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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Santa left us a present this holiday season and it is exactly what we didn’t know we needed: A twisty, psychological horror-thriller with nudity that’s all wrapped up in an empowerment message.\u003c/p>\n\u003cp>\u003cem>The Housemaid\u003c/em> is Paul Feig’s delicious, satirical look at the secret depravity of the ultra-rich, but it’s so well constructed that’s it’s not clear who’s naughty or nice. Halfway through, the movie zigs and everything you expected zags.\u003c/p>\n\u003cp>It’s almost impossible to thread the line between self-winking campy — “That’s a lot of bacon. Are you trying to kill us?” — and carving someone’s stomach with a broken piece of fine china, yet Feig and screenwriter Rebecca Sonnenshine do.\u003c/p>\n\u003cp>Sydney Sweeney stars as a down-on-her luck Millie Calloway, a gal with a troubled past living out of her car who answers an ad for a live-in housekeeper in a tony suburb of New York City. Her resume is fraudulent, as are her references.\u003c/p>\n\u003cfigure id=\"attachment_13985022\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985022\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280.jpg\" alt=\"A woman stands in front of bookshelves.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_5_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sydney Sweeney in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow, the madam of the mansion, Nina Winchester played with frosty excellence by Amanda Seyfried in pearls and creamy knits, takes a shine to this young soul. “I have a really good feeling about this, Millie,” she says in that perky, slightly crazed clipped way that Seyfried always slays with. “This is going to be fun, Millie.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Maybe not for Millie, but definitely for us. The young housekeeper gets her own room in the attic — weird that it closes with a deadbolt from the outside, but no matter — and we’re off. Mille gets a smartphone with the family’s credit card preloaded and a key for that deadbolt. “What kind of monsters are we?” asks Nina. Indeed.\u003c/p>\n\u003cp>The next day, the house is a mess when the housekeeper comes down and Seyfried is in a wide-eyed, crashing-plates, full-on psychotic rage. The sweet, supportive woman we met the day before is gone. But her hunky husband (Brandon Sklenar) is helpful and apologetic. And smoldering. Uh-oh. Did we mention he’s hunky?\u003c/p>\n\u003cfigure id=\"attachment_13985023\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13985023\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg\" alt=\"A woman stands in the doorway to a house.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/the-housemaid_first-look_gallery_1_1920x1280-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried in ‘The Housemaid.’ \u003ccite>(Lionsgate)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If at first we understand that the housekeeper is being a little manipulative — lying to get the job, for instance, or wearing glasses to seem more serious — we soon realize that all kinds of gaslighting games are being played behind these gates, and they’re much more impactful.\u003c/p>\n\u003cp>Based on Freida McFadden’s novel, \u003cem>The Housemaid\u003c/em> rides waves of manipulation and then turns the tables on what we think we’ve just seen, looking at male-female power structures and how privilege can trap people without it.\u003c/p>\n\u003cp>The film is as good looking as the actors, with nifty touches like having the main house spare, well-lit and bright, while the husband’s private screening room in the basement is done in a hellish red. There are little jokes throughout, like the husband and the housemaid bonding over old episodes of \u003cem>Family Feud\u003c/em>, with the name saying it all.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/48CtX6OgU3s'\n title='//www.youtube.com/embed/48CtX6OgU3s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Feig and his team also have fun with horror movie conventions, like having a silent, foreboding groundskeeper, adding a creepy dollhouse and placing lightning and thunder during a pivotal scene. They surround the mansion with fussy, aristocratic PTA moms who have tea parties and say things like “You know what yoga means to me.”\u003c/p>\n\u003cp>Feig’s fascinating combination of gore, torture and hot sex ends happily, capped off with Taylor Swift’s perfectly conjured “I Did Something Bad” playing over the end credits. Not at all: This naughty movie is definitely on the nice list.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Housemaid’ opens in theaters Dec. 19, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Avatar: Fire and Ash’ Rewards Fans With 195 Minutes of Wonder and War",
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"content": "\u003cp>When I came down with a cold the day after I saw the third and latest \u003ci>Avatar\u003c/i> film, \u003ci>Fire and Ash\u003c/i>, I half-wondered if I had picked it up on Pandora.\u003c/p>\n\u003cp>The promise of Cameron’s 3D trilogy has always been immersion: immersion in a science-fiction world, in technological wonder, in a maybe future of movies. \u003cem>Avatar\u003c/em> is almost more a place to go than a movie to see.\u003c/p>\n\u003cp>[aside postID='arts_13984991']Still, it’s now been two decades since Cameron set off on this blue-tinted quest. The sheen of newness is off, or at least less pronounced, with new technological advances to contend with. \u003cem>Fire and Ash\u003c/em> is running with a behind-the-scenes video about how performance capture was used during the film’s making. The implicit message is: No, this isn’t AI.\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films, with their visual-effects wizardry and clunky revisionist Western storytelling, have always felt, most of all, like an immersion in a dream of James Cameron’s. The idea of these movies, after all, first came to Cameron, he has said, in a bioluminescent vision decades ago. At their best, the \u003cem>Avatar\u003c/em> movies have felt like an otherworldly stage for Cameron to juggle so many of the things — hulking weaponry, ecological wonder, foolhardy human arrogance — that have marked his movies.\u003c/p>\n\u003cfigure id=\"attachment_13985012\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg\" alt=\"flying alien ships in purple pink sky\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, at well more than three hours, is our longest stay yet on Pandora and the one most likely to make you ponder why you came here in the first place. These remain epics of craft and conviction. You can feel Cameron’s deep devotion to the dynamics of his central characters, even when his interest outstrips our own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s especially true in \u003cem>Fire and Ash\u003c/em>, which, following the deep-sea, family-focused part two, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13922812/take-the-plunge-avatars-underwater-scenes-are-immersive-and-extraordinary\">The Way of Water\u003c/a>\u003c/em>, pivots to a new chapter of culture clash. It introduces a violent rival Na’vi clan whose rageful leader, Varang (Oona Chaplin), partners with Stephen Lang’s booming Col. Miles Quaritch and the human colonizers.\u003c/p>\n\u003cp>For those who have closely followed the \u003cem>Avatar\u003c/em> saga, I suspect \u003cem>Fire and Ash\u003c/em> will be a rewarding experience. Quaritch, Pandora’s answer to Robert Duvall’s Bill Kilgore in \u003cem>Apocalypse Now\u003c/em>, remains a ferociously captivating character. And the introduction of Chaplin’s Varang gives this installment an electricity that the previous two were missing.\u003c/p>\n\u003cp>But for those whose trips to Pandora have made less of an impact, \u003cem>Fire and Ash\u003c/em> is a bit like returning to a half-remembered vacation spot, only one where the local ponytail style is a little strange and everyone seems to have the waist of a supermodel.\u003c/p>\n\u003cfigure id=\"attachment_13985013\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg\" alt=\"two aliens sharing a moment on shore under moonlight\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Lo’ak, performed by Britain Dalton, left, and Tsireya, performed by Bailey Bass, in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Time has only reinforced the sense that these films are hermetically sealed movie terrariums. They’re like a $1 billion beta test that, for all their box-office success, have ultimately proven that all the design capabilities in the world can’t conjure a story of meaningful impact. The often-remarked light cultural footprint left by the first two blockbusters only hints at why these movie seem to evaporate by the ending credits. It’s the lack of inner life to any of the characters and the bland, screen-saver aesthetics. At this point in a trilogy, nine hours in, that hollowness makes \u003cem>Fire and Ash\u003c/em> feel like almost theoretical drama: more avatar than genuine article.\u003c/p>\n\u003cp>These movies have had to work extremely hard, moment to moment, just to pass as believable. But almost every gesture, every movement and every bit of dialogue has had something unnatural about it. (The high frame rate is partially to blame.) That’s made these uncanny movies a combination, in equal measure, of things you’ve never seen before, and things you can’t unsee.\u003c/p>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, scripted by Cameron, Rick Jaffa and Amanda Silver, picks up with the aftermath of the climatic battle of \u003cem>The Way of Water\u003c/em>. The Na’vi and their seafaring allies, the Metkayina clan, are nursing their wounds and recovering the human weapons that sunk to the sea floor.\u003c/p>\n\u003cp>When a rival clan called the Mangkwan or Ash People come to challenge the Na’vi, those weapons represent an ethical quandary. Should they use such firepower in their own local battles? This is a more difficult question partially because the fire-mad Mangkwan are especially bloodthirsty, led by their slinky sorceress, Vanang (played with seductive sadism by Chaplin, granddaughter of Charlie).\u003c/p>\n\u003cp>But their fight is only a piece of the larger war of \u003cem>Fire and Ash\u003c/em>. The focus of this third chapter (films four and five are said to be written but not greenlit) is interspecies coexistence. As human and Na’vi lines continue to blur, the question becomes whether the human invaders will transform Pandora or if Pandora will transform them.\u003c/p>\n\u003cfigure id=\"attachment_13985014\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg\" alt=\"aliens in military attire glower\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Lang’s character Quaritch in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That puts the focus on the three characters in various in-between states. First, there’s Spider (Jack Champion), the human son of Quaritch who lives happily with the Na’vi while breathing through a machine to survive the Pandora atmosphere. (Champion has the double misfortune of wearing a mask and looking downright puny next to the tall and slender natives.) But in \u003cem>Fire and Ash\u003c/em>, he discovers he can breathe unfiltered, a development that prompts intense military interest in a potentially hugely profitable breakthrough in Pandora assimilation.\u003c/p>\n\u003cp>There’s also Jake Sully (Sam Worthington), the former human who has made a Na’vi family with Neytiri (Zoe Saldaña). For Neytiri, the growing menace of human warfare causes her to doubt her bond with Jake. The prejudices of \u003cem>Fire and Ash\u003c/em> seep even into the home.\u003c/p>\n\u003cp>Most interesting of the three, though, remains Quaritch. He may be violently trying to subjugate Pandora but he also obviously delights in his Na’vi body and in his life on this distant moon. You can see him flinch when his commander, General Ardmore (Edie Falco), refers to their Mangkwan allies as “savages.” Meanwhile, Quaritch and Vanang hit it off like gangbusters.\u003c/p>\n\u003cp>“You’ve got new eyes, colonel,” one character tells Quaritch. “All you’ve got to do is open them.”\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films have done plenty to open eyes over the past 16 years. To new cinematic horizons, to the boundlessness of Cameron’s visions, to the Papyrus font. But the most endearing quality of \u003cem>Avatar\u003c/em> is that Cameron believes so ardently in it. I might be caught up less in the goings on Pandora, but I’m kind of glad that he is. There are worse things than dreaming up a better world, with still a fighting chance.