going on at any given moment. But if experimental and ambitious count as draws for you, this has plenty of both those qualities. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Crimes of the Future\u003c/h3>\n\u003cp>\u003cem>In theaters June 3\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/AD8dt9ndGgg'\n title='//www.youtube.com/embed/AD8dt9ndGgg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>David Cronenberg is back, and back to his old trippy/gooey/disquietingly pulsating body-horror tricks, bless him. This time, Viggo Mortensen and Lea Seydoux are a pair of performance artists who perform live surgery in front of audiences, demonstrating how Viggo’s character can grow and mutate his internal organs due to a condition called “Accelerated Evolution Syndrome.” Sing with me: “Tale as old as tiiiiiiiiime….” —\u003cstrong>Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Father of the Bride\u003c/h3>\n\u003cp>\u003cem>HBO Max, June 16\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/Iwm0IO-NFRM'\n title='//www.youtube.com/embed/Iwm0IO-NFRM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of the movies that is a gigantic comfort-food pick for me is the ’90s-era Nancy Meyers \u003cem>Father Of The Bride\u003c/em> with Steve Martin. And that is obviously a remake of a Spencer Tracy movie, where Elizabeth Taylor played his daughter. Of course, you definitely do not want to spend too much time with the harried father paying for the expensive wedding. But I’ve always thought this movie was funny and ultimately, really sweet.\u003c/p>\n\u003cp>The ’90s version was a very particular era of Steve Martin. There’s a moment in that movie where Martin, who is a sneaker magnate, has a bedazzled pair of tennis shoes made for his daughter to wear under her wedding dress. And when my sister got married a few years after this movie, which we both loved, I made her a pair of bedazzled tennis shoes, which she wore at the reception under her dress when she got out of her heels.\u003c/p>\n\u003cp>They are doing a remake of this with a Latinx family; Andy Garcia is the patriarch, Gloria Estefan is the mom. And I am really psyched.\u003cstrong> —Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Cha Cha Real Smooth\u003c/h3>\n\u003cp>\u003cem>In theaters and Apple TV+ June 17\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/QRyyagJ9GPo'\n title='//www.youtube.com/embed/QRyyagJ9GPo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cooper Raiff follows up his charming (if terribly titled) filmmaking debut \u003cem>S***house\u003c/em>, with an indie romance at least twice as charming. Raiff is writer/director and ingratiating leading man, fresh-out-of-college and sleeping on a cot in his little brother’s bedroom. When their mom makes him take the kid to a friend’s bat mitzvah, he meets and falls for Dakota Johnson, gets her autistic daughter to dance, and is immediately swarmed by Jewish mothers who want to hire him as a party-starter for their kids’ bar and bat mitzvahs.\u003c/p>\n\u003cp>Presumably, Raiff is more driven in real life than his character is—you don’t get two films produced in three years without having sharp elbows—but he makes puppyish vulnerability enormously appealing. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Good Luck to You, Leo Grande\u003c/h3>\n\u003cp>\u003cem>In theaters and on Hulu June 17\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/UZAgk9-e_rc'\n title='//www.youtube.com/embed/UZAgk9-e_rc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A widowed ex-teacher (Emma Thompson) hires a much younger male escort (Daryl McCormack) hoping to make up for a lifetime of sexual timidity and boredom in this winning, surprising, funny, touching, and decidedly feminine (if not precisely feminist) take on self-discovery.\u003c/p>\n\u003cp>Sophie Hyde’s direction is sensitive, and the performers have great chemistry—Thompson initially deflecting the escort’s every attempt to do what she’s hired him to do; McCormack by turns reassuring (“you’re conflicted; conflict is interesting”) and gentle (“may I kiss you on the cheek?”). That their roles will alter over time is a given—”I have some feedback and a couple of attainment goals” says Thompson at the start of a second meeting—and the situation grows interestingly complex. —\u003cstrong>Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Elvis\u003c/h3>\n\u003cp>\u003cem>In theaters June 24\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/Gp2BNHwbwvI'\n title='//www.youtube.com/embed/Gp2BNHwbwvI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Austin Butler is a hip-swiveling Elvis Presley and Tom Hanks his manipulative manager “Colonel” Tom Parker in what director Baz Luhrmann has been telling interviewers will be an impressionist tapestry exploring mid-20th century America, with all its hangups about race relations and celebrity culture.\u003c/p>\n\u003cp>“It’s a bit like [how] Shakespeare takes a historical figure and uses it to look at a bigger picture,” he told \u003cem>Entertainment Weekly\u003c/em>. Suspicious minds might question that, but since Luhrmann did a decent job with the Leonardo DiCaprio/Claire Danes \u003cem>Romeo and Juliet\u003c/em>, we can probably take him at his word. He went on to say it’s a tale of The King told in three acts—Elvis the punk, Elvis the family-friendly movie star, and Elvis the ’70s jumpsuit fan. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>The Princess\u003c/h3>\n\u003cp>\u003cem>Hulu, July 1\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13914148\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914148\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/pcs-04199_r_custom-455e7f865a983f6577d5fcfa5f1ac1c37a900912-800x533.jpg\" alt=\"A woman with wild red hair holds a bloody sword aloft as she stands back to back with another woman.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Joey King and Veronica Ngo in ‘The Princess.’ \u003ccite>(2022 20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little is known about this R-rated dark fantasy film, in which a princess (Joey King) refuses to marry the evil man to whom she is betrothed (Dominic Cooper), gets trapped in a tower, and proceeds to kick medieval butt to save her family as mercenaries attack. We do know it’s directed by Le-Van Kiet, the Vietnamese filmmaker whose 2019 feature \u003cem>Furie\u003c/em>, a gleefully over-the-top martial-arts action film, featured a mother rescuing her daughter from a trafficking ring. This princess is no damsel. \u003cstrong>—Glen Weldon\u003c/strong>\u003c/p>\n\u003ch3>Thor: Love and Thunder\u003c/h3>\n\u003cp>\u003cem>In theaters July 8\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/Go8nTmfrQd8'\n title='//www.youtube.com/embed/Go8nTmfrQd8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Look, you’ve got in the world your \u003cem>Thor: Ragnarok\u003c/em> people and your not-so-much \u003cem>Thor: Ragnaro\u003c/em>k people. I am the former. I think \u003cem>Thor: Ragnarok \u003c/em>was full of good jokes. \u003cem>Thor: Love and Thunder\u003c/em> is another Taika Waititi \u003cem>Thor \u003c/em>movie, and I’m here for it.\u003c/p>\n\u003cp>Not for nothing, the thing that I liked the most about the original MCU \u003cem>Thor \u003c/em>was Natalie Portman, and Natalie Portman is coming back for this movie. You’ve also got your Chris Hemsworth, your Tessa Thompson. At this point with the MCU, I want funny movies. I am somewhat over practically everything else. \u003cstrong>—Linda Holmes\u003c/strong>\u003c/p>\n\u003ch3>Nope\u003c/h3>\n\u003cp>\u003cem>In theaters July 22\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/In8fuzj3gck'\n title='//www.youtube.com/embed/In8fuzj3gck'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We know very little about what this movie is about, which is always a good sign with Jordan Peele. I feel like the less we know going into anything he’s working on, the better.\u003c/p>\n\u003cp>There are small hints in the trailer. It opens up with Keke Palmer’s character talking about how one of the first moving images created was of a Black man riding a horse. She claims that it’s her great-great-grandfather, and that she is now part of a collective of the only Black horse trainers in Hollywood. But then the trailer is just lots of images going back and forth, and it’s great. You have Stevie Wonder’s “Fingertips Part II” being cut and sliced and made into creepy music, the way we do with trailers.\u003c/p>\n\u003cp>I’ve seen people trying to decode the movie already, which – if you’re doing that, you’re doing it wrong. \u003cstrong>—Aisha Harris\u003c/strong>\u003c/p>\n\u003ch3>Bullet Train\u003c/h3>\n\u003cp>\u003cem>In theaters August 5\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/0IOsk2Vlc4o'\n title='//www.youtube.com/embed/0IOsk2Vlc4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Five assassins are working interrelated missions on a 250-mph dash across Japan in stuntman-turned-director David Leitch’s action-comedy. Brad Pitt’s the one who left his gun at home—”if you put peace out in the world, you get peace back” he tells handler Sandra Bullock (who replaced Lady Gaga midway through the shoot).\u003c/p>\n\u003cp>Based on a novel by Kotaro Isaka, the film is encountering headwinds for casting non-Asian actors in leading roles, though the author’s on record as being enthusiastic. \u003cstrong>—Bob Mondello\u003c/strong>\u003c/p>\n\u003ch3>Three Thousand Years of Longing\u003c/h3>\n\u003cp>\u003cem>In theaters August 31\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/TWGvntl9itE'\n title='//www.youtube.com/embed/TWGvntl9itE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Based on an A.S. Byatt short story, this fantasy film about a scholar (Tilda Swinton) who frees a Djinn (Idris Elba) while visiting Istanbul is co-writer/director George Miller’s first film since the jaw-dropping visual (and logistical) stunner \u003cem>Mad Max: Fury Road\u003c/em>. The trailer promises dazzling visuals, a millennia-spanning story that’s epic in scope (and kinda funny), and a protagonist who, thankfully, knows very well how stories about magical wish-granting usually end. \u003cstrong>—Glen Weldon\u003c/strong>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+are+the+movies+NPR+critics+are+looking+forward+to+this+summer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In the Thriller 'Severance,' Adam Scott's Humanity Hangs in the (Work-Life) Balance",
