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"content": "\u003cp>A chilling, half-remembered encounter from childhood looms over \u003cem>Longlegs\u003c/em>, Osgood Perkins’ stylishly composed 1990s-set horror film about a young FBI agent (Maika Monroe) whose past seems to hold a key to a decades-long serial killer suburban spree.\u003c/p>\n\u003cp>[aside postid='arts_13960378']In the opening flashback scene of \u003cem>Longlegs\u003c/em>, a young girl walks out of her house to meet a stranger on her snow-covered yard. We never see more than the bottom half of his face, but the sense of creepiness is overwhelming. The image, with a scream, cuts out before \u003cem>Longlegs\u003c/em> properly gets underway.\u003c/p>\n\u003cp>Twenty five years later, that girl (Monroe’s Lee Harker) is now grown and brought into the investigation. She’s preternaturally good at decoding the serial killer’s choreographed targets, but her psychological astuteness has a blind spot. In Osgood’s gripping if trite horror film about an elusive boogeyman, the most unnerving mystery is the foggy, fractured nature of childhood memory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OG7wOTE8NhE\u003c/p>\n\u003cp>\u003cem>Longlegs\u003c/em>, is arriving on its own wave of mystery thanks to a lengthy, enigmatic marketing campaign. Is the buzz warranted? That may depend on your tolerance for a very serious procedural that’s extremely adept at building an ominous slow burn yet nevertheless leads to a pile-up of horror tropes: satanic worship, scary dolls and an outlandish Nicolas Cage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s a credit to the harrowingly spell-binding first half of\u003cem> Longlegs\u003c/em> — and to Monroe — that the film’s third act disappoints. After that prologue — presented in a boxy ratio with rounded edges, as if seen through an overhead projector — the screen widens. Harker, a terse, solitary detective, is part of a large task force to track down the killer behind the deaths of 10 families over the course of 30 years. Sent to knock on doors, she gazes up at a second floor window and knows immediately. “It’s that one,” she tells a partner (Dakota Daulby) whose lack of faith in her intuition quickly proves regrettable.\u003c/p>\n\u003cp>[aside postid='arts_13959693']Harker is brought in for a psych evaluation that demonstrates her strange clairvoyance. Agent Carter (Blair Underwood) gives her all the accumulated evidence, which suggests the same killer — every murder scene has a coded letter left signed by Longlegs — but at the time points to no intruder within the homes of the murdered. Carter is reminded of Charles Manson. “Manson had accomplices,” Harker reminds him. Also troubling: all of the victims have a daughter with a birthday of the 14th of the month, a trait Harker, naturally, shares.\u003c/p>\n\u003cp>Families are prominent in the narrative, too. Harker occasionally visits her shut-in mother (Alicia Witt) and their brief interactions suggest a knowingness with the cruelty of the world. One time on the phone, Harker tells her she’s been busy with “work stuff.”\u003c/p>\n\u003cp>“Nasty stuff?” the mom asks. “Yep,” she answers.\u003c/p>\n\u003cp>Scenes of dread follow as they hunt the killer in rural Oregon. They frequent the usual spots: an old crime scene, a locked up barn, an old witness in a psychiatric hospital. Longlegs (Cage) is skulking about, too, and leaves a letter for Harker. We see him fleetingly at first. He’s a bleached, pale figure who, with long white hair, looks increasingly clownish the nearer we get to him. If Manson belonged to the ’60s, Longlegs, with his Bob Dylan Rolling Thunder Revue white face, seems a product more in the ’70s. T.Rex opens and closes the film and the album cover of Lou Reed’s \u003cem>Transformer\u003c/em> sits above his mirror.\u003c/p>\n\u003cp>[aside postid='arts_13872372']Perkins (\u003ca href=\"https://www.kqed.org/arts/13872372/before-gretel-hansel-exploring-the-real-life-history-of-the-fairytale\">\u003cem>Gretel & Hansel\u003c/em>\u003c/a>), is the filmmaking son of Anthony Perkins, who famously played one of the movies’ most unsettling characters in Norman Bates of \u003cem>Psycho\u003c/em>. The roots of \u003cem>Longlegs\u003c/em>, which Perkins also wrote, have personal connections for the director, Perkins has said, about his own upbringing and his father’s complicated private life. But something deeper struggles to pierce \u003cem>Longlegs\u003c/em>. Its sense of horror seems to come mainly from little besides other movies. \u003cem>Se7en\u003c/em> and \u003cem>The Silence of the Lambs\u003c/em> are clear touchstones. Longlegs ultimately feels like more of a stock boogeyman and big-screen vessel for Cage.\u003c/p>\n\u003cp>In any case, this is Monroe’s movie. Her compelling screen presence in movies like \u003cem>It Follows\u003c/em> and \u003cem>Watcher\u003c/em> has earned her the title of today’s preeminent “Scream Queen.” But she’s much more than a single-genre talent. Again and again in \u003cem>Longlegs\u003c/em>, Monroe’s Harker confronts a singularly disturbing scenario and walks right in. It’s not that she isn’t nervous; her heavy breathing is part of the artful sound design by Eugenio Battaglia. Monroe, steely and strong, cuts like a knife through this almost cartoonishly severe film. Nasty stuff? Yep.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Longlegs’ is released nationwide on July 11, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Harker is brought in for a psych evaluation that demonstrates her strange clairvoyance. Agent Carter (Blair Underwood) gives her all the accumulated evidence, which suggests the same killer — every murder scene has a coded letter left signed by Longlegs — but at the time points to no intruder within the homes of the murdered. Carter is reminded of Charles Manson. “Manson had accomplices,” Harker reminds him. Also troubling: all of the victims have a daughter with a birthday of the 14th of the month, a trait Harker, naturally, shares.\u003c/p>\n\u003cp>Families are prominent in the narrative, too. Harker occasionally visits her shut-in mother (Alicia Witt) and their brief interactions suggest a knowingness with the cruelty of the world. One time on the phone, Harker tells her she’s been busy with “work stuff.”\u003c/p>\n\u003cp>“Nasty stuff?” the mom asks. “Yep,” she answers.\u003c/p>\n\u003cp>Scenes of dread follow as they hunt the killer in rural Oregon. They frequent the usual spots: an old crime scene, a locked up barn, an old witness in a psychiatric hospital. Longlegs (Cage) is skulking about, too, and leaves a letter for Harker. We see him fleetingly at first. He’s a bleached, pale figure who, with long white hair, looks increasingly clownish the nearer we get to him. If Manson belonged to the ’60s, Longlegs, with his Bob Dylan Rolling Thunder Revue white face, seems a product more in the ’70s. T.Rex opens and closes the film and the album cover of Lou Reed’s \u003cem>Transformer\u003c/em> sits above his mirror.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Perkins (\u003ca href=\"https://www.kqed.org/arts/13872372/before-gretel-hansel-exploring-the-real-life-history-of-the-fairytale\">\u003cem>Gretel & Hansel\u003c/em>\u003c/a>), is the filmmaking son of Anthony Perkins, who famously played one of the movies’ most unsettling characters in Norman Bates of \u003cem>Psycho\u003c/em>. The roots of \u003cem>Longlegs\u003c/em>, which Perkins also wrote, have personal connections for the director, Perkins has said, about his own upbringing and his father’s complicated private life. But something deeper struggles to pierce \u003cem>Longlegs\u003c/em>. Its sense of horror seems to come mainly from little besides other movies. \u003cem>Se7en\u003c/em> and \u003cem>The Silence of the Lambs\u003c/em> are clear touchstones. Longlegs ultimately feels like more of a stock boogeyman and big-screen vessel for Cage.\u003c/p>\n\u003cp>In any case, this is Monroe’s movie. Her compelling screen presence in movies like \u003cem>It Follows\u003c/em> and \u003cem>Watcher\u003c/em> has earned her the title of today’s preeminent “Scream Queen.” But she’s much more than a single-genre talent. Again and again in \u003cem>Longlegs\u003c/em>, Monroe’s Harker confronts a singularly disturbing scenario and walks right in. It’s not that she isn’t nervous; her heavy breathing is part of the artful sound design by Eugenio Battaglia. Monroe, steely and strong, cuts like a knife through this almost cartoonishly severe film. Nasty stuff? Yep.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Longlegs’ is released nationwide on July 11, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Not all successful movies need to be franchises. Most really shouldn’t be. That’s not how Hollywood works, of course, but it’s worth repeating. Because in the case of \u003cem>A Quiet Place\u003c/em>, now on its third movie with a prequel about a few new characters in New York on the first day of the invasion, the thrill of that fresh idea has waned. And when that happens, what are we left with?