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Avatar: Fire and Ash,’ opens in theaters Dec. 19, 2025.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, it’s now been two decades since Cameron set off on this blue-tinted quest. The sheen of newness is off, or at least less pronounced, with new technological advances to contend with. \u003cem>Fire and Ash\u003c/em> is running with a behind-the-scenes video about how performance capture was used during the film’s making. The implicit message is: No, this isn’t AI.\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films, with their visual-effects wizardry and clunky revisionist Western storytelling, have always felt, most of all, like an immersion in a dream of James Cameron’s. The idea of these movies, after all, first came to Cameron, he has said, in a bioluminescent vision decades ago. At their best, the \u003cem>Avatar\u003c/em> movies have felt like an otherworldly stage for Cameron to juggle so many of the things — hulking weaponry, ecological wonder, foolhardy human arrogance — that have marked his movies.\u003c/p>\n\u003cfigure id=\"attachment_13985012\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg\" alt=\"flying alien ships in purple pink sky\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_12_ecf8eef6-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, at well more than three hours, is our longest stay yet on Pandora and the one most likely to make you ponder why you came here in the first place. These remain epics of craft and conviction. You can feel Cameron’s deep devotion to the dynamics of his central characters, even when his interest outstrips our own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s especially true in \u003cem>Fire and Ash\u003c/em>, which, following the deep-sea, family-focused part two, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13922812/take-the-plunge-avatars-underwater-scenes-are-immersive-and-extraordinary\">The Way of Water\u003c/a>\u003c/em>, pivots to a new chapter of culture clash. It introduces a violent rival Na’vi clan whose rageful leader, Varang (Oona Chaplin), partners with Stephen Lang’s booming Col. Miles Quaritch and the human colonizers.\u003c/p>\n\u003cp>For those who have closely followed the \u003cem>Avatar\u003c/em> saga, I suspect \u003cem>Fire and Ash\u003c/em> will be a rewarding experience. Quaritch, Pandora’s answer to Robert Duvall’s Bill Kilgore in \u003cem>Apocalypse Now\u003c/em>, remains a ferociously captivating character. And the introduction of Chaplin’s Varang gives this installment an electricity that the previous two were missing.\u003c/p>\n\u003cp>But for those whose trips to Pandora have made less of an impact, \u003cem>Fire and Ash\u003c/em> is a bit like returning to a half-remembered vacation spot, only one where the local ponytail style is a little strange and everyone seems to have the waist of a supermodel.\u003c/p>\n\u003cfigure id=\"attachment_13985013\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg\" alt=\"two aliens sharing a moment on shore under moonlight\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_06_9f555b49-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Lo’ak, performed by Britain Dalton, left, and Tsireya, performed by Bailey Bass, in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Time has only reinforced the sense that these films are hermetically sealed movie terrariums. They’re like a $1 billion beta test that, for all their box-office success, have ultimately proven that all the design capabilities in the world can’t conjure a story of meaningful impact. The often-remarked light cultural footprint left by the first two blockbusters only hints at why these movie seem to evaporate by the ending credits. It’s the lack of inner life to any of the characters and the bland, screen-saver aesthetics. At this point in a trilogy, nine hours in, that hollowness makes \u003cem>Fire and Ash\u003c/em> feel like almost theoretical drama: more avatar than genuine article.\u003c/p>\n\u003cp>These movies have had to work extremely hard, moment to moment, just to pass as believable. But almost every gesture, every movement and every bit of dialogue has had something unnatural about it. (The high frame rate is partially to blame.) That’s made these uncanny movies a combination, in equal measure, of things you’ve never seen before, and things you can’t unsee.\u003c/p>\n\u003cp>\u003cem>Fire and Ash\u003c/em>, scripted by Cameron, Rick Jaffa and Amanda Silver, picks up with the aftermath of the climatic battle of \u003cem>The Way of Water\u003c/em>. The Na’vi and their seafaring allies, the Metkayina clan, are nursing their wounds and recovering the human weapons that sunk to the sea floor.\u003c/p>\n\u003cp>When a rival clan called the Mangkwan or Ash People come to challenge the Na’vi, those weapons represent an ethical quandary. Should they use such firepower in their own local battles? This is a more difficult question partially because the fire-mad Mangkwan are especially bloodthirsty, led by their slinky sorceress, Vanang (played with seductive sadism by Chaplin, granddaughter of Charlie).\u003c/p>\n\u003cp>But their fight is only a piece of the larger war of \u003cem>Fire and Ash\u003c/em>. The focus of this third chapter (films four and five are said to be written but not greenlit) is interspecies coexistence. As human and Na’vi lines continue to blur, the question becomes whether the human invaders will transform Pandora or if Pandora will transform them.\u003c/p>\n\u003cfigure id=\"attachment_13985014\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg\" alt=\"aliens in military attire glower\" width=\"1300\" height=\"730\" class=\"size-full wp-image-13985014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849.jpeg 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-768x431.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/g_movies_avatarfireandash_still_02_e3c86849-1200x675.jpeg 1200w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">Stephen Lang’s character Quaritch in a scene from ‘Avatar: Fire and Ash.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That puts the focus on the three characters in various in-between states. First, there’s Spider (Jack Champion), the human son of Quaritch who lives happily with the Na’vi while breathing through a machine to survive the Pandora atmosphere. (Champion has the double misfortune of wearing a mask and looking downright puny next to the tall and slender natives.) But in \u003cem>Fire and Ash\u003c/em>, he discovers he can breathe unfiltered, a development that prompts intense military interest in a potentially hugely profitable breakthrough in Pandora assimilation.\u003c/p>\n\u003cp>There’s also Jake Sully (Sam Worthington), the former human who has made a Na’vi family with Neytiri (Zoe Saldaña). For Neytiri, the growing menace of human warfare causes her to doubt her bond with Jake. The prejudices of \u003cem>Fire and Ash\u003c/em> seep even into the home.\u003c/p>\n\u003cp>Most interesting of the three, though, remains Quaritch. He may be violently trying to subjugate Pandora but he also obviously delights in his Na’vi body and in his life on this distant moon. You can see him flinch when his commander, General Ardmore (Edie Falco), refers to their Mangkwan allies as “savages.” Meanwhile, Quaritch and Vanang hit it off like gangbusters.\u003c/p>\n\u003cp>“You’ve got new eyes, colonel,” one character tells Quaritch. “All you’ve got to do is open them.”\u003c/p>\n\u003cp>The \u003cem>Avatar\u003c/em> films have done plenty to open eyes over the past 16 years. To new cinematic horizons, to the boundlessness of Cameron’s visions, to the Papyrus font. But the most endearing quality of \u003cem>Avatar\u003c/em> is that Cameron believes so ardently in it. I might be caught up less in the goings on Pandora, but I’m kind of glad that he is. There are worse things than dreaming up a better world, with still a fighting chance.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Avatar: Fire and Ash,’ opens in theaters Dec. 19, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rooting for the underdog, on the field or in a movie, is one of America’s greatest traditions. You can trace it all the way back to our time-honored, tea-stained origin story of a ragtag band of farmers and shopkeepers taking on the British Empire. \u003c/p>\n\u003cp>[aside postID='arts_13984386']\u003cem>Marty Supreme\u003c/em> (opening Dec. 25), Josh Safdie’s beautifully crafted runaway train with an astonishing Timothée Chalamet as its pedal-to-the-metal engineer, turns the basic underdog dynamic, with all its brio and bravery and desperation and bullshit, into a feverish exposé of the fury and folly of the American Dream. If that isn’t your cup of mead, friend, what kind of patriot are you?\u003c/p>\n\u003cp>Josh Safdie’s best films (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13872331/uncut-gems-glittering-darkly\">Uncut Gems\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.npr.org/2017/08/11/542423079/stylishly-gritty-this-chase-thriller-really-is-a-good-time\">Good Time\u003c/a>\u003c/em>, co-directed with his brother Bennie, who also directed a sports movie on his own this year, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13982077/smashing-machine-movie-review-mark-kerr-biopic-mma-dwayne-rock-johnson\">The Smashing Machine\u003c/a>\u003c/em>) center on men who know only one direction (forward) and one speed (faster). Are those protagonists (played by Adam Sandler and Robert Pattinson) and Marty running toward something or away from something? It’s a trick question, of course.\u003c/p>\n\u003cfigure id=\"attachment_13984493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg\" alt=\"blurry image of man running down busy city street with valise\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13984493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chalamet’s Marty Mauser is inspired by the late Marty Reisman, who titled his (ghostwritten) 1974 autobiography \u003cem>\u003ca href=\"https://archive.org/details/moneyplayercon00reis\">The Money Player: The Confessions of America’s Greatest Table Tennis Champion and Hustler\u003c/a>\u003c/em>. But we have no clue this skinny kid is an athlete when we are introduced to him in the early 1950s. He’s conning a customer in his uncle’s Lower East Side shoe store into buying the too-tight pair he’s passing off as her size.\u003c/p>\n\u003cp>She’s too savvy to fall for Marty’s spiel — much of the tension in \u003cem>Marty Supreme\u003c/em> derives from whether people will fold or stiffen in the face of his high-speed verbal onslaughts — but she’s instantly displaced by the arrival of a young woman who has some urgent footwear business with Marty that takes them downstairs to the storeroom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em>’s early scenes, set in confined spaces, convey the claustrophobia driving its namesake to exceed the world’s expectations and escape the crummy, anonymous life everyone around him seems fated to. But we aren’t prepared for Marty’s lunatic ambition, and his off-putting brand of American exceptionalism in which he effortlessly shifts from hero to victim to suit his schemes.\u003c/p>\n\u003cfigure id=\"attachment_13985002\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg\" alt=\"black man and white man gesture over ping pong table in bowling alley\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, the Creator and Timothée Chalamet in a scene from ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We are both charmed by and leery of this showman, gambler and flamboyant self-promoter who, we come to see, is indifferent to the damage he leaves in his wake. If Marty is a kind of forerunner for larger-than-life competitors like Muhammad Ali, Evel Knievel, Pete Rose and John McEnroe, he’s also cut from the same cloth as the “pal” who borrowed your car and lied about the scratches and dents.\u003c/p>\n\u003cp>Most filmmakers would be content to highlight the working-class desolation of Marty’s milieu, and let the high-stakes drama of far-flung table-tennis tournaments and New Jersey bowling alley scams rivet the viewer. Safdie and co-writer Ronald Bronstein bravely go further, repeatedly reminding us of Marty’s Jewishness in ways that are edgy and shocking.\u003c/p>\n\u003cp>In one scene, Marty cajoles fellow player Béla (Hungarian actor Géza Rohrig of the shattering 2015 concentration-camp saga \u003cem>\u003ca href=\"https://www.kqed.org/arts/11241009/shallow-focus-creates-depth-of-feeling-in-son-of-saul\">Son of Saul\u003c/a>\u003c/em>) to reveal the tattooed numbers on his arm to a stranger. Later, on a trip to the Middle East, Marty shamelessly chips off a piece from a pyramid that he gifts to his mother with the line, “We built it.”