"headTitle": "In the Thriller ‘Severance,’ Adam Scott’s Humanity Hangs in the (Work-Life) Balance | KQED",
"content": "\u003cp>Make no mistake: That lengthy tracking shot near the top of the first episode of \u003cem>Severance\u003c/em>, Apple TV+’s darkly funny, hugely imaginative corporate-thriller series, is all about swagger.\u003c/p>\n\u003cp>The camera follows Adam Scott’s Mark through the spare, white, featureless fluorescent halls of Lumon Industries as he walks to his sad little cubicle. And it’s a long, circuitous walk, because the floor on which he works appears to contain very few actual workspaces, and instead seems composed almost entirely of those endless, labyrinthine hallways.\u003c/p>\n\u003cp>[aside postid='arts_13908773']The aforementioned swagger isn’t possessed by Mark himself, who seems a dutifully nice, unassuming sort. No, that slow-burn start is all about \u003cem>Severance \u003c/em>(and creator Dan Erickson, and director Ben Stiller) confidently calling its shot, saying: We’re going somewhere, somewhere specific and stylized. We may take our time getting there, but if you hang with us, it’ll be worth it.\u003c/p>\n\u003cp>For some viewers, the line between swagger and self-indulgence is a thin one, and the unhurried nature of the show’s early going will prove a deal-breaker. For me, the world of this series is so fully imagined, so refreshingly singular—plus it just keeps on getting \u003cem>weirder—\u003c/em>that I was only too happy to strap in, and was grateful I did.\u003c/p>\n\u003cp>Mark is one of a four-member team of Lumon employees who make up the Macrodata Refinement division. There’s also Irving (John Turturro) a pure company man devoted to Lumon’s unusual, quasi-religious corporate culture; Dylan (Zach Cherry), a sardonic desk jockey only interested in earning company perks for meeting his numbers, and new arrival Helly (Britt Lower), who puts the “hostile” in hostile work environment. (She whips an intercom at Mark’s forehead a few minutes into their first meeting.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can’t blame her; like all members of Mark’s team, Helly has had her brain surgically altered so that, for security reasons, she retains no memories of the work she does at Lumon whenever she’s at home—and retains no memories of her life outside of Lumon while she’s at work. The key difference: Mark and his team of long-timers now accept this completely. To Helly, who doesn’t recall agreeing to the process, it’s all brand new, and terrifying; she wants out.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xEQP4VVuyrY\u003c/p>\n\u003ch3>Putting the \u003cem>human \u003c/em>in Human Resources\u003c/h3>\n\u003cp>That’s the high-concept premise: The Mark, Irving, Dylan and Helly who sit at those clunky console computers performing an inscrutable task with numbers all day long aren’t really their “true” selves—they’ve been stripped of the manifold experiences that shape a life, and define a personality. These so-called “innies” do possess their own thoughts and feelings, however, and they’re desperately curious about their selves outside the office. Any contact or communication between “innies” and “outies” is expressly forbidden, however.\u003c/p>\n\u003cp>[aside postid='arts_13909218']When we get to meet Mark’s “outie” self, we learn he’s a deeply depressed man who eagerly agreed to the severance procedure after suffering a crushing loss; his grief has exhausted him, and he just wants to stop feeling it, even if just for eight hours a day. One of the first episode’s finest, surest touches occurs as we follow “outie” Mark into a Lumon elevator, and observe the precise moment of his transition into “innie” Mark, during the descent to his sub-basement office space. There is a soft buzzing sound, the screen’s aspect ratio widens, and the expression on his face subtly but chillingly alters from low-level despair into … a perfect, blissful absence.\u003c/p>\n\u003cp>Now: This premise, and its execution, could easily go wrong in any of a hundred different ways. If all of this detailed, finely executed imaginative work were being done in service of broad corporate satire—the kind that simply sets about scoring lazy pot-shots at companies’ ability to exploit and dehumanize their employees—it would grow rapidly one-note, and boring.\u003c/p>\n\u003cp>Instead, \u003cem>Severance \u003c/em>expertly channels all of the energy it would otherwise spend making tired jokes about corporate culture into slowly but steadily building out its highly specific world. And the world of this \u003cem>particular \u003c/em>corporation is fascinating—its puzzling business culture; its bizarre systems of employee performance reviews, rewards and punishments; its shadowy history and lore; and, most intriguingly, its mysteriously compelling founder. (Who seems like what you’d end up with if you mixed Joseph Smith and L. Ron Hubbard with Elon Musk.)\u003c/p>\n\u003cp>The whole affair requires a sustained deftness of tone that the series pulls off effortlessly, steadily ratcheting up the stakes and pacing while supplying its characters room to breathe, grow and complicate.\u003c/p>\n\u003cp>In “outie” Mark’s home life, his close relationship with his sister (a wryly funny and deeply empathetic Jen Tullock) provides him much-needed comfort, while her self-help author husband (the great Michael Chernus, who’s hilarious here) causes him only exasperated frustration—and supplies the series with its best jokes.\u003c/p>\n\u003cp>In “innie” Mark’s office life, his intense, ironically named boss Harmony (Patricia Arquette, going full ham and loving it) and aggressively affable office manager Milchick (Tramell Tillman) get to add layers to their performances and make choices that legitimately surprise us.\u003c/p>\n\u003cp>[aside postid='arts_13908728']And while all of this is going on, \u003cem>Severance \u003c/em>manages to be \u003cem>about \u003c/em>something, something that’s fascinating to grapple with, and not a little unsettling—the notion of who we are at our core, and precisely how much of our self-perception is shaped by the exterior forces constantly bombarding us. Is Mark’s “innie” truly a whole person, if he exists only to work? Can anything like a conscience arise in the absence of true consciousness?\u003c/p>\n\u003cp>\u003cem>Severance \u003c/em>raises these questions and many more and—intriguingly—isn’t particularly interested in serving up too-tidy answers.\u003c/p>\n\u003cp>I loved watching this show, but I do feel obliged to issue this caveat: \u003cem>Severance \u003c/em>has a nine-episode season, and has not, at this writing, been picked up for another. It ends on a perfectly orchestrated, nerve-wracking cliffhanger that finds every member of the cast making irrevocable, harrowing decisions. Big questions looming over the season do get answered, but in the process, even bigger ones get proposed, just as the final credits come up.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If that’s something you feel your system can take, then \u003cem>Severance’s \u003c/em>thrilling conclusion will satisfy you—even (especially?) if you find yourself yelling at the screen.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+the+thriller+%27Severance%2C%27+Adam+Scott%27s+humanity+hangs+in+the+%28work-life%29+balance+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Make no mistake: That lengthy tracking shot near the top of the first episode of \u003cem>Severance\u003c/em>, Apple TV+’s darkly funny, hugely imaginative corporate-thriller series, is all about swagger.\u003c/p>\n\u003cp>The camera follows Adam Scott’s Mark through the spare, white, featureless fluorescent halls of Lumon Industries as he walks to his sad little cubicle. And it’s a long, circuitous walk, because the floor on which he works appears to contain very few actual workspaces, and instead seems composed almost entirely of those endless, labyrinthine hallways.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The aforementioned swagger isn’t possessed by Mark himself, who seems a dutifully nice, unassuming sort. No, that slow-burn start is all about \u003cem>Severance \u003c/em>(and creator Dan Erickson, and director Ben Stiller) confidently calling its shot, saying: We’re going somewhere, somewhere specific and stylized. We may take our time getting there, but if you hang with us, it’ll be worth it.\u003c/p>\n\u003cp>For some viewers, the line between swagger and self-indulgence is a thin one, and the unhurried nature of the show’s early going will prove a deal-breaker. For me, the world of this series is so fully imagined, so refreshingly singular—plus it just keeps on getting \u003cem>weirder—\u003c/em>that I was only too happy to strap in, and was grateful I did.