\u003c/p>\n\u003cp>[aside postid='arts_13960151']There were certainly many questions about the how and the why of the killing monsters with hypersensitive hearing. The internet is full of logic questions and holes if you’re curious. But the beauty of \u003cem>A Quiet Place\u003c/em> was the silly mystery. We were just dropped into this apocalyptic world with a very simple but challenging rule: If you make a noise, you die. Got it. Scarcity of information worked in its favor as we got to know this family just trying to survive (and deliver a baby quietly!) Its sequel worked mostly because it smartly chose to continue that same journey, picking up exactly where we had left off.\u003c/p>\n\u003cp>\u003cem>A Quiet Place: Day One\u003c/em>, directed and co-written by Michael Sarnoski (sharing a credit with John Krasinski), shifts focus from the Abbott family to a new character, Sam (Lupita Nyong’o), who is dying of cancer. She is bitter, sarcastic and mean. And taking the “save the cat” idea to its literal extreme, Sam does have one friend: A cat named Frodo. This seems like an unnecessary crutch, simply because if anyone is going to make a hostile character a compelling hero, it’s Nyong’o. Both she and Joseph Quinn, playing a British law student named Eric, have deeply expressive, saucer-sized eyes that make dialogue almost unnecessary. But without a newborn in the mix, the cat adds an extra element of chaos by surviving for more than 3 minutes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E-WIb4ATfT8\u003c/p>\n\u003cp>There is something compelling about the idea of what a terminal person might do on the first day of the apocalypse, and Nyong’o is powerful and heartbreaking on this quest for the perfect slice. There’s a beauty in the simplicity and insanity of it. What Eric is doing there, however, is anyone’s guess. He’s a little too underwritten to make much sense of.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13960332']Also, there are competing forces at play, with \u003cem>Day One\u003c/em> wanting to be both a meditative character study and a thrilling horror movie that gives us more monsters, more carnage, more jump scares and unsettling memories of 9/11. They never quite mesh, and several choices make it seem like the filmmakers were just trying to shoehorn in excitement without much justification. One of the most exciting sequences that captures the terror of Krasinski’s films is when Eric goes to a pharmacy to try to get meds for Sam. It’s simple, efficient and full of dread and tension because it’s a necessary risk, unlike many of the bigger set pieces that feel more strained.\u003c/p>\n\u003cp>Ultimately \u003cem>Day One\u003c/em> could have been set around any old apocalypse. Tethering it to the rules of \u003cem>A Quiet Place\u003c/em>, a smart premise whose novelty is impossible to recreate let alone build a world upon, just holds it back.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Quiet Place: Day One’ is released nationwide on June 27, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not all successful movies need to be franchises. Most really shouldn’t be. That’s not how Hollywood works, of course, but it’s worth repeating. Because in the case of \u003cem>A Quiet Place\u003c/em>, now on its third movie with a prequel about a few new characters in New York on the first day of the invasion, the thrill of that fresh idea has waned. And when that happens, what are we left with?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There were certainly many questions about the how and the why of the killing monsters with hypersensitive hearing. The internet is full of logic questions and holes if you’re curious. But the beauty of \u003cem>A Quiet Place\u003c/em> was the silly mystery. We were just dropped into this apocalyptic world with a very simple but challenging rule: If you make a noise, you die. Got it. Scarcity of information worked in its favor as we got to know this family just trying to survive (and deliver a baby quietly!) Its sequel worked mostly because it smartly chose to continue that same journey, picking up exactly where we had left off.\u003c/p>\n\u003cp>\u003cem>A Quiet Place: Day One\u003c/em>, directed and co-written by Michael Sarnoski (sharing a credit with John Krasinski), shifts focus from the Abbott family to a new character, Sam (Lupita Nyong’o), who is dying of cancer. She is bitter, sarcastic and mean. And taking the “save the cat” idea to its literal extreme, Sam does have one friend: A cat named Frodo. This seems like an unnecessary crutch, simply because if anyone is going to make a hostile character a compelling hero, it’s Nyong’o. Both she and Joseph Quinn, playing a British law student named Eric, have deeply expressive, saucer-sized eyes that make dialogue almost unnecessary. But without a newborn in the mix, the cat adds an extra element of chaos by surviving for more than 3 minutes.\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/E-WIb4ATfT8'\n title='//www.youtube.com/embed/E-WIb4ATfT8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There is something compelling about the idea of what a terminal person might do on the first day of the apocalypse, and Nyong’o is powerful and heartbreaking on this quest for the perfect slice. There’s a beauty in the simplicity and insanity of it. What Eric is doing there, however, is anyone’s guess. He’s a little too underwritten to make much sense of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also, there are competing forces at play, with \u003cem>Day One\u003c/em> wanting to be both a meditative character study and a thrilling horror movie that gives us more monsters, more carnage, more jump scares and unsettling memories of 9/11. They never quite mesh, and several choices make it seem like the filmmakers were just trying to shoehorn in excitement without much justification. One of the most exciting sequences that captures the terror of Krasinski’s films is when Eric goes to a pharmacy to try to get meds for Sam. It’s simple, efficient and full of dread and tension because it’s a necessary risk, unlike many of the bigger set pieces that feel more strained.\u003c/p>\n\u003cp>Ultimately \u003cem>Day One\u003c/em> could have been set around any old apocalypse. Tethering it to the rules of \u003cem>A Quiet Place\u003c/em>, a smart premise whose novelty is impossible to recreate let alone build a world upon, just holds it back.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Quiet Place: Day One’ is released nationwide on June 27, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13959718\" class=\"wp-caption aligncenter\" style=\"max-width: 832px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959718\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM.png\" alt=\"A book cover depicting a smashed VHS tape against a black background.\" width=\"832\" height=\"1212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM.png 832w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM-800x1165.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-12-at-2.20.38-PM-768x1119.png 768w\" sizes=\"(max-width: 832px) 100vw, 832px\">\u003cfigcaption class=\"wp-caption-text\">‘Horror Movie: A Novel’ by Paul Tremblay. \u003ccite>(William Morrow)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paul Tremblay’s \u003cem>Horror Movie\u003c/em> is a peculiar horror novel that takes a refreshing look at the haunted film subgenre, while also eliminating the line between novels and movie scripts.\u003c/p>\n\u003cp>Dark, surprisingly violent, and incredibly multilayered, this narrative is a superb addition to Tremblay’s already impressive oeuvre that shows he can deliver the elements fans love from him — while also constantly pushing the envelope and exploring new ways to tell stories.\u003c/p>\n\u003cp>[aside postid='arts_13958207']In June of 1993, a small group of young people got together and spent a month making a bizarre horror movie titled \u003cem>Horror Movie\u003c/em>. With one camera, a skeleton crew, a script that broke a lot of rules, and almost no budget, they managed to make their film after a few setbacks and plenty of blood and accidents. While the film was never released, three scenes and a few stills were made available online, and they became the stuff of legend over the years, collecting a cult following and sparking a frenzy of speculation, online debate, and conspiracy theories.\u003c/p>\n\u003cp>Now, 30 years after the original, unreleased film was made and after all the drama —psychological and emotional as well as legal — that ensued, Hollywood wants to make a big budget version and release it. The man who played “The Thin Kid,” perhaps the original film’s most iconic and mysterious character, is the only surviving cast member, and they want him to reprise his role. He still has the mask he used in the movie, and also the scars the filming process left behind. He remembers the strange things that happened on the set, the brutality that quickly became normalized while they shot dark scenes, and the chaos and destruction the film brought to all of them. Still, he agrees to help with the reboot. As things move forward and he deals with directors and movie people, the past comes back to haunt him — but The Thin Kid pushes forward, as always.