\u003c/p>\n\u003cfigure id=\"attachment_13985003\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg\" alt=\"blond woman in hat looking up\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gwyneth Paltrow in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t enough for Marty to make some money, get his picture in the papers and travel abroad. Nor is it enough to capture the attention of a one-time movie star (Gwyneth Paltrow) with a rich husband. Sadly, he isn’t satisfied with success.\u003c/p>\n\u003cp>If I were a lousy psychotherapist, I might see \u003cem>Marty Supreme\u003c/em> as a Holocaust-revenge movie. Marty’s taking (back) what’s his (or what he sees as the Jewish people’s). The problem with that interpretation is that Marty directs his white-hot frenzy at anyone in his path, including erstwhile friends and supporters. He combines the ambition of \u003ca href=\"https://www.youtube.com/watch?v=1ADWjL42OGc\">Duddy Kravitz\u003c/a>, the zero-to-60 acceleration of the Roadrunner and the relentlessness of the Terminator with their accompanying lack of scruples.\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em> is far and away one of the best movies of 2025, and its brilliant execution extends to the way it guides your feelings toward its anti-hero. There comes a point, sooner or later, where you will stop taking Marty’s side. You may even hope for his comeuppance, as I did. And then there’s a turn where Safdie and Chalamet will likely make you root for Marty again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>American movies typically encourage us to cheer for the underdog. \u003cem>Marty Supreme\u003c/em> makes you question that simple loyalty, and ponder how much a child of immigrants who seeks to prove that the streets are paved with gold is allowed to get away with.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rooting for the underdog, on the field or in a movie, is one of America’s greatest traditions. You can trace it all the way back to our time-honored, tea-stained origin story of a ragtag band of farmers and shopkeepers taking on the British Empire. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Marty Supreme\u003c/em> (opening Dec. 25), Josh Safdie’s beautifully crafted runaway train with an astonishing Timothée Chalamet as its pedal-to-the-metal engineer, turns the basic underdog dynamic, with all its brio and bravery and desperation and bullshit, into a feverish exposé of the fury and folly of the American Dream. If that isn’t your cup of mead, friend, what kind of patriot are you?\u003c/p>\n\u003cp>Josh Safdie’s best films (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13872331/uncut-gems-glittering-darkly\">Uncut Gems\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://www.npr.org/2017/08/11/542423079/stylishly-gritty-this-chase-thriller-really-is-a-good-time\">Good Time\u003c/a>\u003c/em>, co-directed with his brother Bennie, who also directed a sports movie on his own this year, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13982077/smashing-machine-movie-review-mark-kerr-biopic-mma-dwayne-rock-johnson\">The Smashing Machine\u003c/a>\u003c/em>) center on men who know only one direction (forward) and one speed (faster). Are those protagonists (played by Adam Sandler and Robert Pattinson) and Marty running toward something or away from something? It’s a trick question, of course.\u003c/p>\n\u003cfigure id=\"attachment_13984493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg\" alt=\"blurry image of man running down busy city street with valise\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13984493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chalamet’s Marty Mauser is inspired by the late Marty Reisman, who titled his (ghostwritten) 1974 autobiography \u003cem>\u003ca href=\"https://archive.org/details/moneyplayercon00reis\">The Money Player: The Confessions of America’s Greatest Table Tennis Champion and Hustler\u003c/a>\u003c/em>. But we have no clue this skinny kid is an athlete when we are introduced to him in the early 1950s. He’s conning a customer in his uncle’s Lower East Side shoe store into buying the too-tight pair he’s passing off as her size.\u003c/p>\n\u003cp>She’s too savvy to fall for Marty’s spiel — much of the tension in \u003cem>Marty Supreme\u003c/em> derives from whether people will fold or stiffen in the face of his high-speed verbal onslaughts — but she’s instantly displaced by the arrival of a young woman who has some urgent footwear business with Marty that takes them downstairs to the storeroom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em>’s early scenes, set in confined spaces, convey the claustrophobia driving its namesake to exceed the world’s expectations and escape the crummy, anonymous life everyone around him seems fated to. But we aren’t prepared for Marty’s lunatic ambition, and his off-putting brand of American exceptionalism in which he effortlessly shifts from hero to victim to suit his schemes.\u003c/p>\n\u003cfigure id=\"attachment_13985002\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg\" alt=\"black man and white man gesture over ping pong table in bowling alley\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeScene_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tyler, the Creator and Timothée Chalamet in a scene from ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We are both charmed by and leery of this showman, gambler and flamboyant self-promoter who, we come to see, is indifferent to the damage he leaves in his wake. If Marty is a kind of forerunner for larger-than-life competitors like Muhammad Ali, Evel Knievel, Pete Rose and John McEnroe, he’s also cut from the same cloth as the “pal” who borrowed your car and lied about the scratches and dents.\u003c/p>\n\u003cp>Most filmmakers would be content to highlight the working-class desolation of Marty’s milieu, and let the high-stakes drama of far-flung table-tennis tournaments and New Jersey bowling alley scams rivet the viewer. Safdie and co-writer Ronald Bronstein bravely go further, repeatedly reminding us of Marty’s Jewishness in ways that are edgy and shocking.\u003c/p>\n\u003cp>In one scene, Marty cajoles fellow player Béla (Hungarian actor Géza Rohrig of the shattering 2015 concentration-camp saga \u003cem>\u003ca href=\"https://www.kqed.org/arts/11241009/shallow-focus-creates-depth-of-feeling-in-son-of-saul\">Son of Saul\u003c/a>\u003c/em>) to reveal the tattooed numbers on his arm to a stranger. Later, on a trip to the Middle East, Marty shamelessly chips off a piece from a pyramid that he gifts to his mother with the line, “We built it.”\u003c/p>\n\u003cfigure id=\"attachment_13985003\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg\" alt=\"blond woman in hat looking up\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13985003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/MartySupremeGwen_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Gwyneth Paltrow in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t enough for Marty to make some money, get his picture in the papers and travel abroad. Nor is it enough to capture the attention of a one-time movie star (Gwyneth Paltrow) with a rich husband. Sadly, he isn’t satisfied with success.\u003c/p>\n\u003cp>If I were a lousy psychotherapist, I might see \u003cem>Marty Supreme\u003c/em> as a Holocaust-revenge movie. Marty’s taking (back) what’s his (or what he sees as the Jewish people’s). The problem with that interpretation is that Marty directs his white-hot frenzy at anyone in his path, including erstwhile friends and supporters. He combines the ambition of \u003ca href=\"https://www.youtube.com/watch?v=1ADWjL42OGc\">Duddy Kravitz\u003c/a>, the zero-to-60 acceleration of the Roadrunner and the relentlessness of the Terminator with their accompanying lack of scruples.\u003c/p>\n\u003cp>\u003cem>Marty Supreme\u003c/em> is far and away one of the best movies of 2025, and its brilliant execution extends to the way it guides your feelings toward its anti-hero. There comes a point, sooner or later, where you will stop taking Marty’s side. You may even hope for his comeuppance, as I did. And then there’s a turn where Safdie and Chalamet will likely make you root for Marty again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>American movies typically encourage us to cheer for the underdog. \u003cem>Marty Supreme\u003c/em> makes you question that simple loyalty, and ponder how much a child of immigrants who seeks to prove that the streets are paved with gold is allowed to get away with.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "best-movies-moments-films-2025",
"title": "The Best Movie Moments of 2025",
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"headTitle": "The Best Movie Moments of 2025 | KQED",
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"content": "\u003cp>\u003cem>This week, we’re looking back on the best art, music, food, movies and more from the year. \u003ca href=\"https://www.kqed.org/arts/tag/best-of-2025\">See our entire Best of 2025 guide here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>The imperative of narrative films, indeed of all storytelling, is forward movement. Our insistent, perennial question is, “And \u003cem>then\u003c/em> what happened?” But “what” only matters if we care about “who,” and how they react and respond to what happens.\u003c/p>\n\u003cp>The characters who stuck with me this year were on singular, propulsive journeys. They may have boarded a ship or hopped a train or ridden a spaceship, or stayed home and picked up a camera or a Ping-Pong paddle. They made unexpected and valuable discoveries, and I was glad to be along for the ride.\u003c/p>\n\u003cfigure id=\"attachment_13984487\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000.jpg\" alt=\"woman on therapist couch, man taking notes beside her\" width=\"2000\" height=\"808\" class=\"size-full wp-image-13984487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000-768x310.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000-1536x621.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Conan O’Brien and Rose Byrne in ‘If I Had Legs I’d Kick You.’ \u003ccite>(Logan White/A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13982228/rose-byrne-astonishes-in-the-gripping-if-i-had-legs-id-kick-you\">If I Had Legs I’d Kick You\u003c/a>’\u003c/h2>\n\u003cp>Mary Bronstein’s desperate portrait of a struggling mother (and therapist) on her own begins with an extreme close-up of Linda (Rose Byrne) not-so-calmly listening to \u003cem>her\u003c/em> therapist and young daughter. This intimate, uncomfortable sequence is the whole movie in a nutshell: The camera never strays far from Linda’s face, immersing us in the cascading pressures that threaten to submerge her. Linda’s trajectory is a downward spiral (physician, heal thyself!), but my therapist tells me it’s always darkest just before the dawn.\u003c/p>\n\u003cfigure id=\"attachment_13984488\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000.jpg\" alt=\"two men pushing cart with concealed camera trail man and woman on parisian street\" width=\"2000\" height=\"1459\" class=\"size-full wp-image-13984488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000-1536x1121.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Guillaume Marbeck as Jean-Luc Godard, Aubry Dullin as Jean-Paul Belmondo and Zoey Deutch as Jean Seberg in ‘Nouvelle Vague.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13983246/nouvelle-vague-movie-review-french-new-wave-linklater-on-godard-breathless\">Nouvelle Vague\u003c/a>’\u003c/h2>\n\u003cp>Jean-Luc Godard was the last of his many film-critic peers to direct a feature film. That made the cocky auteur slightly insecure, yet he made zero concessions to his radical approach or compromises to his unique vision. Richard Linklater’s marvelous French-language, black-and-white recreation of the making of \u003cem>Breathless\u003c/em> in Paris in 1959 chronicles the many ways the artist willfully risked a fall. Like provoking a mid-day café brawl with his producer, a physical manifestation of the philosophical tensions between art and commerce, improvisation and script, inspiration and pragmatism. Vive la révolution du cinéma!\u003c/p>\n\u003cfigure id=\"attachment_13984489\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsga%CC%8Ard_Photo-Christian-Belgaux_2000.jpg\" alt=\"older man faces younger woman in front of hedge\" width=\"2000\" height=\"1202\" class=\"size-full wp-image-13984489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000-1536x923.