\u003c/p>\n\u003cp>Mark is one of a four-member team of Lumon employees who make up the Macrodata Refinement division. There’s also Irving (John Turturro) a pure company man devoted to Lumon’s unusual, quasi-religious corporate culture; Dylan (Zach Cherry), a sardonic desk jockey only interested in earning company perks for meeting his numbers, and new arrival Helly (Britt Lower), who puts the “hostile” in hostile work environment. (She whips an intercom at Mark’s forehead a few minutes into their first meeting.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can’t blame her; like all members of Mark’s team, Helly has had her brain surgically altered so that, for security reasons, she retains no memories of the work she does at Lumon whenever she’s at home—and retains no memories of her life outside of Lumon while she’s at work. The key difference: Mark and his team of long-timers now accept this completely. To Helly, who doesn’t recall agreeing to the process, it’s all brand new, and terrifying; she wants out.\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/xEQP4VVuyrY'\n title='//www.youtube.com/embed/xEQP4VVuyrY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Putting the \u003cem>human \u003c/em>in Human Resources\u003c/h3>\n\u003cp>That’s the high-concept premise: The Mark, Irving, Dylan and Helly who sit at those clunky console computers performing an inscrutable task with numbers all day long aren’t really their “true” selves—they’ve been stripped of the manifold experiences that shape a life, and define a personality. These so-called “innies” do possess their own thoughts and feelings, however, and they’re desperately curious about their selves outside the office. Any contact or communication between “innies” and “outies” is expressly forbidden, however.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When we get to meet Mark’s “outie” self, we learn he’s a deeply depressed man who eagerly agreed to the severance procedure after suffering a crushing loss; his grief has exhausted him, and he just wants to stop feeling it, even if just for eight hours a day. One of the first episode’s finest, surest touches occurs as we follow “outie” Mark into a Lumon elevator, and observe the precise moment of his transition into “innie” Mark, during the descent to his sub-basement office space. There is a soft buzzing sound, the screen’s aspect ratio widens, and the expression on his face subtly but chillingly alters from low-level despair into … a perfect, blissful absence.\u003c/p>\n\u003cp>Now: This premise, and its execution, could easily go wrong in any of a hundred different ways. If all of this detailed, finely executed imaginative work were being done in service of broad corporate satire—the kind that simply sets about scoring lazy pot-shots at companies’ ability to exploit and dehumanize their employees—it would grow rapidly one-note, and boring.\u003c/p>\n\u003cp>Instead, \u003cem>Severance \u003c/em>expertly channels all of the energy it would otherwise spend making tired jokes about corporate culture into slowly but steadily building out its highly specific world. And the world of this \u003cem>particular \u003c/em>corporation is fascinating—its puzzling business culture; its bizarre systems of employee performance reviews, rewards and punishments; its shadowy history and lore; and, most intriguingly, its mysteriously compelling founder. (Who seems like what you’d end up with if you mixed Joseph Smith and L. Ron Hubbard with Elon Musk.)\u003c/p>\n\u003cp>The whole affair requires a sustained deftness of tone that the series pulls off effortlessly, steadily ratcheting up the stakes and pacing while supplying its characters room to breathe, grow and complicate.\u003c/p>\n\u003cp>In “outie” Mark’s home life, his close relationship with his sister (a wryly funny and deeply empathetic Jen Tullock) provides him much-needed comfort, while her self-help author husband (the great Michael Chernus, who’s hilarious here) causes him only exasperated frustration—and supplies the series with its best jokes.\u003c/p>\n\u003cp>In “innie” Mark’s office life, his intense, ironically named boss Harmony (Patricia Arquette, going full ham and loving it) and aggressively affable office manager Milchick (Tramell Tillman) get to add layers to their performances and make choices that legitimately surprise us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And while all of this is going on, \u003cem>Severance \u003c/em>manages to be \u003cem>about \u003c/em>something, something that’s fascinating to grapple with, and not a little unsettling—the notion of who we are at our core, and precisely how much of our self-perception is shaped by the exterior forces constantly bombarding us. Is Mark’s “innie” truly a whole person, if he exists only to work? Can anything like a conscience arise in the absence of true consciousness?\u003c/p>\n\u003cp>\u003cem>Severance \u003c/em>raises these questions and many more and—intriguingly—isn’t particularly interested in serving up too-tidy answers.\u003c/p>\n\u003cp>I loved watching this show, but I do feel obliged to issue this caveat: \u003cem>Severance \u003c/em>has a nine-episode season, and has not, at this writing, been picked up for another. It ends on a perfectly orchestrated, nerve-wracking cliffhanger that finds every member of the cast making irrevocable, harrowing decisions. Big questions looming over the season do get answered, but in the process, even bigger ones get proposed, just as the final credits come up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If that’s something you feel your system can take, then \u003cem>Severance’s \u003c/em>thrilling conclusion will satisfy you—even (especially?) if you find yourself yelling at the screen.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+the+thriller+%27Severance%2C%27+Adam+Scott%27s+humanity+hangs+in+the+%28work-life%29+balance+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'CODA' Will Yank Shamelessly on Your Heartstrings ... But it's Very Good at it",
"headTitle": "‘CODA’ Will Yank Shamelessly on Your Heartstrings … But it’s Very Good at it | KQED",
"content": "\u003cp>Ruby Rossi (Emilia Jones) is in her last year of high school. She doesn’t have much of a plan beyond graduation, because she assumes she’s going to continue as she has been, working with her father and brother on the family fishing boat out of Gloucester, Mass. Ruby loves music and loves to sing, but the idea of actually trying to study or explore music seems like an impossible idea, even after her choir teacher (Eugenio Derbez) sees promise in her and encourages her to apply to Berklee College of Music in Boston.\u003c/p>\n\u003cp>Deciding whether to work in the family business or strike out on your own is always tough, but for Ruby, it has an added wrinkle: her parents (Marlee Matlin and Troy Kotsur) and her brother (Daniel Durant) are deaf. Ruby herself is not; she is what’s called a CODA: a Child of Deaf Adults.\u003c/p>\n\u003cp>[aside postid='arts_13853573']Directed and written by Sian Heder, \u003cem>CODA\u003c/em> is closely based on a 2014 French film called \u003cem>La Famille Bélier\u003c/em>, but this version has one important quality that \u003ca href=\"https://www.theguardian.com/commentisfree/2014/dec/19/la-familie-belier-insult-deaf-community\" target=\"_blank\" rel=\"noopener noreferrer\">the French film didn’t\u003c/a>: The deaf characters are played by deaf actors. Matlin is probably the most famous deaf actor in the United States, but \u003cem>CODA\u003c/em> also has hugely appealing turns from Kotsur and Durant, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-features/coda-film-representation-1234991797/\" target=\"_blank\" rel=\"noopener noreferrer\">both of whom have worked with the Deaf West Theatre in Los Angeles\u003c/a>, including on its lauded production of \u003cem>Spring Awakening. \u003c/em>Matlin has worked there, too.\u003c/p>\n\u003cp>The fundamental conflict for Ruby is the disruption it would cause in her family for her to leave. She’s been her parents’ interpreter since she was a child, and she feels responsible for things like making sure her father isn’t cheated when he sells his fish at the end of every day.\u003c/p>\n\u003cp>Her parents—especially her mother—wonder what they would do without her to act as a bridge to the local community, which seems to have made no effort at all, either socially or in business terms, to communicate with the Rossis. This weighs on her parents, and it weighs on Ruby. It cannot go on like this forever, but what, her mother wonders, is the alternative?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0pmfrE1YL4I\u003c/p>\n\u003cp>\u003cem>CODA\u003c/em> is a cheerfully conventional story in many respects: a kid discovers what she loves and has to figure out what she’s willing to give up to follow her dream. She has an inspirational teacher who believes in her. She’s met a boy, and that relationship is also making her think about life beyond the family she defends fiercely and sometimes resents. It’s a predictable piece in structure that’s sharp in execution, and that’s so inventive and fresh in some of its particulars that it almost disguises the most conventional story beats.