\u003c/p>\n\u003cp>Reading a Tremblay novel is entering a universe in which confusion and ambiguity — “My answer was not no. I didn’t say the word ‘yes'” — reign supreme. \u003cem>Horror Movie\u003c/em> is no different. In fact, this might be Tremblay’s most Tremblay novel to date. For starters, the author once again eschews the traditional novel format, this time in favor of a mix of novel and screenplay in which one bleeds into the other frequently, switching chapters and effortlessly taking readers from past to present and back again. Also, the screenplay itself is unique in format and makes the reader part of what’s happening, constantly shattering the fourth wall and acknowledging that the events are communal — that we are there, witnessing what the characters are witnessing and feeling the same sense of dread and anticipation that they feel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the structure of this novel is unique, the narrative itself is very easy to follow — until it’s not. The story is there, but with many purposeful holes. We know bad things happened while the movie was being filmed — accidents, injuries, extreme violence that occurred with consent — and that the whole thing ended up in court, but we don’t know how or why. And the author holds those secrets until the very end, which, as with any other Tremblay novel, holds a few surprise twists.\u003c/p>\n\u003cp>Most importantly, this is a narrative that questions the motivation behind evil acts. During the filming, The Thin Kid is horribly tortured: The kids who keep him hostage throw things at him, put out cigarettes on his body, and cut off part of his pinky finger. Some of that happens for real, partly to make it look convincing on screen and partly for reasons that aren’t too clear. There are several unsettling moments in this novel, and at the core of each of them are people acting horribly just because they can. Tremblay’s work has often interrogated the nature of horror and bad behavior, but never as clearly as he does here.\u003c/p>\n\u003cp>[aside postid='arts_13937318']While \u003cem>Horror Movie\u003c/em> is the kind of creepy narrative that can be enjoyed without much thinking, it’s also a multilayered novel that almost demands intellectual engagement. Besides the way the author studies awful behavior, the story also explores the unreliable nature of memory. The Thin Kid, now the adult who narrates the novel, is self-deprecating and unreliable. He remembers things a certain way, but knows that his memories might not be accurate: “We laughed. I think we laughed, or I choose to remember we laughed. I think we’re in more control of what we remember or what we don’t remember than we assume.” This purposeful lack of certainty is designed to keep readers wondering, and it succeeds at that.\u003c/p>\n\u003cp>\u003cem>Horror Movie\u003c/em> is strange and unsettling in the best way possible. This is a novel that’s also a screenplay, but the story all blends together perfectly. Tremblay’s unique voice and chameleonic style have made him one of the leading voices in speculative fiction, and this is one of his best novels so far.\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Horror Movie’ by Paul Tremblay is out now, via William Morrow.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While \u003cem>Horror Movie\u003c/em> is the kind of creepy narrative that can be enjoyed without much thinking, it’s also a multilayered novel that almost demands intellectual engagement. Besides the way the author studies awful behavior, the story also explores the unreliable nature of memory. The Thin Kid, now the adult who narrates the novel, is self-deprecating and unreliable. He remembers things a certain way, but knows that his memories might not be accurate: “We laughed. I think we laughed, or I choose to remember we laughed. I think we’re in more control of what we remember or what we don’t remember than we assume.” This purposeful lack of certainty is designed to keep readers wondering, and it succeeds at that.\u003c/p>\n\u003cp>\u003cem>Horror Movie\u003c/em> is strange and unsettling in the best way possible. This is a novel that’s also a screenplay, but the story all blends together perfectly. Tremblay’s unique voice and chameleonic style have made him one of the leading voices in speculative fiction, and this is one of his best novels so far.\u003c/p>\n\u003cp>\u003cem>Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at\u003c/em> \u003ca href=\"https://twitter.com/Gabino_Iglesias\">@Gabino_Iglesias\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Horror Movie’ by Paul Tremblay is out now, via William Morrow.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s a certain beauty in translating literature from other languages — a delicate art of re-interpretation that requires a fusing of author and translator to create a third voice. Even more intricate is when a translation undergoes another level of filtration as it’s adapted from the written word into a stage performance.\u003c/p>\n\u003cp>That’s exactly what happened when the notable Ecuadorian writer \u003ca href=\"https://www.instagram.com/monaojedaf/?hl=en\">Mónica Ojeda\u003c/a>’s short story “Soroche” was picked up for translation by San Francisco’s \u003ca href=\"https://www.instagram.com/twolinespress/\">Two Lines Press\u003c/a>, then morphed into a live stage adaptation by \u003ca href=\"https://www.cuenteroproductions.com/cuentos/soroche\">Cuentero Productions\u003c/a> and the \u003ca href=\"https://www.catranslation.org/\">Center for the Art of Translation\u003c/a>.\u003c/p>\n\u003cp>Initially translated from Spanish to English by Sarah Booker and Noelle de la Paz, the story — which details the dizzying erosion of social relationships during a group trip gone wrong in the Andes — was first included in a short story collection titled \u003ca href=\"https://www.catranslation.org/shop/book/through-the-night-like-a-snake-2/\">\u003ci>Through the Night Like a Snake: Latin American Horror Stories\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Rather than taking on the trope of an external monster, Ojeda explores the psychological horrors of flawed friendships and everyday hypocrisies that lurk beneath the surface of our relationships. Under pressure, these are the fissures that can disastrously combust. Fueled by the dissolution of a sex scandal, broken trust and an abusive partner — and told through the alternating perspectives of a group of women friends — the story exposes the horrors of inescapable humiliation and social isolation in the modern world.\u003c/p>\n\u003cp>The sonically and psychologically layered performance is slated for one-night only at San Francisco’s Brava Theater on Thursday, June 6 at 7 p.m. The play stars Catalina Plata Guevara, MJ García, Claudia Andrea Escobar and Laura Ubaté.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Camilo Garzón is spearheading the story’s stage adaptation — with a keen focus on cinematic sound design. Garzón appreciates the story’s setting as a rich backdrop for the characters’ emotional and mental fracturing, and fully aims to bring the characters’ psychological dimensions to life with a suggestive, indirect touch.\u003c/p>\n\u003cp>“The story is horrifying. We don’t want to retraumatize people [since] it gravitates around revenge porn and an abusive relationship,” Garzón, a former NPR radio producer, says. “Instead, we emphasize the mountains, the wind. How can you feel like you’re in the Andes? How does the heartbeat go faster? The audience is smart, and we can use the power of suggestion. It’s about being immersed in an insidious, under your skin way. The soundscapes can transport you there.”\u003c/p>\n\u003cp>As a Colombian who was born and raised in the Andes, Garzón is in many ways the ideal candidate to create a theatrical experience about Latin Americans navigating the high-altitude environment. He mentions the story’s namesake, soroche (an indigenous Quechuan term referring to altitude sickness), or “mal de montaña,” a kind of physical distress that can occur in your lungs when adjusting to the shortage of oxygen.\u003c/p>\n\u003cp>“How do you take the air out of a room?” Garzón contemplates. As another kind of effect, one of the story’s characters will not appear physically on stage, and will instead only operate as a voice through the theater’s speakers. “We want to make it ghostly,” he says. “When a voice is disembodied and talking about how disembodied they’ve felt, it feels even more intrusive and creates the horror of this story.”\u003c/p>\n\u003cp>In thinking through the many layers of translation and adaptation — including cultural, literary and physical — Garzón emphasizes the collaborative efforts required, particularly as a man working on a story about the experiences of women. He takes care to shout out Laura Ubaté and Catherine Girardeau, who helped create the sonic landscape and consulted on audio adaptation. Fellow Andean Colombians Daniel Murcia and composer María Linares worked on the project as sound designer and composer, respectively.\u003c/p>\n\u003cp>Despite the challenges of reworking the story for the stage, Garzón hopes that the heaviest themes in Ojeda’s writing — the everyday terrors that women experience — are conveyed.\u003c/p>\n\u003cp>“Altitude sickness in this story is a metaphor for condescension and looking down on someone, but condescension and sexism are part of all of our lives,” he says. “Patriarchy is part of our lives. These are the kind of horrors that happen often and aren’t in your face, and because of that they’re the most important to dismantle. It can just be one more unsaid thing in a larger cycle of abuse.