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stellan Skarsgård and Renate Reinsve in ‘Sentimental Value.’ \u003ccite>(Christian Belgaux/NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13983315/sentimental-value-movie-review-joachim-trier-drama-stellan-skarsgard\">Sentimental Value\u003c/a>’\u003c/h2>\n\u003cp>In Joachim Trier’s richly layered drama, the fight over artistic expression is a family affair. You might think that legendary filmmaker Gustav Borg (Stellan Skarsgård) holds all the cards. However, his daughter Nora (Renate Reinsve) is a drama queen. Really. She’s a phenom whose acute stage fright — which she shockingly invokes to make out backstage with the stage manager — threatens to derail the opening night of her latest buzzy play. Trier blurs and blots the line between art and life in this dramatic opening, setting the terms of Gustav and Nora’s relationship.\u003c/p>\n\u003cfigure id=\"attachment_13984490\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000.jpg\" alt=\"seated young woman looks furtively to right\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chase Infiniti as Willa Ferguson in ‘One Battle After Another.’ \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13981463/one-battle-after-another-movie-review-leonardo-dicaprio-paul-thomas-anderson-immigration-revolution-action\">One Battle After Another\u003c/a>‘\u003c/h2>\n\u003cp>Paul Thomas Anderson’s would-be SoCal epic is framed as a long-running grudge match between erstwhile revolutionaries and the military clampdown. (\u003ca href=\"https://www.youtube.com/watch?v=9XEnTxlBuGo\">Which side are you on, which side are you on?\u003c/a>) Willa (Chase Infiniti), a mixed-race teenager of unambiguous innocence, is caught in the crossfire. In a rare quiet moment amid the battlefield chaos and cacophony, alone in a sun-blazed car while men fight over her, she peers through the shadows on the windshield and takes her life into her own hands. Now Willa’s journey truly begins, while everyone else keeps on running in circles over the same old ground.\u003c/p>\n\u003cfigure id=\"attachment_13984491\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000.jpg\" alt=\"woman with shaved head and white cream on skin sits on bed, hands bound\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone as Michelle in director Yorgos Lanthimos’ ‘Bugonia.’Focus Features release. \u003ccite>(Atsushi Nishijima/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13982740/bugonia-movie-review-emma-stone-jesse-plemons-yorgos-lanthimos\">Bugonia\u003c/a>’\u003c/h2>\n\u003cp>High-powered biotech CEO Michelle (Emma Stone) isn’t on a journey so much as a mission. But it isn’t apparent until Michelle has been kidnapped and chained in a mad conspiracy theorist’s basement. Abused, humiliated and covered in blood, Michelle refuses to be a victim for even a nanosecond. Stone’s commitment to frequent collaborator Yorgos Lanthimos is extraordinary, notably in the moment her face hardens into a mask of fearless fury.\u003c/p>\n\u003cfigure id=\"attachment_13984492\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000.jpg\" alt=\"white man holds axe, looks up at massive tree\" width=\"2000\" height=\"1373\" class=\"size-full wp-image-13984492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000-1536x1054.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joel Edgerton as Robert Grainier in ‘Train Dreams.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13983447/train-dreams-review-movie\">Train Dreams\u003c/a>’\u003c/h2>\n\u003cp>Looking straight down on a green Pacific Northwest forest, we watch a branch inexorably fall from a great height onto a man. Is it random bad luck? God’s mighty hand? Nature’s way of avenging the violence that loggers do to trees? Or the accidental handiwork of another laborer? Robert Grainier (Joel Edgerton), the simple protagonist of Clint Bentley’s meditation on the effects of 20th-century progress on one individual, grapples as best he can with these and other questions. \u003c/p>\n\u003cfigure id=\"attachment_13984493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg\" alt=\"blurry image of man running down busy city street with valise\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13984493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Marty Supreme’\u003c/h2>\n\u003cp>Table-tennis hotshot/shoe salesman Marty Mauser’s manic drive to escape the shabby New York confines of his 1950s existence is, essentially, one battle after another. Here’s one: Dead-set on flying to London for a major tournament, the perpetually broke Marty (Timothée Chalamet) forces a co-worker at gunpoint to open the safe so he can take his “back pay.” Josh Safdie’s astonishing film is a nonstop barrage of extreme moments. Alas, for all his sound and fury, Marty ain’t going nowhere.\u003c/p>\n\u003cfigure id=\"attachment_13984494\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000.jpg\" alt=\"people in 18th-century clothes raise arms together on ship deck\" width=\"2000\" height=\"828\" class=\"size-full wp-image-13984494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000-1536x636.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried and ensemble in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Testament of Ann Lee’\u003c/h2>\n\u003cp>Mona Fastvold’s entrancing recreation of the Shaker religious movement contemplates the utopian aspirations of faith. In a turning point in the English sect’s development, its single-minded leader Ann Lee (Amanda Seyfried) declares that its future is in the New World. En route, a mid-Atlantic storm threatens the ship. Lee and her followers commandeer the deck for ecstatic prayer, braving the rain and the jeers of the disbelieving crew. On a rough and uncertain journey, it is helpful to be accompanied by your God, or a strong director. Some would say they are the same thing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Eight scintillating scenes from (some of) the year’s most compelling cinematic journeys.",
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"title": "The Best Movie Moments of 2025 | KQED",
"description": "Eight scintillating scenes from (some of) the year’s most compelling cinematic journeys.",
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"headline": "The Best Movie Moments of 2025",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, we’re looking back on the best art, music, food, movies and more from the year. \u003ca href=\"https://www.kqed.org/arts/tag/best-of-2025\">See our entire Best of 2025 guide here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>The imperative of narrative films, indeed of all storytelling, is forward movement. Our insistent, perennial question is, “And \u003cem>then\u003c/em> what happened?” But “what” only matters if we care about “who,” and how they react and respond to what happens.\u003c/p>\n\u003cp>The characters who stuck with me this year were on singular, propulsive journeys. They may have boarded a ship or hopped a train or ridden a spaceship, or stayed home and picked up a camera or a Ping-Pong paddle. They made unexpected and valuable discoveries, and I was glad to be along for the ride.\u003c/p>\n\u003cfigure id=\"attachment_13984487\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000.jpg\" alt=\"woman on therapist couch, man taking notes beside her\" width=\"2000\" height=\"808\" class=\"size-full wp-image-13984487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000-768x310.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/LEGS04_Courtesy-of-A24_2000-1536x621.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Conan O’Brien and Rose Byrne in ‘If I Had Legs I’d Kick You.’ \u003ccite>(Logan White/A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13982228/rose-byrne-astonishes-in-the-gripping-if-i-had-legs-id-kick-you\">If I Had Legs I’d Kick You\u003c/a>’\u003c/h2>\n\u003cp>Mary Bronstein’s desperate portrait of a struggling mother (and therapist) on her own begins with an extreme close-up of Linda (Rose Byrne) not-so-calmly listening to \u003cem>her\u003c/em> therapist and young daughter. This intimate, uncomfortable sequence is the whole movie in a nutshell: The camera never strays far from Linda’s face, immersing us in the cascading pressures that threaten to submerge her. Linda’s trajectory is a downward spiral (physician, heal thyself!), but my therapist tells me it’s always darkest just before the dawn.\u003c/p>\n\u003cfigure id=\"attachment_13984488\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000.jpg\" alt=\"two men pushing cart with concealed camera trail man and woman on parisian street\" width=\"2000\" height=\"1459\" class=\"size-full wp-image-13984488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/NOUVELLE_VAGUE_n_00_50_48_21_2000-1536x1121.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Guillaume Marbeck as Jean-Luc Godard, Aubry Dullin as Jean-Paul Belmondo and Zoey Deutch as Jean Seberg in ‘Nouvelle Vague.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13983246/nouvelle-vague-movie-review-french-new-wave-linklater-on-godard-breathless\">Nouvelle Vague\u003c/a>’\u003c/h2>\n\u003cp>Jean-Luc Godard was the last of his many film-critic peers to direct a feature film. That made the cocky auteur slightly insecure, yet he made zero concessions to his radical approach or compromises to his unique vision. Richard Linklater’s marvelous French-language, black-and-white recreation of the making of \u003cem>Breathless\u003c/em> in Paris in 1959 chronicles the many ways the artist willfully risked a fall. Like provoking a mid-day café brawl with his producer, a physical manifestation of the philosophical tensions between art and commerce, improvisation and script, inspiration and pragmatism. Vive la révolution du cinéma!\u003c/p>\n\u003cfigure id=\"attachment_13984489\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsga%CC%8Ard_Photo-Christian-Belgaux_2000.jpg\" alt=\"older man faces younger woman in front of hedge\" width=\"2000\" height=\"1202\" class=\"size-full wp-image-13984489\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/SentimentalValue_Renate_Reinsve_Stellan_Skarsgård_Photo-Christian-Belgaux_2000-1536x923.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stellan Skarsgård and Renate Reinsve in ‘Sentimental Value.’ \u003ccite>(Christian Belgaux/NEON)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13983315/sentimental-value-movie-review-joachim-trier-drama-stellan-skarsgard\">Sentimental Value\u003c/a>’\u003c/h2>\n\u003cp>In Joachim Trier’s richly layered drama, the fight over artistic expression is a family affair. You might think that legendary filmmaker Gustav Borg (Stellan Skarsgård) holds all the cards. However, his daughter Nora (Renate Reinsve) is a drama queen. Really. She’s a phenom whose acute stage fright — which she shockingly invokes to make out backstage with the stage manager — threatens to derail the opening night of her latest buzzy play. Trier blurs and blots the line between art and life in this dramatic opening, setting the terms of Gustav and Nora’s relationship.\u003c/p>\n\u003cfigure id=\"attachment_13984490\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000.jpg\" alt=\"seated young woman looks furtively to right\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/rev-1-OBAA-20250623_High_Res_JPEG_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Chase Infiniti as Willa Ferguson in ‘One Battle After Another.’ \u003ccite>(Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13981463/one-battle-after-another-movie-review-leonardo-dicaprio-paul-thomas-anderson-immigration-revolution-action\">One Battle After Another\u003c/a>‘\u003c/h2>\n\u003cp>Paul Thomas Anderson’s would-be SoCal epic is framed as a long-running grudge match between erstwhile revolutionaries and the military clampdown. (\u003ca href=\"https://www.youtube.com/watch?v=9XEnTxlBuGo\">Which side are you on, which side are you on?\u003c/a>) Willa (Chase Infiniti), a mixed-race teenager of unambiguous innocence, is caught in the crossfire. In a rare quiet moment amid the battlefield chaos and cacophony, alone in a sun-blazed car while men fight over her, she peers through the shadows on the windshield and takes her life into her own hands. Now Willa’s journey truly begins, while everyone else keeps on running in circles over the same old ground.