\u003c/p>\n\u003cp>Widely released films rarely embrace ASL as much as \u003cem>CODA\u003c/em> does, even for deaf characters: here, rather than speech being prioritized for hearing audiences, the actors sign and are subtitled, and the language is allowed to breathe in a way that’s moving, often funny, and very effective. (\u003ca href=\"https://variety.com/2015/film/reviews/la-famille-belier-review-1201486329/\" target=\"_blank\" rel=\"noopener noreferrer\">According to \u003cem>Variety\u003c/em>\u003c/a>, the French film didn’t subtitle the signing; hearing audiences only understood it through the daughter repeating or responding to it.)\u003c/p>\n\u003cp>[aside postid='pop_104339']There is no question that Ruby’s awakening about music can be vigorously corny—but the thing is… so are a lot of real high school awakenings about art. I myself went to a summer music camp as a teenager where lots of people were very serious musicians headed for conservatories. We learned the song \u003ca href=\"https://www.youtube.com/watch?v=tG-wl2qqD7Y&ab_channel=yaddayaddayoooou\" target=\"_blank\" rel=\"noopener noreferrer\">“I Sing the Body Electric”\u003c/a> from \u003cem>Fame\u003c/em>—from actual, literal \u003cem>Fame\u003c/em>, for heaven’s sake!—and believe me, at 15 I was deeply moved by singing lines like “I’ll look back on Venus, look back on Mars/ and I’ll burn with the fire of ten million stars.” It was \u003cem>extremely\u003c/em> corny and it meant the world to me. What’s more, our choral director believed everyone should know how to learn parts by ear, so she taught us that one without sheet music, just standing around together, which made it feel even more like a thing that would… you know, happen in a movie.\u003c/p>\n\u003cp>So while Ruby’s path is audience-ready and feels engineered to cause tears, sometimes music and theater kids are exactly that swept up in what they’re doing. It might be cheesy, but if you’re going to go for this kind of grand emotion, this actually might be the right setting for it.\u003c/p>\n\u003cp>And in the meantime, you get a much more subtle story alongside that about the ways in which this family dynamic both hurts and serves everyone in it. Ruby feels like she’s sacrificed a great deal for her family; her brother senses that she gets something from being the only person she thinks can communicate with the rest of the world effectively. This gentle study of patterns in families, where everybody can love each other while still being stuck in habits they need to break, doesn’t have the bombast of the musical sequences, but it has its own resonance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Did \u003cem>CODA \u003c/em>deserve to \u003ca href=\"https://variety.com/2021/film/news/sundance-2021-award-winners-1234898775/\" target=\"_blank\" rel=\"noopener noreferrer\">crowd out everything else to the degree that it did \u003c/a>when Sundance handed out its awards? Probably not. But there is a place for the crowd-pleaser, the tear-jerker, the movie that wants to manipulate your emotions and make you cry—particularly if it manages to bring something new to an old formula. The performances here, especially from Kotsur and Durant, neither of whom were actors I had seen much of, are excellent. And if it feels silly to cry while people sing, then, well, as we all learn in time, there are worse reasons for tears.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27CODA%27+Will+Yank+Shamelessly+On+Your+Heartstrings+...+But+It%27s+Very+Good+At+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ruby Rossi (Emilia Jones) is in her last year of high school. She doesn’t have much of a plan beyond graduation, because she assumes she’s going to continue as she has been, working with her father and brother on the family fishing boat out of Gloucester, Mass. Ruby loves music and loves to sing, but the idea of actually trying to study or explore music seems like an impossible idea, even after her choir teacher (Eugenio Derbez) sees promise in her and encourages her to apply to Berklee College of Music in Boston.\u003c/p>\n\u003cp>Deciding whether to work in the family business or strike out on your own is always tough, but for Ruby, it has an added wrinkle: her parents (Marlee Matlin and Troy Kotsur) and her brother (Daniel Durant) are deaf. Ruby herself is not; she is what’s called a CODA: a Child of Deaf Adults.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Directed and written by Sian Heder, \u003cem>CODA\u003c/em> is closely based on a 2014 French film called \u003cem>La Famille Bélier\u003c/em>, but this version has one important quality that \u003ca href=\"https://www.theguardian.com/commentisfree/2014/dec/19/la-familie-belier-insult-deaf-community\" target=\"_blank\" rel=\"noopener noreferrer\">the French film didn’t\u003c/a>: The deaf characters are played by deaf actors. Matlin is probably the most famous deaf actor in the United States, but \u003cem>CODA\u003c/em> also has hugely appealing turns from Kotsur and Durant, \u003ca href=\"https://www.hollywoodreporter.com/movies/movie-features/coda-film-representation-1234991797/\" target=\"_blank\" rel=\"noopener noreferrer\">both of whom have worked with the Deaf West Theatre in Los Angeles\u003c/a>, including on its lauded production of \u003cem>Spring Awakening. \u003c/em>Matlin has worked there, too.\u003c/p>\n\u003cp>The fundamental conflict for Ruby is the disruption it would cause in her family for her to leave. She’s been her parents’ interpreter since she was a child, and she feels responsible for things like making sure her father isn’t cheated when he sells his fish at the end of every day.\u003c/p>\n\u003cp>Her parents—especially her mother—wonder what they would do without her to act as a bridge to the local community, which seems to have made no effort at all, either socially or in business terms, to communicate with the Rossis. This weighs on her parents, and it weighs on Ruby. It cannot go on like this forever, but what, her mother wonders, is the alternative?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0pmfrE1YL4I'\n title='//www.youtube.com/embed/0pmfrE1YL4I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>CODA\u003c/em> is a cheerfully conventional story in many respects: a kid discovers what she loves and has to figure out what she’s willing to give up to follow her dream. She has an inspirational teacher who believes in her. She’s met a boy, and that relationship is also making her think about life beyond the family she defends fiercely and sometimes resents. It’s a predictable piece in structure that’s sharp in execution, and that’s so inventive and fresh in some of its particulars that it almost disguises the most conventional story beats.\u003c/p>\n\u003cp>Widely released films rarely embrace ASL as much as \u003cem>CODA\u003c/em> does, even for deaf characters: here, rather than speech being prioritized for hearing audiences, the actors sign and are subtitled, and the language is allowed to breathe in a way that’s moving, often funny, and very effective. (\u003ca href=\"https://variety.com/2015/film/reviews/la-famille-belier-review-1201486329/\" target=\"_blank\" rel=\"noopener noreferrer\">According to \u003cem>Variety\u003c/em>\u003c/a>, the French film didn’t subtitle the signing; hearing audiences only understood it through the daughter repeating or responding to it.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is no question that Ruby’s awakening about music can be vigorously corny—but the thing is… so are a lot of real high school awakenings about art. I myself went to a summer music camp as a teenager where lots of people were very serious musicians headed for conservatories. We learned the song \u003ca href=\"https://www.youtube.com/watch?v=tG-wl2qqD7Y&ab_channel=yaddayaddayoooou\" target=\"_blank\" rel=\"noopener noreferrer\">“I Sing the Body Electric”\u003c/a> from \u003cem>Fame\u003c/em>—from actual, literal \u003cem>Fame\u003c/em>, for heaven’s sake!—and believe me, at 15 I was deeply moved by singing lines like “I’ll look back on Venus, look back on Mars/ and I’ll burn with the fire of ten million stars.” It was \u003cem>extremely\u003c/em> corny and it meant the world to me. What’s more, our choral director believed everyone should know how to learn parts by ear, so she taught us that one without sheet music, just standing around together, which made it feel even more like a thing that would… you know, happen in a movie.\u003c/p>\n\u003cp>So while Ruby’s path is audience-ready and feels engineered to cause tears, sometimes music and theater kids are exactly that swept up in what they’re doing. It might be cheesy, but if you’re going to go for this kind of grand emotion, this actually might be the right setting for it.\u003c/p>\n\u003cp>And in the meantime, you get a much more subtle story alongside that about the ways in which this family dynamic both hurts and serves everyone in it. Ruby feels like she’s sacrificed a great deal for her family; her brother senses that she gets something from being the only person she thinks can communicate with the rest of the world effectively. This gentle study of patterns in families, where everybody can love each other while still being stuck in habits they need to break, doesn’t have the bombast of the musical sequences, but it has its own resonance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Did \u003cem>CODA \u003c/em>deserve to \u003ca href=\"https://variety.com/2021/film/news/sundance-2021-award-winners-1234898775/\" target=\"_blank\" rel=\"noopener noreferrer\">crowd out everything else to the degree that it did \u003c/a>when Sundance handed out its awards? Probably not. But there is a place for the crowd-pleaser, the tear-jerker, the movie that wants to manipulate your emotions and make you cry—particularly if it manages to bring something new to an old formula. The performances here, especially from Kotsur and Durant, neither of whom were actors I had seen much of, are excellent. And if it feels silly to cry while people sing, then, well, as we all learn in time, there are worse reasons for tears.