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Soroche’ takes place at Brava Theater (2781 24th St., San Francisco) on June 6, 2024 at 7 p.m. \u003ca href=\"https://www.instagram.com/medicinefornightmares/\">Medicine for Nightmares\u003c/a> will host a book sale before and after the performance. A Q&A session with translators Sarah Booker and Noelle de la Paz, and Two Lines Press editor Sarah Coolidge, will take place after the show. Tickets are available \u003ca href=\"https://www.eventbrite.com/e/two-lines-press-cuentero-productions-present-soroche-live-at-the-brava-tickets-891297594097?aff=oddtdtcreator\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a certain beauty in translating literature from other languages — a delicate art of re-interpretation that requires a fusing of author and translator to create a third voice. Even more intricate is when a translation undergoes another level of filtration as it’s adapted from the written word into a stage performance.\u003c/p>\n\u003cp>That’s exactly what happened when the notable Ecuadorian writer \u003ca href=\"https://www.instagram.com/monaojedaf/?hl=en\">Mónica Ojeda\u003c/a>’s short story “Soroche” was picked up for translation by San Francisco’s \u003ca href=\"https://www.instagram.com/twolinespress/\">Two Lines Press\u003c/a>, then morphed into a live stage adaptation by \u003ca href=\"https://www.cuenteroproductions.com/cuentos/soroche\">Cuentero Productions\u003c/a> and the \u003ca href=\"https://www.catranslation.org/\">Center for the Art of Translation\u003c/a>.\u003c/p>\n\u003cp>Initially translated from Spanish to English by Sarah Booker and Noelle de la Paz, the story — which details the dizzying erosion of social relationships during a group trip gone wrong in the Andes — was first included in a short story collection titled \u003ca href=\"https://www.catranslation.org/shop/book/through-the-night-like-a-snake-2/\">\u003ci>Through the Night Like a Snake: Latin American Horror Stories\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Rather than taking on the trope of an external monster, Ojeda explores the psychological horrors of flawed friendships and everyday hypocrisies that lurk beneath the surface of our relationships. Under pressure, these are the fissures that can disastrously combust. Fueled by the dissolution of a sex scandal, broken trust and an abusive partner — and told through the alternating perspectives of a group of women friends — the story exposes the horrors of inescapable humiliation and social isolation in the modern world.\u003c/p>\n\u003cp>The sonically and psychologically layered performance is slated for one-night only at San Francisco’s Brava Theater on Thursday, June 6 at 7 p.m. The play stars Catalina Plata Guevara, MJ García, Claudia Andrea Escobar and Laura Ubaté.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Camilo Garzón is spearheading the story’s stage adaptation — with a keen focus on cinematic sound design. Garzón appreciates the story’s setting as a rich backdrop for the characters’ emotional and mental fracturing, and fully aims to bring the characters’ psychological dimensions to life with a suggestive, indirect touch.\u003c/p>\n\u003cp>“The story is horrifying. We don’t want to retraumatize people [since] it gravitates around revenge porn and an abusive relationship,” Garzón, a former NPR radio producer, says. “Instead, we emphasize the mountains, the wind. How can you feel like you’re in the Andes? How does the heartbeat go faster? The audience is smart, and we can use the power of suggestion. It’s about being immersed in an insidious, under your skin way. The soundscapes can transport you there.”\u003c/p>\n\u003cp>As a Colombian who was born and raised in the Andes, Garzón is in many ways the ideal candidate to create a theatrical experience about Latin Americans navigating the high-altitude environment. He mentions the story’s namesake, soroche (an indigenous Quechuan term referring to altitude sickness), or “mal de montaña,” a kind of physical distress that can occur in your lungs when adjusting to the shortage of oxygen.\u003c/p>\n\u003cp>“How do you take the air out of a room?” Garzón contemplates. As another kind of effect, one of the story’s characters will not appear physically on stage, and will instead only operate as a voice through the theater’s speakers. “We want to make it ghostly,” he says. “When a voice is disembodied and talking about how disembodied they’ve felt, it feels even more intrusive and creates the horror of this story.”\u003c/p>\n\u003cp>In thinking through the many layers of translation and adaptation — including cultural, literary and physical — Garzón emphasizes the collaborative efforts required, particularly as a man working on a story about the experiences of women. He takes care to shout out Laura Ubaté and Catherine Girardeau, who helped create the sonic landscape and consulted on audio adaptation. Fellow Andean Colombians Daniel Murcia and composer María Linares worked on the project as sound designer and composer, respectively.\u003c/p>\n\u003cp>Despite the challenges of reworking the story for the stage, Garzón hopes that the heaviest themes in Ojeda’s writing — the everyday terrors that women experience — are conveyed.\u003c/p>\n\u003cp>“Altitude sickness in this story is a metaphor for condescension and looking down on someone, but condescension and sexism are part of all of our lives,” he says. “Patriarchy is part of our lives. These are the kind of horrors that happen often and aren’t in your face, and because of that they’re the most important to dismantle. It can just be one more unsaid thing in a larger cycle of abuse.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Soroche’ takes place at Brava Theater (2781 24th St., San Francisco) on June 6, 2024 at 7 p.m. \u003ca href=\"https://www.instagram.com/medicinefornightmares/\">Medicine for Nightmares\u003c/a> will host a book sale before and after the performance. A Q&A session with translators Sarah Booker and Noelle de la Paz, and Two Lines Press editor Sarah Coolidge, will take place after the show. Tickets are available \u003ca href=\"https://www.eventbrite.com/e/two-lines-press-cuentero-productions-present-soroche-live-at-the-brava-tickets-891297594097?aff=oddtdtcreator\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Cujo’ Character Returns as One of 12 Stories in Stephen King’s ‘You Like It Darker’",
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"content": "\u003cfigure id=\"attachment_13958209\" class=\"wp-caption aligncenter\" style=\"max-width: 886px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13958209 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-7.49.42-PM.png\" alt=\"A book cover illustration of a coast line and a rocky outcrop that resembles an alligator head.\" width=\"886\" height=\"1342\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-7.49.42-PM.png 886w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-7.49.42-PM-800x1212.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-7.49.42-PM-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/Screen-Shot-2024-05-20-at-7.49.42-PM-768x1163.png 768w\" sizes=\"(max-width: 886px) 100vw, 886px\">\u003cfigcaption class=\"wp-caption-text\">‘You Like It Darker’ by Stephen King. \u003ccite>(Scribner via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Stephen King’s world, \u003cem>It\u003c/em> is a loaded word. It’s hard not to picture Pennywise the Clown haunting the sewers of Derry, Maine, of course, but in the horror writer’s newest collection of stories, \u003cem>You Like It Darker\u003c/em>, It ranges from a suspicious stranger on a park bench, to an extraterrestrial being bestowing a gift that helps best friends realize their potential, to telepaths whose sole job is to keep airplanes from falling out of the sky.\u003c/p>\n\u003cp>Twelve stories makes up the book, with one of the longest (90 pages), “Rattlesnakes,” reintroducing readers to Vic Trenton, who King fans will remember as the father of Tad, the boy killed by the rabid St. Bernard Cujo in King’s 1981 novel of that name. Now 72, Trenton is riding out the pandemic at a friend’s waterfront property in the Florida Keys, where he meets a widow who also lost loved ones in a terrible accident. It’s fairly creepy, featuring long-dead twins trying to haunt their way back to life, but it’s hardly the darkest here.\u003c/p>\n\u003cp>[aside postid='pop_110691']I’d give that honor to “The Fifth Step,” which in just 10 pages should scare anyone who’s been paying attention to the true crime stories splashed across the screens of this country’s tawdrier news sources. But is it “darker,” really than any of the more than 60 books King has written in his illustrious career? Probably not, but perhaps the afterword quote from the author, also featured on the back of the hardcover — “You like it darker? Fine. So do I.” — helps sell books in today’s extreme world, even for a perennial bestseller like Mr. King.\u003c/p>\n\u003cp>The best of these stories, as is true with the best of King’s work, feature horror tempered with heart. I really enjoyed “On Slide Inn Road,” featuring a grandfather who’s still pretty accurate with a baseball bat, and “The Answer Man,” which poses the question, “If you could know anything about the future, what would it be?”