\u003c/p>\n\u003cfigure id=\"attachment_13984491\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000.jpg\" alt=\"woman with shaved head and white cream on skin sits on bed, hands bound\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13984491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/08_4243_D012_00172_R_rgb_2000-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Emma Stone as Michelle in director Yorgos Lanthimos’ ‘Bugonia.’Focus Features release. \u003ccite>(Atsushi Nishijima/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13982740/bugonia-movie-review-emma-stone-jesse-plemons-yorgos-lanthimos\">Bugonia\u003c/a>’\u003c/h2>\n\u003cp>High-powered biotech CEO Michelle (Emma Stone) isn’t on a journey so much as a mission. But it isn’t apparent until Michelle has been kidnapped and chained in a mad conspiracy theorist’s basement. Abused, humiliated and covered in blood, Michelle refuses to be a victim for even a nanosecond. Stone’s commitment to frequent collaborator Yorgos Lanthimos is extraordinary, notably in the moment her face hardens into a mask of fearless fury.\u003c/p>\n\u003cfigure id=\"attachment_13984492\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000.jpg\" alt=\"white man holds axe, looks up at massive tree\" width=\"2000\" height=\"1373\" class=\"size-full wp-image-13984492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/Train_Dreams_u_00_43_38_15_R_2000-1536x1054.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Joel Edgerton as Robert Grainier in ‘Train Dreams.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://www.kqed.org/arts/13983447/train-dreams-review-movie\">Train Dreams\u003c/a>’\u003c/h2>\n\u003cp>Looking straight down on a green Pacific Northwest forest, we watch a branch inexorably fall from a great height onto a man. Is it random bad luck? God’s mighty hand? Nature’s way of avenging the violence that loggers do to trees? Or the accidental handiwork of another laborer? Robert Grainier (Joel Edgerton), the simple protagonist of Clint Bentley’s meditation on the effects of 20th-century progress on one individual, grapples as best he can with these and other questions. \u003c/p>\n\u003cfigure id=\"attachment_13984493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg\" alt=\"blurry image of man running down busy city street with valise\" width=\"2000\" height=\"838\" class=\"size-full wp-image-13984493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/r3_1.1.1_2000-1536x644.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet in ‘Marty Supreme.’ \u003ccite>(A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Marty Supreme’\u003c/h2>\n\u003cp>Table-tennis hotshot/shoe salesman Marty Mauser’s manic drive to escape the shabby New York confines of his 1950s existence is, essentially, one battle after another. Here’s one: Dead-set on flying to London for a major tournament, the perpetually broke Marty (Timothée Chalamet) forces a co-worker at gunpoint to open the safe so he can take his “back pay.” Josh Safdie’s astonishing film is a nonstop barrage of extreme moments. Alas, for all his sound and fury, Marty ain’t going nowhere.\u003c/p>\n\u003cfigure id=\"attachment_13984494\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000.jpg\" alt=\"people in 18th-century clothes raise arms together on ship deck\" width=\"2000\" height=\"828\" class=\"size-full wp-image-13984494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000-160x66.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/TTAL_SG_00067_v2_2000-1536x636.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Amanda Seyfried and ensemble in ‘The Testament of Ann Lee.’ \u003ccite>(Searchlight Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Testament of Ann Lee’\u003c/h2>\n\u003cp>Mona Fastvold’s entrancing recreation of the Shaker religious movement contemplates the utopian aspirations of faith. In a turning point in the English sect’s development, its single-minded leader Ann Lee (Amanda Seyfried) declares that its future is in the New World. En route, a mid-Atlantic storm threatens the ship. Lee and her followers commandeer the deck for ecstatic prayer, braving the rain and the jeers of the disbelieving crew. On a rough and uncertain journey, it is helpful to be accompanied by your God, or a strong director. Some would say they are the same thing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/sffilm\">SFFILM\u003c/a> has awarded $543,000 in grants to film filmmakers from around the world. The funding, \u003ca href=\"https://sffilm.org/sffilm-announces-543k-in-grants-for-filmmakers/\">announced today\u003c/a>, will support over 30 projects ranging from short films to full-length documentaries.\u003c/p>\n\u003cp>While the artistic development grants support filmmakers as far away as Haiti, Honduras, Ghana and Guatemala, a handful of recipients have Bay Area ties — and are telling Bay Area stories. San Francisco-based \u003ca href=\"https://snikflix.com/about\">Sahand Nikoukar\u003c/a>, Berkeley filmmaker \u003ca href=\"https://www.eliviashaw.com/\">Elivia Shaw\u003c/a>, and Stanford professor \u003ca href=\"https://art.stanford.edu/people/jamie-meltzer\">Jamie Meltzer\u003c/a>, as well as San Francisco born-and-raised artist \u003ca href=\"https://www.bravenewfilms.org/roisin_isner\">Róisín Isner\u003c/a> and Richmond’s own \u003ca href=\"https://mariavictoriaponce.com/\">Vicky Ponce\u003c/a> are all SFFILM grantees.\u003c/p>\n\u003cp>Ponce says the funds will assist her with post-production for her comical coming-of-age film, \u003cem>Juan Po and The Last Day of School\u003c/em>.\u003c/p>\n\u003cp>The story, written by Ponce, centers on a 13-year-old boy who wants to impress his teacher, so he gets an in-home perm done by his pops — and then the teenager has to manage the hairy situation that comes thereafter.\u003c/p>\n\u003cp>“It’s about Sierreño music, broccoli haircuts and all the things all the kids are into,” says Ponce during a phone call. A filmmaker whose \u003ca href=\"https://www.kqed.org/arts/13921773/maria-victoria-ponce\">past works\u003c/a> explore the awkward stages of youth and the importance of family connections, she says this feel-good tale is both universal and very grounded in the Bay Area.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She says having a good story, one that will capture audiences, is just part of the equation when she’s looking for funding these days. After \u003ca href=\"https://www.kqed.org/arts/13975921/national-endowment-for-the-arts-grant-cancellations\">major cuts to national arts funding\u003c/a> this year, “the pot has become smaller,” Ponce says. “People are applying for the same things.” \u003c/p>\n\u003cp>Her saving grace as a full-time filmmaker has come from local grants like the one she just received, the SFFILM/San Francisco Conservatory of Music Sound and Cinema Fellowship, which specifically helps develop an original soundtrack.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s exciting get to save $6,000–$10,000, not having to worry about someone creating my post-music,” says Ponce. “It’s exciting that there are still some grants out there for Bay Area artists.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/sffilm\">SFFILM\u003c/a> has awarded $543,000 in grants to film filmmakers from around the world. The funding, \u003ca href=\"https://sffilm.org/sffilm-announces-543k-in-grants-for-filmmakers/\">announced today\u003c/a>, will support over 30 projects ranging from short films to full-length documentaries.\u003c/p>\n\u003cp>While the artistic development grants support filmmakers as far away as Haiti, Honduras, Ghana and Guatemala, a handful of recipients have Bay Area ties — and are telling Bay Area stories. San Francisco-based \u003ca href=\"https://snikflix.com/about\">Sahand Nikoukar\u003c/a>, Berkeley filmmaker \u003ca href=\"https://www.eliviashaw.com/\">Elivia Shaw\u003c/a>, and Stanford professor \u003ca href=\"https://art.stanford.edu/people/jamie-meltzer\">Jamie Meltzer\u003c/a>, as well as San Francisco born-and-raised artist \u003ca href=\"https://www.bravenewfilms.org/roisin_isner\">Róisín Isner\u003c/a> and Richmond’s own \u003ca href=\"https://mariavictoriaponce.com/\">Vicky Ponce\u003c/a> are all SFFILM grantees.\u003c/p>\n\u003cp>Ponce says the funds will assist her with post-production for her comical coming-of-age film, \u003cem>Juan Po and The Last Day of School\u003c/em>.\u003c/p>\n\u003cp>The story, written by Ponce, centers on a 13-year-old boy who wants to impress his teacher, so he gets an in-home perm done by his pops — and then the teenager has to manage the hairy situation that comes thereafter.\u003c/p>\n\u003cp>“It’s about Sierreño music, broccoli haircuts and all the things all the kids are into,” says Ponce during a phone call. A filmmaker whose \u003ca href=\"https://www.kqed.org/arts/13921773/maria-victoria-ponce\">past works\u003c/a> explore the awkward stages of youth and the importance of family connections, she says this feel-good tale is both universal and very grounded in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She says having a good story, one that will capture audiences, is just part of the equation when she’s looking for funding these days. After \u003ca href=\"https://www.kqed.org/arts/13975921/national-endowment-for-the-arts-grant-cancellations\">major cuts to national arts funding\u003c/a> this year, “the pot has become smaller,” Ponce says. “People are applying for the same things.” \u003c/p>\n\u003cp>Her saving grace as a full-time filmmaker has come from local grants like the one she just received, the SFFILM/San Francisco Conservatory of Music Sound and Cinema Fellowship, which specifically helps develop an original soundtrack.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s exciting get to save $6,000–$10,000, not having to worry about someone creating my post-music,” says Ponce. “It’s exciting that there are still some grants out there for Bay Area artists.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In His New Film, Oakland Rapper Bryce Savoy Explores Fatherhood Through Generations",
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"content": "\u003cp>On New Year’s Day, 2024, hip-hop artist Bryce Savoy’s life was irrevocably changed: His biggest fan, his father Bryce Fluellen, tragically passed away at 53 years old. Among the important lessons Big Bryce (as he was known to friends and family) imparted on his son were that everything one wants to do in life is ripe for the taking, and what life offers is not restricted to one lane. [aside postid='arts_13983443']\u003c/p>\n\u003cp>Originally from Ann Arbor, Michigan, Big Bryce attended Howard University where he met Tee Tee from Hercules, California. They fell in love and moved to East Oakland, where Savoy was born and raised. Big Bryce worked as a chef and was involved in the food-justice movement; he did cooking demos for the American Heart Association, and made healthy and accessible food his life’s work until his untimely death. His advocacy led him to Los Angeles, where he worked in food policy and taught entrepreneurship in underserved communities through \u003ca href=\"https://everytable.com/pages/about\">Everytable\u003c/a>.\u003c/p>\n\u003cp>Savoy eventually left Oakland and moved to LA to pursue music and, more importantly, be closer to his father. Unbeknownst to him, he’d be spending his father’s final years with him.\u003c/p>\n\u003cp>In Savoy’s grief, he processed the best way he knew how, recording a four-track EP titled \u003ci>Big Bryce Son\u003c/i>, which includes a heartfelt title track. Big Bryce’s death was followed by the birth of Savoy’s son Zimri — monumental life events occurring just ten months apart.\u003c/p>\n\u003cp>“I think I realized how much life and death sit in the same house,” Savoy tells KQED. “They occupy the same space in life, in terms of a beginning and an end.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/b-NYAegfPDk?si=CRqXhRqGWYHZDGfM\u003c/p>\n\u003cp>Despite the joy Zimri brings Savoy, the fact that Zimri will never meet his grandfather compounds his grief, as does Zimri arriving into this world with serious health complications. So Savoy decided to capture this moment in time in a short documentary, also titled \u003ci>Big Bryce Son\u003c/i>.\u003c/p>\n\u003cp>Savoy hosts the \u003ca href=\"https://luma.com/euus0fft\">documentary’s Oakland premiere on Friday, Nov. 14\u003c/a>, at Rhythm Section Art Lounge for two screenings at 7:30 p.m. and 9 p.m.\u003c/p>\n\u003cp>“That’s my gift, to be able to transmute whatever grieving, trauma or suffering I’m going through over my life, and being able to put it into my artistry,” Savoy says. “It’s powerful because it’s all of our stories. We’re all going to experience grief. We’re all going to experience trials and tribulations.”