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27CODA%27+Will+Yank+Shamelessly+On+Your+Heartstrings+...+But+It%27s+Very+Good+At+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One way to think about the new Apple TV+ drama series \u003cem>Calls\u003c/em> is as a podcast. Specifically, a podcast that’s a descendant of the suspenseful radio drama, only it’s played through your TV. A mix of science fiction, thriller and mystery, \u003cem>Calls\u003c/em> is made up of a series of phone calls you listen to, accompanied by minimal graphics on screen: dots and names to represent people, sound waveforms to represent their voices, running captions of everything they say. The general visual feel will be familiar to anyone who watched swirling, bending curves in bright colors dance and bounce on a dark background in the age of the screensaver. There’s not a lot to it.\u003c/p>\n\u003cp>The mystery begins at the end—a common tactic—with a baffling and frightening occurrence, and then it doubles back to explore what exactly has happened to get us there. There are nine episodes total, each in the 15-20 minute range, and the cast is big and impressive: Aaron Taylor-Johnson, Rosario Dawson, Mark Duplass, Aubrey Plaza, Nick Jonas, and Pedro Pascal are just a few of the folks who show up. The episodes are standalone short stories that gradually reveal a larger tale. A guy on the phone with his girlfriend, a doctor on the phone with her sister, a man on the phone with a neighbor—all experiencing a baffling anomaly that disrupts their lives in different ways.\u003c/p>\n\u003cp>\u003cem>Calls \u003c/em>comes by its unconventional format honestly—this was always an audio project. It began with a ten-minute short film with the barest visuals by writer and director Timothée Hochet, who posted it to YouTube and then wrote and directed a French television series based on it. This version is, in turn, based on the French show, and was written and directed by Fede Álvarez, who made \u003cem>Don’t Breathe \u003c/em>as well and \u003cem>The Girl in the Spider’s Web\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RfpzdSJlv6o\u003c/p>\n\u003cp>What makes this an interesting effort arises out of the fact that it’s very different to write for audio drama than for television or film. There are a bunch of reasons that’s true, but one is that audiences need more and different signposting—voices that are different enough, characters calling each other by name, other cues that audio writers develop the ability to add seamlessly—to keep track of what’s going on. If you’ve ever listened to just the sound of a scene from a show or a film you’re not familiar with, you’ve probably noticed that you can lose your way very quickly, and if people are talking over each other or raising or lowering their voices, the complications can increase. (This is also why, for instance, if a news report on television plays the audio of a taped phone call, they’ll caption and label who’s talking and what they’re saying.) Audio writing is not just TV writing without the screen, and it requires tackling a different set of challenges.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This represents one way to approach some of those challenges. Even though the visuals in \u003cem>Calls \u003c/em>are minimal, they’re meaningful and thoughtfully chosen. They help orient the listener so that one voice can drop in and another can drop out with a different kind of fluidity. When a person is represented by a name and a dot, connected to another name and another dot by a waveform, sometimes they’ll both stay in place on the screen. But sometimes they move, gliding closer to each other, sliding farther apart, or being joined by someone who can barely be heard in the background, whose name and dot may be fuzzy or distorted. A name might appear next to a dot only once the person on the other end of the call learns who they’re talking to.\u003c/p>\n\u003cp>It helps—it helps give information, certainly, but it also gives a fullness to the show that this audio alone wouldn’t quite carry. In the same way music enriches a scene on film, these visuals enrich a scene done with audio. You certainly don’t always need them to follow the action, but they complement the storytelling quite well, and they may be a helpful assist for people who don’t have a lot of practice listening to audio drama and would prefer to try it with training wheels.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Apple itself seems to be treating this as if it were a podcast—they didn’t offer any photos as part of their press materials, as they normally would with a TV show. That’s a shame, because while the audio is the focus of the production, what’s intriguing about this otherwise good-but-not-great story is that it has some of the charm and simplicity of audio-only storytelling, with some of the advantages of visual cues. There’s nothing new under the sun, and certainly some podcast dramas continue to wrestle with things radio dramas have been playing with for decades. But where there’s a proliferation of TV projects that look increasingly similar to each other sprawled across streaming services of which you could say the same, it’s appealing to see anything that’s different. And in different ways, \u003cem>Calls \u003c/em>is the most familiar, and the most unusual, piece of TV I’ve seen in a while.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Calls%27+Is+A+Suspenseful+Audio+Drama+With+An+Effective+Visual+Boost&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One way to think about the new Apple TV+ drama series \u003cem>Calls\u003c/em> is as a podcast. Specifically, a podcast that’s a descendant of the suspenseful radio drama, only it’s played through your TV. A mix of science fiction, thriller and mystery, \u003cem>Calls\u003c/em> is made up of a series of phone calls you listen to, accompanied by minimal graphics on screen: dots and names to represent people, sound waveforms to represent their voices, running captions of everything they say. The general visual feel will be familiar to anyone who watched swirling, bending curves in bright colors dance and bounce on a dark background in the age of the screensaver. There’s not a lot to it.\u003c/p>\n\u003cp>The mystery begins at the end—a common tactic—with a baffling and frightening occurrence, and then it doubles back to explore what exactly has happened to get us there. There are nine episodes total, each in the 15-20 minute range, and the cast is big and impressive: Aaron Taylor-Johnson, Rosario Dawson, Mark Duplass, Aubrey Plaza, Nick Jonas, and Pedro Pascal are just a few of the folks who show up. The episodes are standalone short stories that gradually reveal a larger tale. A guy on the phone with his girlfriend, a doctor on the phone with her sister, a man on the phone with a neighbor—all experiencing a baffling anomaly that disrupts their lives in different ways.\u003c/p>\n\u003cp>\u003cem>Calls \u003c/em>comes by its unconventional format honestly—this was always an audio project. It began with a ten-minute short film with the barest visuals by writer and director Timothée Hochet, who posted it to YouTube and then wrote and directed a French television series based on it. This version is, in turn, based on the French show, and was written and directed by Fede Álvarez, who made \u003cem>Don’t Breathe \u003c/em>as well and \u003cem>The Girl in the Spider’s Web\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/RfpzdSJlv6o'\n title='//www.youtube.com/embed/RfpzdSJlv6o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What makes this an interesting effort arises out of the fact that it’s very different to write for audio drama than for television or film. There are a bunch of reasons that’s true, but one is that audiences need more and different signposting—voices that are different enough, characters calling each other by name, other cues that audio writers develop the ability to add seamlessly—to keep track of what’s going on. If you’ve ever listened to just the sound of a scene from a show or a film you’re not familiar with, you’ve probably noticed that you can lose your way very quickly, and if people are talking over each other or raising or lowering their voices, the complications can increase. (This is also why, for instance, if a news report on television plays the audio of a taped phone call, they’ll caption and label who’s talking and what they’re saying.) Audio writing is not just TV writing without the screen, and it requires tackling a different set of challenges.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This represents one way to approach some of those challenges. Even though the visuals in \u003cem>Calls \u003c/em>are minimal, they’re meaningful and thoughtfully chosen. They help orient the listener so that one voice can drop in and another can drop out with a different kind of fluidity. When a person is represented by a name and a dot, connected to another name and another dot by a waveform, sometimes they’ll both stay in place on the screen. But sometimes they move, gliding closer to each other, sliding farther apart, or being joined by someone who can barely be heard in the background, whose name and dot may be fuzzy or distorted. A name might appear next to a dot only once the person on the other end of the call learns who they’re talking to.