\u003c/p>\n\u003cp>I’d like to know how much longer we’ll have to enjoy this uniquely American icon, who at the age of 76 continues to write and publish at a furious pace. This collection’s afterword reads like a recording from King’s therapist’s couch, or a confessional on a reality TV series. He admits “the only two times I ever came close to getting it all were in two prison stories: \u003cem>The Green Mile\u003c/em> and \u003cem>Rita Hayworth and Shawshank Redemption\u003c/em>.” Here’s hoping he keeps trying, because like millions of others around the world, I’ll read every word.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘You Like It Darker’ by Stephen King (Scribner) is released on May 21, 2024.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I’d give that honor to “The Fifth Step,” which in just 10 pages should scare anyone who’s been paying attention to the true crime stories splashed across the screens of this country’s tawdrier news sources. But is it “darker,” really than any of the more than 60 books King has written in his illustrious career? Probably not, but perhaps the afterword quote from the author, also featured on the back of the hardcover — “You like it darker? Fine. So do I.” — helps sell books in today’s extreme world, even for a perennial bestseller like Mr. King.\u003c/p>\n\u003cp>The best of these stories, as is true with the best of King’s work, feature horror tempered with heart. I really enjoyed “On Slide Inn Road,” featuring a grandfather who’s still pretty accurate with a baseball bat, and “The Answer Man,” which poses the question, “If you could know anything about the future, what would it be?”\u003c/p>\n\u003cp>I’d like to know how much longer we’ll have to enjoy this uniquely American icon, who at the age of 76 continues to write and publish at a furious pace. This collection’s afterword reads like a recording from King’s therapist’s couch, or a confessional on a reality TV series. He admits “the only two times I ever came close to getting it all were in two prison stories: \u003cem>The Green Mile\u003c/em> and \u003cem>Rita Hayworth and Shawshank Redemption\u003c/em>.” Here’s hoping he keeps trying, because like millions of others around the world, I’ll read every word.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘You Like It Darker’ by Stephen King (Scribner) is released on May 21, 2024.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13955157\" class=\"wp-caption aligncenter\" style=\"max-width: 818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955157\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-01-at-2.40.29-PM.png\" alt=\"A book cover featuring an illustration of a young Black woman with long braids holding her manicured hands up to her mouth in horror.\" width=\"818\" height=\"1214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-01-at-2.40.29-PM.png 818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-01-at-2.40.29-PM-800x1187.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-01-at-2.40.29-PM-160x237.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Screen-Shot-2024-04-01-at-2.40.29-PM-768x1140.png 768w\" sizes=\"(max-width: 818px) 100vw, 818px\">\u003cfigcaption class=\"wp-caption-text\">‘The Black Girl Survives in This One’ by Desiree S. Evans and Saraciea J. Fennell. \u003ccite>(Flatiron Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ahh, the Final Girl — a point of pride, a point of contention. Too often, the white, virginal, Western ideal. But not this time.\u003c/p>\n\u003cp>\u003cem>The Black Girl Survives in This One\u003c/em>, a short story anthology edited by Saraciea J. Fennell and Desiree S. Evans, is changing the literary horror canon. As self-proclaimed fans of \u003cem>Scary Stories to Tell in the Dark\u003c/em> and \u003cem>Goosebumps\u003c/em>, the editors have upped the ante with a new collection spotlighting Black women and girls, defying the old tropes that would box Black people in as support characters or victims.\u003c/p>\n\u003cp>[aside postid='arts_13954709']The 15 stories are introduced with an excellent forward by Tananarive Due laying out the groundwork with a brief history of Black women in horror films and literature, and of her own experiences. She argues with an infallible persuasiveness that survival is the thread that connects Black women and the genre that has largely shunned them for so long.\u003c/p>\n\u003cp>These are the kind of stories that stick with you long after you’ve read them.\u003c/p>\n\u003cp>“Queeniums for Greenium!” by Brittney Morris features a cult-ish smoothie MLM with a deadly level of blind faith that had my heart pounding and my eyes watering with laughter at intervals. And “The Skittering Thing” by Monica Brashears captures the sheer panic of being hunted in the dark, with some quirky twists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many of the stories are set in the most terrifying real-life place there is: high school. As such, there are teen crushes and romance aplenty, as well as timely slang that’s probably already outdated.\u003c/p>\n\u003cp>Honestly, this was one of the best parts: seeing 15 different authors’ takes on a late-teens Black girl. How does she wear her hair, who are her friends, is she religious, where does she live, does she like boys or girls or no one at all? Is she a bratty teen or a goody-two-shoes or a bookworm or just doing her best to get through it? Each protagonist is totally unique and the overall cast of both characters and writers diverse.\u003c/p>\n\u003cp>[aside postid='arts_13953731']And even though we know the Black girl survives, the end is still a shock, because the real question is how.\u003c/p>\n\u003cp>The anthology has something for everyone, from a classic zombie horror in “Cemetery Dance Party” by Saraciea J. Fennell to a spooky twist on Afrofuturism in “Welcome Back to The Cosmos” by Kortney Nash. Two of the stories have major \u003cem>Get Out\u003c/em> vibes that fans of Jordan Peele will appreciate (“Black Girl Nature Group” by Maika Moulite and Maritza Moulite and “Foxhunt” by Charlotte Nicole Davies). If your flavor is throwbacks and cryptids, Justina Ireland’s “Black Pride” has you covered. Or if you like slow-burn psychological thrillers and smart protagonists, “TMI” by Zakiya Delila Harris.\u003c/p>\n\u003cp>Overall, it’s a bit long and the anthology could stand to drop a couple of the weaker stories. But it’s well worth adding to any scary book collection, and horror fans are sure to find some new favorites.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Black Girl Survives in This One’ is released on April 2, 2024, via Flatiron Books.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The 15 stories are introduced with an excellent forward by Tananarive Due laying out the groundwork with a brief history of Black women in horror films and literature, and of her own experiences. She argues with an infallible persuasiveness that survival is the thread that connects Black women and the genre that has largely shunned them for so long.\u003c/p>\n\u003cp>These are the kind of stories that stick with you long after you’ve read them.\u003c/p>\n\u003cp>“Queeniums for Greenium!” by Brittney Morris features a cult-ish smoothie MLM with a deadly level of blind faith that had my heart pounding and my eyes watering with laughter at intervals. And “The Skittering Thing” by Monica Brashears captures the sheer panic of being hunted in the dark, with some quirky twists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the stories are set in the most terrifying real-life place there is: high school. As such, there are teen crushes and romance aplenty, as well as timely slang that’s probably already outdated.\u003c/p>\n\u003cp>Honestly, this was one of the best parts: seeing 15 different authors’ takes on a late-teens Black girl. How does she wear her hair, who are her friends, is she religious, where does she live, does she like boys or girls or no one at all? Is she a bratty teen or a goody-two-shoes or a bookworm or just doing her best to get through it? Each protagonist is totally unique and the overall cast of both characters and writers diverse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And even though we know the Black girl survives, the end is still a shock, because the real question is how.\u003c/p>\n\u003cp>The anthology has something for everyone, from a classic zombie horror in “Cemetery Dance Party” by Saraciea J. Fennell to a spooky twist on Afrofuturism in “Welcome Back to The Cosmos” by Kortney Nash. Two of the stories have major \u003cem>Get Out\u003c/em> vibes that fans of Jordan Peele will appreciate (“Black Girl Nature Group” by Maika Moulite and Maritza Moulite and “Foxhunt” by Charlotte Nicole Davies). If your flavor is throwbacks and cryptids, Justina Ireland’s “Black Pride” has you covered. Or if you like slow-burn psychological thrillers and smart protagonists, “TMI” by Zakiya Delila Harris.\u003c/p>\n\u003cp>Overall, it’s a bit long and the anthology could stand to drop a couple of the weaker stories. But it’s well worth adding to any scary book collection, and horror fans are sure to find some new favorites.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Black Girl Survives in This One’ is released on April 2, 2024, via Flatiron Books.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Things Get Scary for Sydney Sweeney in a Creepy Italian Convent in ‘Immaculate’",
"headTitle": "Things Get Scary for Sydney Sweeney in a Creepy Italian Convent in ‘Immaculate’ | KQED",