\u003c/p>\n\u003cfigure id=\"attachment_13983612\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983612\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781.jpg\" alt=\"A father and his adult son put their arms around each other. \" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Bryce Fluellen (right) imparted many lessons about following one’s creative path. \u003ccite>(Courtesy of Bryce Savoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the documentary’s 30-minute run time, more than a dozen interviews with loved ones filmed across California tell this tale of fatherhood across generations. Viewers hear from Big Bryce in his own words, taken from a \u003ca href=\"https://youtube.com/playlist?list=PLpYbHFVGjoX0P5BfAeblzv_F2u3McAtRT&si=EiXeMw0Ffkx8l05a\">father-son podcast\u003c/a> they recorded together.\u003c/p>\n\u003cp>Big Bryce compliments Savoy for being a point guard in his rap career, unafraid to hand the ball to others so they can contribute or shine. Later, he reflects on his son’s two albums, \u003ci>Neighborhood Diamonds\u003c/i> and \u003ci>King Diamond\u003c/i> with the highest praise hip-hop heads can give: “No skips.” Seeing Savoy’s reaction tells the whole story: Big Bryce poured love into his son that empowered Savoy to chase his dreams and persevere through obstacles. His latest LP, \u003ci>\u003ca href=\"https://youtu.be/5g2aGen5Fnw?si=MZ4tdGE_IvZkLrsz\">Just Keep Shining\u003c/a>\u003c/i>, released on Nov. 3, gets its name from the mantra that’s kept Savoy going through his grief.\u003c/p>\n\u003cp>https://youtu.be/U1FJemD7sJk?si=QbDSuJTLFVv_p7TD\u003c/p>\n\u003cp>“I know I’m going through the most trying, most transformational, toughest times of my life right now, but I’m the most inspired,” Savoy says. “All the opportunities that I’ve wanted in life are coming rapidly. That’s not for nothing. It’s a testament to my perseverance and resilience, and that’s what this project represents for sure.”\u003c/p>\n\u003cp>Hip-hop is a constant, unifying and driving force in Savoy’s life. When he was a baby, his uncle, Bay Area rap legend G-Nut, would delight him with raps. His older cousin is rapper G Maly, and they’ve been making music together their whole lives, going on 20-plus years of official releases.\u003c/p>\n\u003cp>Savoy has expanded his entrepreneurship to media projects that depict Black life with nuance through his Neighborhood Diamonds brand. \u003ci>Big Bryce Son\u003c/i> the documentary does that by following a narrative thread that embraces familial love and rejects anti-Black stereotypes about broken families. The philosophy behind Neighborhood Diamonds — to find, recognize and support diamonds in the rough — stems from how Big Bryce moved through the world. Savoy infuses that spirit into his music and entrepreneurship, and he intends to pass it down to his son Zimri. It’s all rooted in Oakland.\u003c/p>\n\u003cp>“It’s never been about the fame,” Savoy says. “It’s about being inspiring, empowering and uplifting others in my community, and making a living off my artistry.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://luma.com/euus0fft\">‘Big Bryce Son’ screens at Rhythm Section Art Lounge (2744 Eat 11th Street, Oakland) on Nov. 14\u003c/a> at 7 p.m. and 9:30 p.m., followed by a performance by Bryce Savoy and a Q&A. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Originally from Ann Arbor, Michigan, Big Bryce attended Howard University where he met Tee Tee from Hercules, California. They fell in love and moved to East Oakland, where Savoy was born and raised. Big Bryce worked as a chef and was involved in the food-justice movement; he did cooking demos for the American Heart Association, and made healthy and accessible food his life’s work until his untimely death. His advocacy led him to Los Angeles, where he worked in food policy and taught entrepreneurship in underserved communities through \u003ca href=\"https://everytable.com/pages/about\">Everytable\u003c/a>.\u003c/p>\n\u003cp>Savoy eventually left Oakland and moved to LA to pursue music and, more importantly, be closer to his father. Unbeknownst to him, he’d be spending his father’s final years with him.\u003c/p>\n\u003cp>In Savoy’s grief, he processed the best way he knew how, recording a four-track EP titled \u003ci>Big Bryce Son\u003c/i>, which includes a heartfelt title track. Big Bryce’s death was followed by the birth of Savoy’s son Zimri — monumental life events occurring just ten months apart.\u003c/p>\n\u003cp>“I think I realized how much life and death sit in the same house,” Savoy tells KQED. “They occupy the same space in life, in terms of a beginning and an end.”\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/b-NYAegfPDk'\n title='//www.youtube.com/embed/b-NYAegfPDk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite the joy Zimri brings Savoy, the fact that Zimri will never meet his grandfather compounds his grief, as does Zimri arriving into this world with serious health complications. So Savoy decided to capture this moment in time in a short documentary, also titled \u003ci>Big Bryce Son\u003c/i>.\u003c/p>\n\u003cp>Savoy hosts the \u003ca href=\"https://luma.com/euus0fft\">documentary’s Oakland premiere on Friday, Nov. 14\u003c/a>, at Rhythm Section Art Lounge for two screenings at 7:30 p.m. and 9 p.m.\u003c/p>\n\u003cp>“That’s my gift, to be able to transmute whatever grieving, trauma or suffering I’m going through over my life, and being able to put it into my artistry,” Savoy says. “It’s powerful because it’s all of our stories. We’re all going to experience grief. We’re all going to experience trials and tribulations.”\u003c/p>\n\u003cfigure id=\"attachment_13983612\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983612\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781.jpg\" alt=\"A father and his adult son put their arms around each other. \" width=\"2048\" height=\"1365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/11/IMG_0781-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Bryce Fluellen (right) imparted many lessons about following one’s creative path. \u003ccite>(Courtesy of Bryce Savoy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the documentary’s 30-minute run time, more than a dozen interviews with loved ones filmed across California tell this tale of fatherhood across generations. Viewers hear from Big Bryce in his own words, taken from a \u003ca href=\"https://youtube.com/playlist?list=PLpYbHFVGjoX0P5BfAeblzv_F2u3McAtRT&si=EiXeMw0Ffkx8l05a\">father-son podcast\u003c/a> they recorded together.\u003c/p>\n\u003cp>Big Bryce compliments Savoy for being a point guard in his rap career, unafraid to hand the ball to others so they can contribute or shine. Later, he reflects on his son’s two albums, \u003ci>Neighborhood Diamonds\u003c/i> and \u003ci>King Diamond\u003c/i> with the highest praise hip-hop heads can give: “No skips.” Seeing Savoy’s reaction tells the whole story: Big Bryce poured love into his son that empowered Savoy to chase his dreams and persevere through obstacles. His latest LP, \u003ci>\u003ca href=\"https://youtu.be/5g2aGen5Fnw?si=MZ4tdGE_IvZkLrsz\">Just Keep Shining\u003c/a>\u003c/i>, released on Nov. 3, gets its name from the mantra that’s kept Savoy going through his grief.\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/U1FJemD7sJk'\n title='//www.youtube.com/embed/U1FJemD7sJk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I know I’m going through the most trying, most transformational, toughest times of my life right now, but I’m the most inspired,” Savoy says. “All the opportunities that I’ve wanted in life are coming rapidly. That’s not for nothing. It’s a testament to my perseverance and resilience, and that’s what this project represents for sure.”\u003c/p>\n\u003cp>Hip-hop is a constant, unifying and driving force in Savoy’s life. When he was a baby, his uncle, Bay Area rap legend G-Nut, would delight him with raps. His older cousin is rapper G Maly, and they’ve been making music together their whole lives, going on 20-plus years of official releases.\u003c/p>\n\u003cp>Savoy has expanded his entrepreneurship to media projects that depict Black life with nuance through his Neighborhood Diamonds brand. \u003ci>Big Bryce Son\u003c/i> the documentary does that by following a narrative thread that embraces familial love and rejects anti-Black stereotypes about broken families. The philosophy behind Neighborhood Diamonds — to find, recognize and support diamonds in the rough — stems from how Big Bryce moved through the world. Savoy infuses that spirit into his music and entrepreneurship, and he intends to pass it down to his son Zimri. It’s all rooted in Oakland.\u003c/p>\n\u003cp>“It’s never been about the fame,” Savoy says. “It’s about being inspiring, empowering and uplifting others in my community, and making a living off my artistry.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://luma.com/euus0fft\">‘Big Bryce Son’ screens at Rhythm Section Art Lounge (2744 Eat 11th Street, Oakland) on Nov. 14\u003c/a> at 7 p.m. and 9:30 p.m., followed by a performance by Bryce Savoy and a Q&A. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Annemarie Jacir’s \u003ca href=\"https://arabfilm29.eventive.org/films/68ede939c29a8a39aee41cf2\">\u003ci>Palestine 36\u003c/i>\u003c/a> debuted at the Toronto Film Festival earlier this fall to a 15-minute standing ovation — the longest in the festival’s history. The historical drama is the only feature film shot in Gaza within the past two years, as Israeli missiles flew overhead.\u003c/p>\n\u003cp>Critics have hailed \u003ci>Palestine 36\u003c/i> as a stirring and deeply human depiction of a 1936 rebellion against British colonial rule, centered on the story of Yusuf, a young man whose village is threatened by displacement.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.youtube.com/watch?v=XnoNd98Gqvo\">interview with the Enlightenment Podcast\u003c/a>, Jacir connected the 1930s uprising to today’s movement for Palestinian freedom and human rights. “There’s the story of trauma and how trauma passes from generation to generation,” she said, “but there’s also the story of resistance and how we’re refusing that erasure.”\u003c/p>\n\u003cp>https://youtu.be/2sTVlhmxwEU?si=VlIxGoB-rJCW-7gA\u003c/p>\n\u003cp>\u003ci>Palestine 36\u003c/i> arrives in the Bay Area this week to kick off the \u003ca href=\"https://arabfilm29.eventive.org/welcome\">Arab Film Festival\u003c/a> with two screenings on Nov. 6 at San Francisco’s Kabuki Theater, and another on Nov. 14 at the New Parkway in Oakland. The film is Palestine’s official submission to the 2026 Academy Awards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival runs through Nov. 15 and includes a diverse selection of feature films and shorts, including several other Palestinian stories. Cherien Dabis’ \u003ca href=\"https://arabfilm29.eventive.org/films/68eec122950e09bff3087c76\">\u003ci>All That’s Left of You\u003c/i>\u003c/a>, the official Academy Awards submission for Jordan, begins with a teenage Palestinian boy protesting the Israeli occupation in 1988, and rewinds time to the 1948 Nakba, when his family was driven from their home. \u003ca href=\"https://arabfilm29.eventive.org/films/6900593f49051a23aea04a85\">\u003ci>The Voice of Hind Rajab\u003c/i>\u003c/a>, the Oscar submission for Tunisia, is a narrative film about the true story of a five-year-old girl from Gaza whose killing spurred \u003ca href=\"https://www.ohchr.org/en/press-releases/2024/07/gaza-killing-hind-rajab-and-her-family-war-crime-too-many-warn-experts\">war crime accusations against Israel\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 29th annual \u003ca href=\"https://arabfilm29.eventive.org/welcome\">Arab Film Festival\u003c/a> hits theaters in San Francisco, Oakland and San Jose Nov. 6–15; some of the films are available for streaming.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Annemarie Jacir’s \u003ca href=\"https://arabfilm29.eventive.org/films/68ede939c29a8a39aee41cf2\">\u003ci>Palestine 36\u003c/i>\u003c/a> debuted at the Toronto Film Festival earlier this fall to a 15-minute standing ovation — the longest in the festival’s history. The historical drama is the only feature film shot in Gaza within the past two years, as Israeli missiles flew overhead.\u003c/p>\n\u003cp>Critics have hailed \u003ci>Palestine 36\u003c/i> as a stirring and deeply human depiction of a 1936 rebellion against British colonial rule, centered on the story of Yusuf, a young man whose village is threatened by displacement.