\u003c/p>\n\u003cp>It helps—it helps give information, certainly, but it also gives a fullness to the show that this audio alone wouldn’t quite carry. In the same way music enriches a scene on film, these visuals enrich a scene done with audio. You certainly don’t always need them to follow the action, but they complement the storytelling quite well, and they may be a helpful assist for people who don’t have a lot of practice listening to audio drama and would prefer to try it with training wheels.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Apple itself seems to be treating this as if it were a podcast—they didn’t offer any photos as part of their press materials, as they normally would with a TV show. That’s a shame, because while the audio is the focus of the production, what’s intriguing about this otherwise good-but-not-great story is that it has some of the charm and simplicity of audio-only storytelling, with some of the advantages of visual cues. There’s nothing new under the sun, and certainly some podcast dramas continue to wrestle with things radio dramas have been playing with for decades. But where there’s a proliferation of TV projects that look increasingly similar to each other sprawled across streaming services of which you could say the same, it’s appealing to see anything that’s different. And in different ways, \u003cem>Calls \u003c/em>is the most familiar, and the most unusual, piece of TV I’ve seen in a while.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Calls%27+Is+A+Suspenseful+Audio+Drama+With+An+Effective+Visual+Boost&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>America’s reckoning on race has come to TV animation, as stars Jenny Slate and Kristen Bell, who are white, have agreed to stop voicing characters who are biracial.\u003c/p>\n\u003cp>And while some fans may be disappointed to see their favorite performers leaving TV shows they enjoy, the moves also end a subtle way in which actors of color have been marginalized. It’s an attention-getting moment when performers have recognized their white privilege and moved to end it.\u003c/p>\n\u003cp>Slate, who plays the character Missy on Netflix’s animated comedy \u003cem>Big Mouth\u003c/em>, \u003ca href=\"https://www.instagram.com/p/CB1JlSqFXT8/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">wrote on Instagram Thursday\u003c/a>. “At the start of the show, I reasoned with myself that it was permissible for me to play Missy because her mom is Jewish and White—as am I,” Slate wrote in a statement. “But Missy is also Black, and Black characters on an animated show should be played by Black people … In my playing Missy, I was engaging in an act of erasure of Black people.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tu1ZpF0bzMg\u003c/p>\n\u003cp>Nick Kroll, comic and co-creator of the show, backed Slate’s decision in a statement from the series’ executive producers \u003ca href=\"https://www.instagram.com/p/CB1KskYATHv/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">posted on his Instagram page\u003c/a>. “We sincerely apologize for and regret our original decision to cast a white actor to voice a biracial character,” the statement reads. “We made a mistake, took our privilege for granted, and we’re working hard to do better moving forward.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bell, who plays Molly Tillerman on Apple TV+’s animated musical series \u003cem>Central Park\u003c/em>, also \u003ca href=\"https://www.instagram.com/p/CB1coy7JkDG/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">posted a message on her Instagram page\u003c/a> stepping down from her role.\u003c/p>\n\u003cp>“This is a time to acknowledge our acts of complicity,” Bell wrote in her statement. “Casting a mixed race character with a white actress undermines the specificity of the mixed race and Black American experience.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xpzEIrtBzTM\u003c/p>\n\u003cp>Bell also posted a statement from the creative team producing \u003cem>Central Park\u003c/em>, which expressed regret. But co-creator Loren Bouchard had a different response in January, when he was asked at a press conference about casting male actors Daveed Diggs and Stanley Tucci as women and he went on to talk about Bell’s role.\u003c/p>\n\u003cp>“Kristen needed to be Molly,” Bouchard said then. “We couldn’t make Molly white, and we couldn’t make Kristen mixed race, so we just had to go forward.”\u003c/p>\n\u003cp>Critics have long cast a skeptical eye at the practice of casting men as women and white actors as non-white characters, especially in animation. Such actions have the practical effect of reinforcing Hollywood’s damaging tendency to elevate male performers over women and white performers over people of color.\u003c/p>\n\u003cp>Slate promised in her Instagram post to work dismantling such dynamics in the future. “Ending my portrayal of Missy is one step in a lifelong process of uncovering the racism in my actions,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Slate has already recorded her parts for \u003cem>Big Mouth\u003c/em>‘s fourth season, which has not yet debuted on Netflix. Bell’s performance is featured in \u003cem>Central Park\u003c/em>‘s first season, now dropping new episodes each Friday on Apple TV+.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jenny+Slate+And+Kristen+Bell+Will+Stop+Playing+Biracial+Cartoon+Characters+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bell, who plays Molly Tillerman on Apple TV+’s animated musical series \u003cem>Central Park\u003c/em>, also \u003ca href=\"https://www.instagram.com/p/CB1coy7JkDG/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">posted a message on her Instagram page\u003c/a> stepping down from her role.\u003c/p>\n\u003cp>“This is a time to acknowledge our acts of complicity,” Bell wrote in her statement. “Casting a mixed race character with a white actress undermines the specificity of the mixed race and Black American experience.”\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/xpzEIrtBzTM'\n title='//www.youtube.com/embed/xpzEIrtBzTM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bell also posted a statement from the creative team producing \u003cem>Central Park\u003c/em>, which expressed regret. But co-creator Loren Bouchard had a different response in January, when he was asked at a press conference about casting male actors Daveed Diggs and Stanley Tucci as women and he went on to talk about Bell’s role.\u003c/p>\n\u003cp>“Kristen needed to be Molly,” Bouchard said then. “We couldn’t make Molly white, and we couldn’t make Kristen mixed race, so we just had to go forward.”\u003c/p>\n\u003cp>Critics have long cast a skeptical eye at the practice of casting men as women and white actors as non-white characters, especially in animation. Such actions have the practical effect of reinforcing Hollywood’s damaging tendency to elevate male performers over women and white performers over people of color.\u003c/p>\n\u003cp>Slate promised in her Instagram post to work dismantling such dynamics in the future. “Ending my portrayal of Missy is one step in a lifelong process of uncovering the racism in my actions,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Slate has already recorded her parts for \u003cem>Big Mouth\u003c/em>‘s fourth season, which has not yet debuted on Netflix. Bell’s performance is featured in \u003cem>Central Park\u003c/em>‘s first season, now dropping new episodes each Friday on Apple TV+.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jenny+Slate+And+Kristen+Bell+Will+Stop+Playing+Biracial+Cartoon+Characters+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'From Book to Script to Screen,' Reese Witherspoon is Making Roles For Women",
"headTitle": "‘From Book to Script to Screen,’ Reese Witherspoon is Making Roles For Women | KQED",
"content": "\u003cp>Actor Reese Witherspoon became famous in her 20s after starring in films like \u003cem>Election \u003c/em>and \u003cem>Legally Blonde\u003c/em>, but by the time she entered her 30s, the film landscape had shifted. DVD sales had shrunk and smaller, female-centered movies were in short supply. It was nearly impossible to find good leading roles for women.\u003c/p>\n\u003cp>Witherspoon began asking different movie studios what projects they were developing for women. “With the exclusion of one studio, everybody said ‘Nothing. Nothing with a female lead,’ ” she says.\u003c/p>\n\u003cp>So Witherspoon decided to start a production company and began adapting books with complex female characters into films and TV shows. The idea was to create better parts for women—and to help female authors get their stories sold.\u003c/p>\n\u003cp>Witherspoon’s company spearheaded the adaptation of \u003ca href=\"https://www.npr.org/2014/09/30/352688538/gone-girl-a-missing-wife-and-a-cloud-of-suspicion\">\u003cem>Gone Girl\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.npr.org/2014/12/05/367996411/a-wild-trek-made-a-bit-too-neatly\">\u003cem>Wild \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2019/06/06/730275468/with-1-huge-lie-revealed-big-little-lies-season-2-takes-a-slow-burn-strategy\">\u003cem>Big Little Lies\u003c/em>\u003c/a>\u003cem>, \u003c/em>among other titles. Looking back, Witherspoon describes her shift into producing as “betting on myself.”