"content": "\u003cp>It’s not your imagination: Sydney Sweeney is everywhere. In the past four months, she’s been in a romantic comedy that turned into a sleeper hit, a superhero movie that didn’t and, as of this weekend, a bloody horror. Results have varied, quality-wise, but for someone the culture seems to want to (unfairly) pigeonhole as a specific type, she is really blowing through movie genres in record time.\u003c/p>\n\u003cp>[aside postid='arts_13954333']She also happened to produce the horror, \u003cem>Immaculate\u003c/em>, in which she plays a young American nun, Cecilia, who’s decided to join an Italian convent. Her character found God after a near-death experience at a young age and, after her parish closes, she gets a lifeline to go abroad and help tend to older, dying nuns. The prettiness of the new surroundings is just a front, of course, and she starts to discover some sinister happenings within the ancient walls.\u003c/p>\n\u003cp>\u003cem>Immaculate\u003c/em> is a project that Sweeney originally auditioned for a decade ago, when she was 16. If anything, it is a great showcase for Sweeney’s range (she gets to go from somewhat meek to primal scream) and is full of interesting visuals, beautiful costumes and accomplished makeup work showing all manner of bloody, mangled faces and limbs. But it’s also a movie that does not seem as sure of itself or the point it’s trying to make.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sDhsfV7r_1w\u003c/p>\n\u003cp>It’s not hard to make a remote Italian convent creepy, or say something provocative and interesting about organized religion — quite a few horrors have succeeded here in the past. But \u003cem>Immaculate\u003c/em> is not even confident enough to let us experience this place exclusively through Cecilia. No, it opens with a nightmarish prologue to give us a tease of what’s in store for our innocent heroine, like it’s a straight-to-streaming film that doesn’t want you to click onto something else. Being a theatrical release, however, you have to imagine that ticket buyers are going to give the movie the benefit of the doubt and not flee 15 minutes into an 89-minute run.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Or perhaps horror audiences want as much carnage and jump scares as possible — if that is the case, this should be satisfying enough. There are plenty of comically squeaky doors and close-ups of a terrified face wandering around corners in the dark by only candlelight. And the finale is fiery and violent and gruesome as well, with a very silly and perhaps unearned explanation of everything that’s been happening. At least it’s wrapped up, I guess?\u003c/p>\n\u003cp>[aside postid='arts_13953248']But it also doesn’t stand up to much interrogation. Take, for example, its use of subtitles. Cecilia doesn’t yet understand Italian so is beholden to bilingual nuns to translate — which they don’t do entirely accurately or faithfully. Later, when she’s being interrogated by the cardinal (Giorgio Colangeli), we the audience are not privy to any subtitles and have to rely on Father Sal (Álvaro Morte) to translate. Are we to take him at his word when everyone else has proven to be unreliable? Again, why not just trust us to be in Cecilia’s shoes throughout?\u003c/p>\n\u003cp>This script, written by Andrew Lobel and directed by Michael Mohan, does not seem to really care much about Cecelia and what makes her tick beyond that one story from her childhood. The main nuance she gets is through Sweeney’s performance, which shows us that she does have a spark and the personality to rebel. There were some lofty ideas behind \u003cem>Immaculate\u003c/em> that seem underserved (about bodily autonomy and such) and she gets several memorable movie star moments, but I want more for Sweeney than whatever this adds up to. She has the chops (a reminder to watch Tina Satter’s great film \u003cem>Reality\u003c/em>), she just needs the material.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Immaculate’ is released nationwide on March 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She also happened to produce the horror, \u003cem>Immaculate\u003c/em>, in which she plays a young American nun, Cecilia, who’s decided to join an Italian convent. Her character found God after a near-death experience at a young age and, after her parish closes, she gets a lifeline to go abroad and help tend to older, dying nuns. The prettiness of the new surroundings is just a front, of course, and she starts to discover some sinister happenings within the ancient walls.\u003c/p>\n\u003cp>\u003cem>Immaculate\u003c/em> is a project that Sweeney originally auditioned for a decade ago, when she was 16. If anything, it is a great showcase for Sweeney’s range (she gets to go from somewhat meek to primal scream) and is full of interesting visuals, beautiful costumes and accomplished makeup work showing all manner of bloody, mangled faces and limbs. But it’s also a movie that does not seem as sure of itself or the point it’s trying to make.\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/sDhsfV7r_1w'\n title='//www.youtube.com/embed/sDhsfV7r_1w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s not hard to make a remote Italian convent creepy, or say something provocative and interesting about organized religion — quite a few horrors have succeeded here in the past. But \u003cem>Immaculate\u003c/em> is not even confident enough to let us experience this place exclusively through Cecilia. No, it opens with a nightmarish prologue to give us a tease of what’s in store for our innocent heroine, like it’s a straight-to-streaming film that doesn’t want you to click onto something else. Being a theatrical release, however, you have to imagine that ticket buyers are going to give the movie the benefit of the doubt and not flee 15 minutes into an 89-minute run.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But it also doesn’t stand up to much interrogation. Take, for example, its use of subtitles. Cecilia doesn’t yet understand Italian so is beholden to bilingual nuns to translate — which they don’t do entirely accurately or faithfully. Later, when she’s being interrogated by the cardinal (Giorgio Colangeli), we the audience are not privy to any subtitles and have to rely on Father Sal (Álvaro Morte) to translate. Are we to take him at his word when everyone else has proven to be unreliable? Again, why not just trust us to be in Cecilia’s shoes throughout?\u003c/p>\n\u003cp>This script, written by Andrew Lobel and directed by Michael Mohan, does not seem to really care much about Cecelia and what makes her tick beyond that one story from her childhood. The main nuance she gets is through Sweeney’s performance, which shows us that she does have a spark and the personality to rebel. There were some lofty ideas behind \u003cem>Immaculate\u003c/em> that seem underserved (about bodily autonomy and such) and she gets several memorable movie star moments, but I want more for Sweeney than whatever this adds up to. She has the chops (a reminder to watch Tina Satter’s great film \u003cem>Reality\u003c/em>), she just needs the material.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Immaculate’ is released nationwide on March 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "First Pooh, Now Mickey: ‘Steamboat Willie’ Will Star in Two New Horror Movies",
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"content": "\u003cp>The earliest iteration of Mickey Mouse is on a rampage, barely three days in the public domain.\u003c/p>\n\u003cp>Slashed free of Disney’s copyright as of Monday, the iconic character from \u003ca href=\"https://www.youtube.com/watch?v=hmzO--ox7X0\">\u003cem>Steamboat Willie\u003c/em>\u003c/a> is already the focus of two horror films. On Monday, just hours after the 1928 short entered the public domain, a trailer for \u003cem>Mickey’s Mouse Trap\u003c/em> dropped on YouTube. Another yet-to-be-titled film was announced Tuesday.\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13914736']Steamboat Willie\u003c/em> featured early versions of both Mickey and Minnie Mouse. Directed by Walt Disney and Ub Iwerks, it was the third cartoon featuring the duo they made but the first to be released. In it, a more menacing Mickey, bearing more resemblance to rat than mouse, captains a boat and makes musical instruments out of other animals.\u003c/p>\n\u003cp>It’s perhaps fitting, then, that the first projects announced are seemingly low-budget and campy slasher movies — and not unprecedented. Winnie the Pooh — sans red shirt — entered the public domain in 2022; scarcely a year later, he was notching up a heavy body count in the microbudget \u003ca href=\"https://www.youtube.com/watch?v=W3E74j_xFtg\">\u003cem>Winnie the Pooh: Blood and Honey.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>In the trailer for\u003cem> Mickey’s Mouse Trap\u003c/em>, directed by Jamie Bailey, what appears to be a human in a comically small Mickey mask terrorizes a group of young people at an arcade.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A place for fun. A place for friends. A place for hunting,” text flashed during the trailer reads. “The mouse is out.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u_G3kp3_61c\u003c/p>\n\u003cp>“We just wanted to have fun with it all. I mean it’s \u003cem>Steamboat Willie\u003c/em>’s Mickey Mouse murdering people,” director Jamie Bailey said in a statement cited by trade publications. “It’s ridiculous. We ran with it and had fun doing it and I think it shows.”