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.youtube.com/watch?v=XnoNd98Gqvo\">interview with the Enlightenment Podcast\u003c/a>, Jacir connected the 1930s uprising to today’s movement for Palestinian freedom and human rights. “There’s the story of trauma and how trauma passes from generation to generation,” she said, “but there’s also the story of resistance and how we’re refusing that erasure.”\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/2sTVlhmxwEU'\n title='//www.youtube.com/embed/2sTVlhmxwEU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>Palestine 36\u003c/i> arrives in the Bay Area this week to kick off the \u003ca href=\"https://arabfilm29.eventive.org/welcome\">Arab Film Festival\u003c/a> with two screenings on Nov. 6 at San Francisco’s Kabuki Theater, and another on Nov. 14 at the New Parkway in Oakland. The film is Palestine’s official submission to the 2026 Academy Awards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival runs through Nov. 15 and includes a diverse selection of feature films and shorts, including several other Palestinian stories. Cherien Dabis’ \u003ca href=\"https://arabfilm29.eventive.org/films/68eec122950e09bff3087c76\">\u003ci>All That’s Left of You\u003c/i>\u003c/a>, the official Academy Awards submission for Jordan, begins with a teenage Palestinian boy protesting the Israeli occupation in 1988, and rewinds time to the 1948 Nakba, when his family was driven from their home. \u003ca href=\"https://arabfilm29.eventive.org/films/6900593f49051a23aea04a85\">\u003ci>The Voice of Hind Rajab\u003c/i>\u003c/a>, the Oscar submission for Tunisia, is a narrative film about the true story of a five-year-old girl from Gaza whose killing spurred \u003ca href=\"https://www.ohchr.org/en/press-releases/2024/07/gaza-killing-hind-rajab-and-her-family-war-crime-too-many-warn-experts\">war crime accusations against Israel\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 29th annual \u003ca href=\"https://arabfilm29.eventive.org/welcome\">Arab Film Festival\u003c/a> hits theaters in San Francisco, Oakland and San Jose Nov. 6–15; some of the films are available for streaming.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Diary of a Teenage Girl,’ a Coming-of-Age Story in ’70s SF, Returns to the Roxie",
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"content": "\u003cp>Our girl Minnie Goetze would be in her mid-20s now, if movie time followed the logic of real time. Instead, the central character in the 2015 film \u003ci>\u003ca href=\"https://www.kqed.org/arts/10892979/diary-tells-a-coming-of-age-tale-rarely-seen-on-film\">The Diary of a Teenage Girl\u003c/a>\u003c/i> is forever 15 in 1976 San Francisco, figuring out who she is in the context of sex, family and her artistic dreams.\u003c/p>\n\u003cp>Even a decade after its release, Marielle Heller’s debut film remains a rare thing: a girl’s coming-of-age story that a) acknowledges its protagonist’s sexual desires; and b) doesn’t punish her for acting on them. These would be reasons enough to revisit the movie, but a \u003ca href=\"https://roxie.com/film/the-diary-of-a-teenage-girl/\">Nov. 4 screening at the Roxie\u003c/a>, co-presented by the San Francisco Film Commission (Film SF) and SFFILM, further celebrates \u003ci>Diary of a Teenage Girl\u003c/i>’s relationship to San Francisco.\u003c/p>\n\u003cp>“It was essential to me to authentically capture the city’s iconic look, feel, and spirit,” Heller said in a statement released by Film SF. “It wouldn’t have been the same anywhere else.” Heller, whose most recent film was \u003ci>\u003ca href=\"https://www.kqed.org/arts/13969167/nightbitch-movie-review-amy-adams-motherhood-wild-feminism\">Nightbitch\u003c/a>\u003c/i>, grew up in Alameda.\u003c/p>\n\u003cp>Adapted from Phoebe Gloeckner’s \u003ca href=\"https://en.wikipedia.org/wiki/The_Diary_of_a_Teenage_Girl:_An_Account_in_Words_and_Pictures\">semi-autobiographical graphic novel\u003c/a>, \u003ci>Diary of a Teenage Girl\u003c/i> follows Minnie (a breakout Bel Powley) in her pursuit of the suboptimal but “handsomest” Monroe Rutherford (Alexander Skarsgård), her mother’s 35-year-old boyfriend.\u003c/p>\n\u003cfigure id=\"attachment_13983108\" class=\"wp-caption aligncenter\" style=\"max-width: 726px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983108\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/diary-of-a-teenage-girl-kristen-wiig.jpg\" alt=\"teenage girl and woman sit at table with meal on plates\" width=\"726\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/diary-of-a-teenage-girl-kristen-wiig.jpg 726w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/diary-of-a-teenage-girl-kristen-wiig-160x105.jpg 160w\" sizes=\"auto, (max-width: 726px) 100vw, 726px\">\u003cfigcaption class=\"wp-caption-text\">Bel Powley as Minnie Goetze and Kristen Wiig as her mother, Charlotte Goetze in ‘The Diary of a Teenage Girl.’ \u003ccite>(Sam Emerson/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Everyone watching knows this is a bad idea, but this is Minnie’s story, and she’s ecstatic: “I had sex today … Holy shit!” Powley embodies Minnie and all her emotional turbulence with the help of incisive, sometimes hilarious voiceovers. Animated sequences that further illustrate Minnie’s inner life pay homage to her idol, the cartoonist \u003ca href=\"https://www.kqed.org/arts/13831138/make-way-for-the-queen-aline-kominsky-crumb-returns-to-sf\">Aline Kominsky\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The thrills, self-knowledge and, yes, fallout of Minnie’s decisions are never formulaic, in part because \u003ci>Diary of a Teenage Girl\u003c/i> is rooted in such a specific time and place. The movie benefited from Film SF’s “Scene in San Francisco” incentive program, which offers productions rebates of up to $600,000 in city fees.\u003c/p>\n\u003cp>For those interested in behind-the-scenes stories, the Roxie’s 10th anniversary screening will include a Q&A with the movie’s line producer Debbie Brubaker, first assistant director Brian Benson and set decorator Susie Alegria.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/the-diary-of-a-teenage-girl/\">The Diary of a Teenage Girl\u003c/a>’ screens Nov. 4, 2025 at 6 p.m. at the Roxie (3125 16th St., San Francisco).\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Our girl Minnie Goetze would be in her mid-20s now, if movie time followed the logic of real time. Instead, the central character in the 2015 film \u003ci>\u003ca href=\"https://www.kqed.org/arts/10892979/diary-tells-a-coming-of-age-tale-rarely-seen-on-film\">The Diary of a Teenage Girl\u003c/a>\u003c/i> is forever 15 in 1976 San Francisco, figuring out who she is in the context of sex, family and her artistic dreams.\u003c/p>\n\u003cp>Even a decade after its release, Marielle Heller’s debut film remains a rare thing: a girl’s coming-of-age story that a) acknowledges its protagonist’s sexual desires; and b) doesn’t punish her for acting on them. These would be reasons enough to revisit the movie, but a \u003ca href=\"https://roxie.com/film/the-diary-of-a-teenage-girl/\">Nov. 4 screening at the Roxie\u003c/a>, co-presented by the San Francisco Film Commission (Film SF) and SFFILM, further celebrates \u003ci>Diary of a Teenage Girl\u003c/i>’s relationship to San Francisco.\u003c/p>\n\u003cp>“It was essential to me to authentically capture the city’s iconic look, feel, and spirit,” Heller said in a statement released by Film SF. “It wouldn’t have been the same anywhere else.” Heller, whose most recent film was \u003ci>\u003ca href=\"https://www.kqed.org/arts/13969167/nightbitch-movie-review-amy-adams-motherhood-wild-feminism\">Nightbitch\u003c/a>\u003c/i>, grew up in Alameda.\u003c/p>\n\u003cp>Adapted from Phoebe Gloeckner’s \u003ca href=\"https://en.wikipedia.org/wiki/The_Diary_of_a_Teenage_Girl:_An_Account_in_Words_and_Pictures\">semi-autobiographical graphic novel\u003c/a>, \u003ci>Diary of a Teenage Girl\u003c/i> follows Minnie (a breakout Bel Powley) in her pursuit of the suboptimal but “handsomest” Monroe Rutherford (Alexander Skarsgård), her mother’s 35-year-old boyfriend.\u003c/p>\n\u003cfigure id=\"attachment_13983108\" class=\"wp-caption aligncenter\" style=\"max-width: 726px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13983108\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/diary-of-a-teenage-girl-kristen-wiig.jpg\" alt=\"teenage girl and woman sit at table with meal on plates\" width=\"726\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/diary-of-a-teenage-girl-kristen-wiig.jpg 726w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/diary-of-a-teenage-girl-kristen-wiig-160x105.jpg 160w\" sizes=\"auto, (max-width: 726px) 100vw, 726px\">\u003cfigcaption class=\"wp-caption-text\">Bel Powley as Minnie Goetze and Kristen Wiig as her mother, Charlotte Goetze in ‘The Diary of a Teenage Girl.’ \u003ccite>(Sam Emerson/Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Everyone watching knows this is a bad idea, but this is Minnie’s story, and she’s ecstatic: “I had sex today … Holy shit!” Powley embodies Minnie and all her emotional turbulence with the help of incisive, sometimes hilarious voiceovers. Animated sequences that further illustrate Minnie’s inner life pay homage to her idol, the cartoonist \u003ca href=\"https://www.kqed.org/arts/13831138/make-way-for-the-queen-aline-kominsky-crumb-returns-to-sf\">Aline Kominsky\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The thrills, self-knowledge and, yes, fallout of Minnie’s decisions are never formulaic, in part because \u003ci>Diary of a Teenage Girl\u003c/i> is rooted in such a specific time and place. The movie benefited from Film SF’s “Scene in San Francisco” incentive program, which offers productions rebates of up to $600,000 in city fees.\u003c/p>\n\u003cp>For those interested in behind-the-scenes stories, the Roxie’s 10th anniversary screening will include a Q&A with the movie’s line producer Debbie Brubaker, first assistant director Brian Benson and set decorator Susie Alegria.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/the-diary-of-a-teenage-girl/\">The Diary of a Teenage Girl\u003c/a>’ screens Nov. 4, 2025 at 6 p.m. at the Roxie (3125 16th St., San Francisco).\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13982802\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03.jpg\" alt=\"sweaty man sings into mic, eyes closed\" width=\"1920\" height=\"804\" class=\"size-full wp-image-13982802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03-1536x643.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Allen White as Bruce Springsteen in ‘Springsteen: Deliver Me From Nowhere.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the last Velvet Underground studio record (that featured any of the original members), Lou Reed sang about a girl — she was just five years old! — whose life was saved by \u003ca href=\"https://www.youtube.com/watch?v=1Dahqz-R49I\">rock ’n’ roll\u003c/a>. Maybe you could identify. You know who else was saved? Bruce Springsteen.\u003c/p>\n\u003cp>For Lou and his protagonist, AM radio announced an exciting and different world than the one they were raised in. For Bruce, the twang of a disembodied voice backed by an electric guitar suggested a way out of his shy silence, his overbearing father’s house and his hometown.\u003c/p>\n\u003cp>[aside postID='arts_13982740']When \u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> — a compromised movie about an unwavering artist, scripted and directed by Scott Cooper (\u003cem>Crazy Heart\u003c/em>) from Warren Zanes’ nonfiction book — begins in 1981, Springsteen is 32 years old and a star of some magnitude. But he hasn’t left New Jersey. He tours with his band, of course, and the last one (in support of \u003cem>The River\u003c/em>) included a European leg, but he always comes home, although his parents have decamped to Southern California and he has no place to stay.\u003c/p>\n\u003cp>In honoring his roots and retaining his humility, Cooper suggests, Springsteen allows his integrity to mask unresolved childhood issues. Opening with a black-and-white sequence of his mother sending young Bruce into a bar to tell his dad to come home, the film is threaded with disturbing flashbacks of a misguided and abusive father. Bruce can banish those memories on the road (the real meaning of “born to run,” perhaps), but they invade his private hours.\u003c/p>\n\u003cfigure id=\"attachment_13982803\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05.jpg\" alt=\"man in office with stacks of paper, on phone with head in hand\" width=\"1920\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05-1536x643.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Strong as Jon Landau in ‘Springsteen: Deliver Me From Nowhere.