\u003c/p>\n\u003cp>“I know what to do,” she says. “I know every producer in Hollywood. I know how to get a movie from book to script to screen, and I know how to market it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now Witherspoon’s current company, Hello Sunshine, is bringing a new project to screen. She’s an executive producer and co-star of the Apple TV+ series, \u003ca href=\"https://www.npr.org/2019/10/31/774850935/tv-review-the-morning-show-from-apple-tv\">\u003cem>The Morning Show\u003c/em>\u003c/a>\u003cem>, \u003c/em>which centers on a morning news show that’s shaken up when its male anchor is fired after being accused of sexual misconduct.\u003c/p>\n\u003cp>Witherspoon acknowledges certain parallels between the misconduct portrayed in the series and the allegations against real-life TV hosts \u003ca href=\"https://www.npr.org/2019/10/09/768527936/matt-lauer-accused-of-rape-in-new-book-former-nbc-star-denies-false-stories\">Matt Lauer\u003c/a>, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/19/524736631/bill-oreilly-is-out-at-fox-news\">Bill O’Reilly\u003c/a> and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\">Charlie Rose.\u003c/a>\u003c/p>\n\u003cp>“We thought it would have been remiss if we didn’t address [those issues] in our show,” she says. “Sometimes the world is so crazy, TV shows and movies are a great way to try and understand where we’re at.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eA7D4_qU9jo\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the \u003c/strong>\u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">\u003cstrong>#MeToo\u003c/strong>\u003c/a>\u003cstrong> movement, and being shocked to learn of the extent of sexual misconduct in Hollywood\u003c/strong>\u003c/p>\n\u003cp>I didn’t have any idea what other people’s experiences were. I’d only had my own experiences, and I definitely dealt with harassment. And I had dealt with that privately and in my own way with my family when I was young, when I was really young and starting in the business. I didn’t have any understanding of the widespread abuse that women were experiencing—and not just women, many, many people were experiencing.\u003c/p>\n\u003cp>It really took that moment in time for all of us to start talking. Because you have to remember, as an actress for hire, usually I was the only woman on a set for, I would say, the majority of my 30-year career. I’ve been the only woman in a cast or one of a handful of women in a crew or a cast. So when all of that started happening, women started to gather and really start talking to each other and sharing stories. And I have to say, I was blown away. I did not know the kind of experiences that people were having. And I was in shock. I think a lot of us were in shock. …\u003c/p>\n\u003cp>I’m enormously grateful to the women who spoke up about their experiences and really opened our hearts and our minds and our eyes to what was happening with such regularity, and the journalists who worked so hard to break these stories, despite whatever corporate interference they were having. I’m just enormously grateful to \u003ca href=\"https://www.npr.org/2019/10/15/770249717/ronan-farrow-catch-and-kill-tactics-protected-both-weinstein-and-trump\">Ronan \u003c/a>[Farrow] and \u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\">Jodi \u003c/a>\u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\">[Kantor]\u003c/a> \u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\">and Megan\u003c/a>\u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\"> [Twohey]\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>On figuring out how and when she wants to share her own experiences with sexual harassment and assault\u003c/strong>\u003c/p>\n\u003cp>I haven’t ever really spoken about it. I’ve been asked about it a lot, which really brings up a lot of questions for me about how do you decide when you want to talk about it, how you want to talk about it? … This is just me, my personal experience. How can I use that not to garner sympathy but to actually promote change and highlight industry standards that are not good enough?\u003c/p>\n\u003cp>It was very powerful to me to share my story with a like-minded group of women with the Time’s Up movement. We talked about ways that we could really encourage change. How could we raise money for women in other industries so that they would have legal help?\u003c/p>\n\u003cp>I had specific experiences and I dealt with them with a therapist. It’s been ongoing, honestly. The whole thing brought up a lot of feelings for me, and it was a really emotional experience that I don’t feel resolved about, and I think I will probably talk about it, but right now I don’t have all the right words.\u003c/p>\n\u003cp>\u003cstrong>On why her mid-30s were a turning point in her career \u003c/strong>\u003c/p>\n\u003cp>People always say, “After you won the Oscar, did your whole career change?” There wasn’t suddenly this huge influx of scripts. … There’s not a secret safe they’re keeping the great scripts and they unlock you when you win awards! I was lucky to do a couple of great movies in my 30s, but not a lot. …\u003c/p>\n\u003cp>\u003cem>Wild \u003c/em>was a big deal for me, because first of all, I love \u003ca href=\"https://www.npr.org/2013/09/08/219754257/the-wild-story-of-cheryl-strayed-and-her-long-lost-half-sister\">Cheryl Strayed\u003c/a>‘s writing, her memoir’s beautiful, but it’s also woman vs. nature, which I had never really seen on film. And so many women are so deeply connected to nature, yet it’s not something we’ve explored. We’ve seen every iteration of a man vs. a bear, vs. the Wild West, on hiking adventures, but I haven’t seen a lot of a woman alone on film as well, and what is that singular journey for a woman to find herself alone in the wilderness?\u003c/p>\n\u003cp>\u003cstrong>On singing for her role as \u003c/strong>\u003ca href=\"https://freshairarchive.org/segments/jumping-through-ring-fire\">\u003cstrong>June Carter Cash\u003c/strong>\u003c/a>\u003cstrong> in \u003c/strong>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5015873\">\u003cstrong>\u003cem>Walk the Line \u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>When I was a little girl, I wanted to be a country music singer. So I trained for probably 5, 6 years with vocal coaches. I grew up in Nashville, Tenn., so I grew up with a lot of country music singers and their kids and was just immersed … I wanted to be just like \u003ca href=\"https://www.npr.org/2018/12/09/673738768/dream-it-on-through-dolly-parton-on-her-new-album-inspiring-young-people-and-mor\">Dolly Parton\u003c/a> when I was little. I wanted to write and I wanted to sing my own songs, and I took piano lessons and I took singing lessons.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cmpkP-P5sbM\u003c/p>\n\u003cp>When I was about 13, I went and I started studying Broadway at camps in upstate New York and they would have all these experts come in. … They had an acting expert, a dance expert and a singing expert, and the singing coach said, “You really should not put a lot of energy into your singing career.” So I got intimidated and they said, “But your acting is great and you should really pursue that.” So that’s when I kind of tacked left, when I was 13, and started working on acting and concentrating.\u003c/p>\n\u003cp>So when this opportunity came up to play June Carter, I was terrified and I’d been told I wasn’t any good. So I worked for five months with coach Roger Love and with the producer \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122526723\">T-Bone Burnett\u003c/a> to cut the tracks before we ever walked on set. We recorded all the music so that we could blend live tracks and recorded tracks together. But then we had to actually go and shoot the movie and I had to sing in front of audiences of hundreds of people with \u003ca href=\"https://www.npr.org/2014/01/21/264524233/phoenix-to-self-why-am-i-talking-about-this-joaquin-shut-up\">Joaquin Phoenix \u003c/a>onstage with a band, and it was terrifying—terrifying, but thrilling.\u003c/p>\n\u003cp>\u003cstrong>On loving acting \u003c/strong>\u003c/p>\n\u003cp>It’s my number one passion. … I talk a lot about producing … but every day I’m on set feels like such an enormous privilege to be a storyteller in this world. And I started as a little girl, as a storyteller, and I will be a storyteller ’till the day I die. I just love it. It’s my favorite thing to do at dinner parties, too, so invite me over, Terry … I just love spinning a story. It’s really what I was born to do.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ann Marie Baldonado and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27From+Book+To+Script+To+Screen%2C%27+Reese+Witherspoon+Is+Making+Roles+For+Women&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Reese Witherspoon became famous in her 20s after starring in films like \u003cem>Election \u003c/em>and \u003cem>Legally Blonde\u003c/em>, but by the time she entered her 30s, the film landscape had shifted. DVD sales had shrunk and smaller, female-centered movies were in short supply. It was nearly impossible to find good leading roles for women.\u003c/p>\n\u003cp>Witherspoon began asking different movie studios what projects they were developing for women. “With the exclusion of one studio, everybody said ‘Nothing. Nothing with a female lead,’ ” she says.\u003c/p>\n\u003cp>So Witherspoon decided to start a production company and began adapting books with complex female characters into films and TV shows. The idea was to create better parts for women—and to help female authors get their stories sold.