\u003c/p>\n\u003cp>No release date has been set.\u003c/p>\n\u003cp>The second movie is from director Steven LaMorte, who previously directed a horror parody of \u003cem>The Grinch\u003c/em>, which is not in the public domain (the movie is thus called \u003ca href=\"https://www.youtube.com/watch?v=ylE1bMSf8Ck\">\u003cem>The Mean One\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>“A late-night boat ride turns into a desperate fight for survival in New York City when a mischievous mouse becomes a monstrous reality,” is the logline for the untitled film, per a post on LaMorte’s Instagram.\u003c/p>\n\u003cp>[aside postid='arts_13935838']“Steamboat Willie has brought joy to generations, but beneath that cheerful exterior lies a potential for pure, unhinged terror,” LaMorte said in a release cited by the trades. The movie has yet to begin production.\u003c/p>\n\u003cp>With the expiration of the 95-year copyright, the public is allowed to use only the initial versions of Mickey and Minnie — not the more familiar character designs.\u003c/p>\n\u003cp>“We will, of course, continue to protect our rights in the more modern versions of Mickey Mouse and other works that remain subject to copyright,” Disney said in a statement ahead of the characters entering the public domain.\u003c/p>\n\u003cp>LaMorte told \u003cem>Variety\u003c/em> that the producers of his film are working with a legal team so as not to run afoul of Disney, and will call their raging rodent Steamboat Willie instead of Mickey Mouse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are doing our due diligence to make sure there’s no question or confusion of what we’re up to,” he said.\u003c/p>\n\n",
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"excerpt": "The trailer for low-budget slasher ‘Mickey’s Mouse Trap’ dropped just hours after the 1928 cartoon entered the public domain.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The earliest iteration of Mickey Mouse is on a rampage, barely three days in the public domain.\u003c/p>\n\u003cp>Slashed free of Disney’s copyright as of Monday, the iconic character from \u003ca href=\"https://www.youtube.com/watch?v=hmzO--ox7X0\">\u003cem>Steamboat Willie\u003c/em>\u003c/a> is already the focus of two horror films. On Monday, just hours after the 1928 short entered the public domain, a trailer for \u003cem>Mickey’s Mouse Trap\u003c/em> dropped on YouTube. Another yet-to-be-titled film was announced Tuesday.\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Steamboat Willie\u003c/em> featured early versions of both Mickey and Minnie Mouse. Directed by Walt Disney and Ub Iwerks, it was the third cartoon featuring the duo they made but the first to be released. In it, a more menacing Mickey, bearing more resemblance to rat than mouse, captains a boat and makes musical instruments out of other animals.\u003c/p>\n\u003cp>It’s perhaps fitting, then, that the first projects announced are seemingly low-budget and campy slasher movies — and not unprecedented. Winnie the Pooh — sans red shirt — entered the public domain in 2022; scarcely a year later, he was notching up a heavy body count in the microbudget \u003ca href=\"https://www.youtube.com/watch?v=W3E74j_xFtg\">\u003cem>Winnie the Pooh: Blood and Honey.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>In the trailer for\u003cem> Mickey’s Mouse Trap\u003c/em>, directed by Jamie Bailey, what appears to be a human in a comically small Mickey mask terrorizes a group of young people at an arcade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A place for fun. A place for friends. A place for hunting,” text flashed during the trailer reads. “The mouse is out.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/u_G3kp3_61c'\n title='//www.youtube.com/embed/u_G3kp3_61c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We just wanted to have fun with it all. I mean it’s \u003cem>Steamboat Willie\u003c/em>’s Mickey Mouse murdering people,” director Jamie Bailey said in a statement cited by trade publications. “It’s ridiculous. We ran with it and had fun doing it and I think it shows.”\u003c/p>\n\u003cp>No release date has been set.\u003c/p>\n\u003cp>The second movie is from director Steven LaMorte, who previously directed a horror parody of \u003cem>The Grinch\u003c/em>, which is not in the public domain (the movie is thus called \u003ca href=\"https://www.youtube.com/watch?v=ylE1bMSf8Ck\">\u003cem>The Mean One\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>“A late-night boat ride turns into a desperate fight for survival in New York City when a mischievous mouse becomes a monstrous reality,” is the logline for the untitled film, per a post on LaMorte’s Instagram.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Steamboat Willie has brought joy to generations, but beneath that cheerful exterior lies a potential for pure, unhinged terror,” LaMorte said in a release cited by the trades. The movie has yet to begin production.\u003c/p>\n\u003cp>With the expiration of the 95-year copyright, the public is allowed to use only the initial versions of Mickey and Minnie — not the more familiar character designs.\u003c/p>\n\u003cp>“We will, of course, continue to protect our rights in the more modern versions of Mickey Mouse and other works that remain subject to copyright,” Disney said in a statement ahead of the characters entering the public domain.\u003c/p>\n\u003cp>LaMorte told \u003cem>Variety\u003c/em> that the producers of his film are working with a legal team so as not to run afoul of Disney, and will call their raging rodent Steamboat Willie instead of Mickey Mouse.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are doing our due diligence to make sure there’s no question or confusion of what we’re up to,” he said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Jack Frost’ Is Two of the Worst Christmas Movies Ever Made",
"headTitle": "‘Jack Frost’ Is Two of the Worst Christmas Movies Ever Made | KQED",
"content": "\u003cp>It’s impossible to fathom why Hollywood does a lot of things — \u003ca href=\"https://www.sheknows.com/entertainment/slideshow/2538896/actresses-who-play-moms-to-same-age-actors/4/\">casting women as the mothers of people the same age\u003c/a>, continuing to make James Bond movies, letting Mel Gibson do literally anything, etc. The list is long. You get it.\u003c/p>\n\u003cp>One of the most perplexing things that movie studios do is put out incredibly similar projects almost at the same time. Remember when we got \u003ca href=\"https://www.kqed.org/arts/1173/capote\">two Truman Capote biopics\u003c/a>? And when \u003cem>Armageddon\u003c/em> and \u003cem>Deep Impact\u003c/em> were released two months apart? Or when \u003ca href=\"https://jamesjguild.com/blog/2021/4/10/a-bugs-life-vs-antz-how-pixar-took-on-dreamworks-and-won\">\u003cem>A Bug’s Life\u003c/em> came out directly after \u003cem>Antz\u003c/em>\u003c/a>? Perhaps the most astounding example occurred in the late 1990s, when we got not one, but two movies about — dear, sweet Lord — possessed snowmen. Oh, and they were both called \u003cem>Jack Frost\u003c/em>, because the ’90s were apparently a simpler time when you could get away with that sort of thing.\u003c/p>\n\u003cp>The fact that both projects rolled with that title after an entirely different (and beloved) \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0079357/?ref_=nv_sr_srsg_3_tt_7_nm_1_q_jack%2520frost\">Jack Frost\u003c/a>\u003c/em> movie had already existed for 20 years only adds to the madness. To be clear, the 1979 \u003cem>Jack Frost\u003c/em> is bonkers, in a pseudo-psychedelic sort of way. The stop-motion movie begins with a bow tie–wearing groundhog singing “Me and My Shadow,” for crying out loud.\u003c/p>\n\u003cp>[aside postid='arts_13922351']The ’90s \u003cem>Jack Frost\u003c/em>s had something else in mind, to put it lightly. \u003ca href=\"https://www.imdb.com/title/tt0116671/?ref_=nv_sr_srsg_2_tt_7_nm_1_q_jack%2520frost\">The 1997 one\u003c/a> is a grisly little tale about a crazed serial killer doing a bunch of murders while inside the body of a snowman. (\u003cem>I know\u003c/em>.) \u003ca href=\"https://www.imdb.com/title/tt0141109/?ref_=nv_sr_srsg_0_tt_7_nm_1_q_jack%2520fro\">The 1998 \u003cem>Jack Frost\u003c/em>\u003c/a> is a strange little story in which the spirit of Michael Keaton’s eyebrows possesses a snowman so he can spend more time with his grieving son. And while, yes, those do make for distinctly different plot directions, the two movies have more in common than you might think.\u003c/p>\n\u003cp>Both have main characters who are named Jack Frost while they are living, human men, yet no one ever notes the incredible synchronicity of them suddenly becoming actual snowmen. Both men end up in their legless white forms after dying in crashes caused by snowstorms. Both immediately seek revenge on teen bullies for some reason. Both are, at one time or another, threatened with hairdryers. (Yes, in case you were wondering, melting does serve as a major plot point in both \u003cem>Jack Frost\u003c/em>s.