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Manager and advisor Jon Landau (Jeremy Strong) — who famously wrote in a 1974 concert review, “I saw rock and roll’s future and its name is Bruce Springsteen” — has rented a house in a woodsy corner of Joisey for the Boss (played by Jeremy Allen White) to brood, write songs and occasionally venture out to a club (The Stone Pony, naturally) to play Little Richard covers with the house band.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Springsteen records his new stuff unaccompanied in his bedroom on a four-track, lo-fi Teac cassette deck. At one point, he asks the engineer pal who supplied the machine to run the tapes through an echo system so they sound, Bruce says, “like Elvis’ \u003ci>Sun Sessions\u003c/i>.”\u003c/p>\n\u003cp>\u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> is one of those movies where every scene has one clear and explicit purpose. (It is the antithesis of last year’s stellar Dylan movie, \u003ca href=\"https://www.kqed.org/arts/13969721/a-complete-unknown-movie-review-timothee-chalamet\">\u003cem>A Complete Unknown\u003c/em>\u003c/a>.) The artist’s impulse to be true to himself in the face of the pressures and expectations of success is joylessly stated and restated. More interesting, but more difficult to dramatize and potentially fraught with cliché, is the idea of going back — geographically and temporally — in order to go forward.\u003c/p>\n\u003cp>In this context I note that Springsteen meets a woman. Their relationship consumes a fair amount of screen time yet adds shockingly little to the movie. Faye (Odessa Young) has a blue-collar job while Springsteen is inevitably on another trajectory. Perhaps he’s attracted to the familiar — he grew up on the same streets as Faye — but his identity and his place in the world is shifting.\u003c/p>\n\u003cp>Unfortunately, \u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> is constrained by a screenplay that barely nods at money and class, a character who communicates best with a pen and a guitar, and an actor who can’t convey Springsteen’s internal feelings. An aversion to melodrama is admirable, the absence of drama is not.\u003c/p>\n\u003cfigure id=\"attachment_13982804\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982804\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07.jpg\" alt=\"man kneels next to bed in front of recording equipment\" width=\"1920\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07-1536x642.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Allen White as Bruce Springsteen in ‘Springsteen: Deliver Me From Nowhere.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We could have a long, interesting conversation about the degree to which Springsteen is derivative versus original. He’s always acknowledged his influences, certainly. In the months covered by the film, he is depicted as an artist still finding his voice. When he insists on releasing the demo tapes as his next album, \u003cem>Nebraska\u003c/em>, he declares to Landau, et al. that the songs resonate with him and don’t sound like anything else — forgetting how Elvis inspired him.\u003c/p>\n\u003cp>The larger contradiction that the movie glosses over has to do with Springsteen’s implied depression. We are given to understand that the alienation of the characters, and the bleakness of the songs, that comprise \u003cem>Nebraska\u003c/em> don’t necessarily illustrate an artist’s instinctive and perhaps self-destructive rejection of mainstream success. (Neil Young’s follow-up to \u003cem>Harvest\u003c/em>, \u003cem>Time Fades Away\u003c/em>, is the textbook example.) Instead they are a mirror of Springsteen’s guilt-ridden and tortured soul.\u003c/p>\n\u003cp>However, \u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> makes no secret of the fact that the musician also wrote “I’m On Fire,” “Glory Days” and “Born in the U.S.A.” at the house. On the contrary, much is made of various parties wanting Bruce to release this material (with a couple potential hit singles, presumably, like the execrable “Hungry Heart” from \u003cem>The River\u003c/em>) as his next record.\u003c/p>\n\u003cp>Some viewers, blinded by the light from the projector, will accept Scott Cooper’s depiction of an artist in breakdown confronting the demons of his childhood. It’s only rock ’n’ roll, but exorcisms should be more terrifying, and certainly more fun.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Springsteen: Deliver Me From Nowhere’ opens in theaters nationally on Oct. 24, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13982802\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03.jpg\" alt=\"sweaty man sings into mic, eyes closed\" width=\"1920\" height=\"804\" class=\"size-full wp-image-13982802\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_03-1536x643.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Allen White as Bruce Springsteen in ‘Springsteen: Deliver Me From Nowhere.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the last Velvet Underground studio record (that featured any of the original members), Lou Reed sang about a girl — she was just five years old! — whose life was saved by \u003ca href=\"https://www.youtube.com/watch?v=1Dahqz-R49I\">rock ’n’ roll\u003c/a>. Maybe you could identify. You know who else was saved? Bruce Springsteen.\u003c/p>\n\u003cp>For Lou and his protagonist, AM radio announced an exciting and different world than the one they were raised in. For Bruce, the twang of a disembodied voice backed by an electric guitar suggested a way out of his shy silence, his overbearing father’s house and his hometown.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When \u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> — a compromised movie about an unwavering artist, scripted and directed by Scott Cooper (\u003cem>Crazy Heart\u003c/em>) from Warren Zanes’ nonfiction book — begins in 1981, Springsteen is 32 years old and a star of some magnitude. But he hasn’t left New Jersey. He tours with his band, of course, and the last one (in support of \u003cem>The River\u003c/em>) included a European leg, but he always comes home, although his parents have decamped to Southern California and he has no place to stay.\u003c/p>\n\u003cp>In honoring his roots and retaining his humility, Cooper suggests, Springsteen allows his integrity to mask unresolved childhood issues. Opening with a black-and-white sequence of his mother sending young Bruce into a bar to tell his dad to come home, the film is threaded with disturbing flashbacks of a misguided and abusive father. Bruce can banish those memories on the road (the real meaning of “born to run,” perhaps), but they invade his private hours.\u003c/p>\n\u003cfigure id=\"attachment_13982803\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982803\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05.jpg\" alt=\"man in office with stacks of paper, on phone with head in hand\" width=\"1920\" height=\"804\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_05-1536x643.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Strong as Jon Landau in ‘Springsteen: Deliver Me From Nowhere.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Manager and advisor Jon Landau (Jeremy Strong) — who famously wrote in a 1974 concert review, “I saw rock and roll’s future and its name is Bruce Springsteen” — has rented a house in a woodsy corner of Joisey for the Boss (played by Jeremy Allen White) to brood, write songs and occasionally venture out to a club (The Stone Pony, naturally) to play Little Richard covers with the house band.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Springsteen records his new stuff unaccompanied in his bedroom on a four-track, lo-fi Teac cassette deck. At one point, he asks the engineer pal who supplied the machine to run the tapes through an echo system so they sound, Bruce says, “like Elvis’ \u003ci>Sun Sessions\u003c/i>.”\u003c/p>\n\u003cp>\u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> is one of those movies where every scene has one clear and explicit purpose. (It is the antithesis of last year’s stellar Dylan movie, \u003ca href=\"https://www.kqed.org/arts/13969721/a-complete-unknown-movie-review-timothee-chalamet\">\u003cem>A Complete Unknown\u003c/em>\u003c/a>.) The artist’s impulse to be true to himself in the face of the pressures and expectations of success is joylessly stated and restated. More interesting, but more difficult to dramatize and potentially fraught with cliché, is the idea of going back — geographically and temporally — in order to go forward.\u003c/p>\n\u003cp>In this context I note that Springsteen meets a woman. Their relationship consumes a fair amount of screen time yet adds shockingly little to the movie. Faye (Odessa Young) has a blue-collar job while Springsteen is inevitably on another trajectory. Perhaps he’s attracted to the familiar — he grew up on the same streets as Faye — but his identity and his place in the world is shifting.\u003c/p>\n\u003cp>Unfortunately, \u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> is constrained by a screenplay that barely nods at money and class, a character who communicates best with a pen and a guitar, and an actor who can’t convey Springsteen’s internal feelings. An aversion to melodrama is admirable, the absence of drama is not.\u003c/p>\n\u003cfigure id=\"attachment_13982804\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982804\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07.jpg\" alt=\"man kneels next to bed in front of recording equipment\" width=\"1920\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/10.11.25_StillRequest_07-1536x642.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeremy Allen White as Bruce Springsteen in ‘Springsteen: Deliver Me From Nowhere.’ \u003ccite>(20th Century Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We could have a long, interesting conversation about the degree to which Springsteen is derivative versus original. He’s always acknowledged his influences, certainly. In the months covered by the film, he is depicted as an artist still finding his voice. When he insists on releasing the demo tapes as his next album, \u003cem>Nebraska\u003c/em>, he declares to Landau, et al. that the songs resonate with him and don’t sound like anything else — forgetting how Elvis inspired him.\u003c/p>\n\u003cp>The larger contradiction that the movie glosses over has to do with Springsteen’s implied depression. We are given to understand that the alienation of the characters, and the bleakness of the songs, that comprise \u003cem>Nebraska\u003c/em> don’t necessarily illustrate an artist’s instinctive and perhaps self-destructive rejection of mainstream success. (Neil Young’s follow-up to \u003cem>Harvest\u003c/em>, \u003cem>Time Fades Away\u003c/em>, is the textbook example.) Instead they are a mirror of Springsteen’s guilt-ridden and tortured soul.\u003c/p>\n\u003cp>However, \u003cem>Springsteen: Deliver Me From Nowhere\u003c/em> makes no secret of the fact that the musician also wrote “I’m On Fire,” “Glory Days” and “Born in the U.S.A.” at the house. On the contrary, much is made of various parties wanting Bruce to release this material (with a couple potential hit singles, presumably, like the execrable “Hungry Heart” from \u003cem>The River\u003c/em>) as his next record.\u003c/p>\n\u003cp>Some viewers, blinded by the light from the projector, will accept Scott Cooper’s depiction of an artist in breakdown confronting the demons of his childhood. It’s only rock ’n’ roll, but exorcisms should be more terrifying, and certainly more fun.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Springsteen: Deliver Me From Nowhere’ opens in theaters nationally on Oct. 24, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
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},
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1MDAyODE4NTgz",
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},
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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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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"meta": {
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},
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},
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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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "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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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
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