\u003c/p>\n\u003cp>Witherspoon’s company spearheaded the adaptation of \u003ca href=\"https://www.npr.org/2014/09/30/352688538/gone-girl-a-missing-wife-and-a-cloud-of-suspicion\">\u003cem>Gone Girl\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"https://www.npr.org/2014/12/05/367996411/a-wild-trek-made-a-bit-too-neatly\">\u003cem>Wild \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2019/06/06/730275468/with-1-huge-lie-revealed-big-little-lies-season-2-takes-a-slow-burn-strategy\">\u003cem>Big Little Lies\u003c/em>\u003c/a>\u003cem>, \u003c/em>among other titles. Looking back, Witherspoon describes her shift into producing as “betting on myself.”\u003c/p>\n\u003cp>“I know what to do,” she says. “I know every producer in Hollywood. I know how to get a movie from book to script to screen, and I know how to market it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now Witherspoon’s current company, Hello Sunshine, is bringing a new project to screen. She’s an executive producer and co-star of the Apple TV+ series, \u003ca href=\"https://www.npr.org/2019/10/31/774850935/tv-review-the-morning-show-from-apple-tv\">\u003cem>The Morning Show\u003c/em>\u003c/a>\u003cem>, \u003c/em>which centers on a morning news show that’s shaken up when its male anchor is fired after being accused of sexual misconduct.\u003c/p>\n\u003cp>Witherspoon acknowledges certain parallels between the misconduct portrayed in the series and the allegations against real-life TV hosts \u003ca href=\"https://www.npr.org/2019/10/09/768527936/matt-lauer-accused-of-rape-in-new-book-former-nbc-star-denies-false-stories\">Matt Lauer\u003c/a>, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/19/524736631/bill-oreilly-is-out-at-fox-news\">Bill O’Reilly\u003c/a> and \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\">Charlie Rose.\u003c/a>\u003c/p>\n\u003cp>“We thought it would have been remiss if we didn’t address [those issues] in our show,” she says. “Sometimes the world is so crazy, TV shows and movies are a great way to try and understand where we’re at.”\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/eA7D4_qU9jo'\n title='//www.youtube.com/embed/eA7D4_qU9jo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the \u003c/strong>\u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">\u003cstrong>#MeToo\u003c/strong>\u003c/a>\u003cstrong> movement, and being shocked to learn of the extent of sexual misconduct in Hollywood\u003c/strong>\u003c/p>\n\u003cp>I didn’t have any idea what other people’s experiences were. I’d only had my own experiences, and I definitely dealt with harassment. And I had dealt with that privately and in my own way with my family when I was young, when I was really young and starting in the business. I didn’t have any understanding of the widespread abuse that women were experiencing—and not just women, many, many people were experiencing.\u003c/p>\n\u003cp>It really took that moment in time for all of us to start talking. Because you have to remember, as an actress for hire, usually I was the only woman on a set for, I would say, the majority of my 30-year career. I’ve been the only woman in a cast or one of a handful of women in a crew or a cast. So when all of that started happening, women started to gather and really start talking to each other and sharing stories. And I have to say, I was blown away. I did not know the kind of experiences that people were having. And I was in shock. I think a lot of us were in shock. …\u003c/p>\n\u003cp>I’m enormously grateful to the women who spoke up about their experiences and really opened our hearts and our minds and our eyes to what was happening with such regularity, and the journalists who worked so hard to break these stories, despite whatever corporate interference they were having. I’m just enormously grateful to \u003ca href=\"https://www.npr.org/2019/10/15/770249717/ronan-farrow-catch-and-kill-tactics-protected-both-weinstein-and-trump\">Ronan \u003c/a>[Farrow] and \u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\">Jodi \u003c/a>\u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\">[Kantor]\u003c/a> \u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\">and Megan\u003c/a>\u003ca href=\"https://www.npr.org/2019/09/10/759384251/she-said-reveals-the-people-and-practices-that-protected-weinstein\"> [Twohey]\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>On figuring out how and when she wants to share her own experiences with sexual harassment and assault\u003c/strong>\u003c/p>\n\u003cp>I haven’t ever really spoken about it. I’ve been asked about it a lot, which really brings up a lot of questions for me about how do you decide when you want to talk about it, how you want to talk about it? … This is just me, my personal experience. How can I use that not to garner sympathy but to actually promote change and highlight industry standards that are not good enough?\u003c/p>\n\u003cp>It was very powerful to me to share my story with a like-minded group of women with the Time’s Up movement. We talked about ways that we could really encourage change. How could we raise money for women in other industries so that they would have legal help?\u003c/p>\n\u003cp>I had specific experiences and I dealt with them with a therapist. It’s been ongoing, honestly. The whole thing brought up a lot of feelings for me, and it was a really emotional experience that I don’t feel resolved about, and I think I will probably talk about it, but right now I don’t have all the right words.\u003c/p>\n\u003cp>\u003cstrong>On why her mid-30s were a turning point in her career \u003c/strong>\u003c/p>\n\u003cp>People always say, “After you won the Oscar, did your whole career change?” There wasn’t suddenly this huge influx of scripts. … There’s not a secret safe they’re keeping the great scripts and they unlock you when you win awards! I was lucky to do a couple of great movies in my 30s, but not a lot. …\u003c/p>\n\u003cp>\u003cem>Wild \u003c/em>was a big deal for me, because first of all, I love \u003ca href=\"https://www.npr.org/2013/09/08/219754257/the-wild-story-of-cheryl-strayed-and-her-long-lost-half-sister\">Cheryl Strayed\u003c/a>‘s writing, her memoir’s beautiful, but it’s also woman vs. nature, which I had never really seen on film. And so many women are so deeply connected to nature, yet it’s not something we’ve explored. We’ve seen every iteration of a man vs. a bear, vs. the Wild West, on hiking adventures, but I haven’t seen a lot of a woman alone on film as well, and what is that singular journey for a woman to find herself alone in the wilderness?\u003c/p>\n\u003cp>\u003cstrong>On singing for her role as \u003c/strong>\u003ca href=\"https://freshairarchive.org/segments/jumping-through-ring-fire\">\u003cstrong>June Carter Cash\u003c/strong>\u003c/a>\u003cstrong> in \u003c/strong>\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=5015873\">\u003cstrong>\u003cem>Walk the Line \u003c/em>\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>When I was a little girl, I wanted to be a country music singer. So I trained for probably 5, 6 years with vocal coaches. I grew up in Nashville, Tenn., so I grew up with a lot of country music singers and their kids and was just immersed … I wanted to be just like \u003ca href=\"https://www.npr.org/2018/12/09/673738768/dream-it-on-through-dolly-parton-on-her-new-album-inspiring-young-people-and-mor\">Dolly Parton\u003c/a> when I was little. I wanted to write and I wanted to sing my own songs, and I took piano lessons and I took singing lessons.\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/cmpkP-P5sbM'\n title='//www.youtube.com/embed/cmpkP-P5sbM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When I was about 13, I went and I started studying Broadway at camps in upstate New York and they would have all these experts come in. … They had an acting expert, a dance expert and a singing expert, and the singing coach said, “You really should not put a lot of energy into your singing career.” So I got intimidated and they said, “But your acting is great and you should really pursue that.” So that’s when I kind of tacked left, when I was 13, and started working on acting and concentrating.\u003c/p>\n\u003cp>So when this opportunity came up to play June Carter, I was terrified and I’d been told I wasn’t any good. So I worked for five months with coach Roger Love and with the producer \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122526723\">T-Bone Burnett\u003c/a> to cut the tracks before we ever walked on set. We recorded all the music so that we could blend live tracks and recorded tracks together. But then we had to actually go and shoot the movie and I had to sing in front of audiences of hundreds of people with \u003ca href=\"https://www.npr.org/2014/01/21/264524233/phoenix-to-self-why-am-i-talking-about-this-joaquin-shut-up\">Joaquin Phoenix \u003c/a>onstage with a band, and it was terrifying—terrifying, but thrilling.\u003c/p>\n\u003cp>\u003cstrong>On loving acting \u003c/strong>\u003c/p>\n\u003cp>It’s my number one passion. … I talk a lot about producing … but every day I’m on set feels like such an enormous privilege to be a storyteller in this world. And I started as a little girl, as a storyteller, and I will be a storyteller ’till the day I die. I just love it. It’s my favorite thing to do at dinner parties, too, so invite me over, Terry … I just love spinning a story. It’s really what I was born to do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 9
},
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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