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s the plot of 1998 \u003cem>Jack Frost\u003c/em> in more detail. Charlie is an 11-year-old boy who lives in a supremely irritating Colorado town where everyone is perpetually throwing snowballs at each other. Henry Rollins is Charlie’s hockey coach because Henry Rollins applied no discernment whatsoever to the movies he appeared in during the 1990s. Charlie’s mom is a generic blond mom and his dad is a white blues musician named — but of course — Jack Frost.\u003c/p>\n\u003cfigure id=\"attachment_13939156\" class=\"wp-caption aligncenter\" style=\"max-width: 1722px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM.png\" alt=\"A boy in winter clothes sits on the front of a sled as it zips down a snow-covered hill. Behind him sits a snowman holding onto his waist.\" width=\"1722\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM.png 1722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-800x505.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-1020x643.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-768x484.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-1536x969.png 1536w\" sizes=\"(max-width: 1722px) 100vw, 1722px\">\u003cfigcaption class=\"wp-caption-text\">Oh, look! It’s a boy sledding with a snowman that’s possessed by the spirit of his dead father! Cool. \u003ccite>(Warner Movies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One Christmas Day, Jack dies in a car crash (festive fun!) while off doing white blues-related nonsense. Time then jumps forward a year because no audience wants to watch a child cry grief tears for an hour and a half. One night, Charlie builds a snowman that is suddenly, inexplicably occupied by the spirit of his dead father. At first, Charlie is rightly horrified. But then Jack helps Charlie in — what else? — a snowball fight, so they start hanging out all the time. The movie is preposterous and in poor taste and yet somehow still incredibly dull.\u003c/p>\n\u003cp>All of those descriptors also apply to the 1997 \u003cem>Jack Frost\u003c/em>, though for entirely different reasons. In this one, a prison truck carrying a serial killer through a snowstorm to his execution collides with a genetic research truck. The serial killer ends up drenched in an experimental substance that kills and liquifies him, but then — ah, winter magic — helps him to become one with the snow. Jack Frost the serial killer transforms into Jack Frost the snowman … and also serial killer. This snowman serial killer has the puffiest little mitten hands you’ve ever seen, too, which is incredibly distracting during every single murder scene that follows.\u003c/p>\n\u003cfigure id=\"attachment_13939159\" class=\"wp-caption aligncenter\" style=\"max-width: 1888px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM.png\" alt=\"A snowman with twig eyebrows and icicle fangs interacts with a human.\" width=\"1888\" height=\"1262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM.png 1888w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-1536x1027.png 1536w\" sizes=\"(max-width: 1888px) 100vw, 1888px\">\u003cfigcaption class=\"wp-caption-text\">When your snowman is possessed by a serial killer, it needs twig eyebrows in order to convey its menacing soul. \u003ccite>(Prism Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The one good thing I will say for this trashiest of horror movies is that at least I got a couple of laughs out of it — one of which I’m fairly sure was intentional!\u003c/p>\n\u003cp>[aside postid='arts_13889748']There’s no making sense of the fact that these two movies were made in such close proximity, with the same central theme, but for entirely different audiences. But know this: If you have a vested interest in torturing your loved ones with truly terrible movies this holiday season, one or both of these will do the job.\u003c/p>\n\u003cp>And if even contemplating that prospect leaves you in need of a little palate cleanser, then please accept this clip from 1979’s \u003cem>Jack Frost\u003c/em>. Yes, it’s the dapper little groundhog singing “Me and My Shadow.”\u003c/p>\n\u003cp>Happy holidays, everyone.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AEGl8gh3Vks&t=48s\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘\u003ca href=\"https://tubitv.com/movies/545176/jack-frost\">Jack Frost\u003c/a>’ (1979), ‘\u003ca href=\"https://tubitv.com/movies/473246/jack-frost\">Jack Frost\u003c/a>’ (1997) and ‘\u003ca href=\"https://tubitv.com/movies/571531/jack-frost-2-revenge-of-the-mutant-killer-snowman\">Jack Frost 2\u003c/a>’ (2000) — because yes, of course there was a sequel — are all streaming on Tubi right now. ‘\u003ca href=\"https://www.hulu.com/movie/jack-frost-48a1a9ca-c5e7-44a8-9fe6-2a2cd1234ded\">Jack Frost\u003c/a>’ (1998) is over on Hulu.\u003c/em>\u003c/p>\n\n",
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"excerpt": "In the late-1990s, we got not one, but two movies about snowmen possessed with the spirits of human men named Jack Frost. Yeah.",
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"title": "‘Jack Frost’ Is Two of the Worst Christmas Movies Ever Made | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s impossible to fathom why Hollywood does a lot of things — \u003ca href=\"https://www.sheknows.com/entertainment/slideshow/2538896/actresses-who-play-moms-to-same-age-actors/4/\">casting women as the mothers of people the same age\u003c/a>, continuing to make James Bond movies, letting Mel Gibson do literally anything, etc. The list is long. You get it.\u003c/p>\n\u003cp>One of the most perplexing things that movie studios do is put out incredibly similar projects almost at the same time. Remember when we got \u003ca href=\"https://www.kqed.org/arts/1173/capote\">two Truman Capote biopics\u003c/a>? And when \u003cem>Armageddon\u003c/em> and \u003cem>Deep Impact\u003c/em> were released two months apart? Or when \u003ca href=\"https://jamesjguild.com/blog/2021/4/10/a-bugs-life-vs-antz-how-pixar-took-on-dreamworks-and-won\">\u003cem>A Bug’s Life\u003c/em> came out directly after \u003cem>Antz\u003c/em>\u003c/a>? Perhaps the most astounding example occurred in the late 1990s, when we got not one, but two movies about — dear, sweet Lord — possessed snowmen. Oh, and they were both called \u003cem>Jack Frost\u003c/em>, because the ’90s were apparently a simpler time when you could get away with that sort of thing.\u003c/p>\n\u003cp>The fact that both projects rolled with that title after an entirely different (and beloved) \u003cem>\u003ca href=\"https://www.imdb.com/title/tt0079357/?ref_=nv_sr_srsg_3_tt_7_nm_1_q_jack%2520frost\">Jack Frost\u003c/a>\u003c/em> movie had already existed for 20 years only adds to the madness. To be clear, the 1979 \u003cem>Jack Frost\u003c/em> is bonkers, in a pseudo-psychedelic sort of way. The stop-motion movie begins with a bow tie–wearing groundhog singing “Me and My Shadow,” for crying out loud.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The ’90s \u003cem>Jack Frost\u003c/em>s had something else in mind, to put it lightly. \u003ca href=\"https://www.imdb.com/title/tt0116671/?ref_=nv_sr_srsg_2_tt_7_nm_1_q_jack%2520frost\">The 1997 one\u003c/a> is a grisly little tale about a crazed serial killer doing a bunch of murders while inside the body of a snowman. (\u003cem>I know\u003c/em>.) \u003ca href=\"https://www.imdb.com/title/tt0141109/?ref_=nv_sr_srsg_0_tt_7_nm_1_q_jack%2520fro\">The 1998 \u003cem>Jack Frost\u003c/em>\u003c/a> is a strange little story in which the spirit of Michael Keaton’s eyebrows possesses a snowman so he can spend more time with his grieving son. And while, yes, those do make for distinctly different plot directions, the two movies have more in common than you might think.\u003c/p>\n\u003cp>Both have main characters who are named Jack Frost while they are living, human men, yet no one ever notes the incredible synchronicity of them suddenly becoming actual snowmen. Both men end up in their legless white forms after dying in crashes caused by snowstorms. Both immediately seek revenge on teen bullies for some reason. Both are, at one time or another, threatened with hairdryers. (Yes, in case you were wondering, melting does serve as a major plot point in both \u003cem>Jack Frost\u003c/em>s.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s the plot of 1998 \u003cem>Jack Frost\u003c/em> in more detail. Charlie is an 11-year-old boy who lives in a supremely irritating Colorado town where everyone is perpetually throwing snowballs at each other. Henry Rollins is Charlie’s hockey coach because Henry Rollins applied no discernment whatsoever to the movies he appeared in during the 1990s. Charlie’s mom is a generic blond mom and his dad is a white blues musician named — but of course — Jack Frost.\u003c/p>\n\u003cfigure id=\"attachment_13939156\" class=\"wp-caption aligncenter\" style=\"max-width: 1722px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939156\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM.png\" alt=\"A boy in winter clothes sits on the front of a sled as it zips down a snow-covered hill. Behind him sits a snowman holding onto his waist.\" width=\"1722\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM.png 1722w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-800x505.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-1020x643.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-160x101.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-768x484.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.19.36-PM-1536x969.png 1536w\" sizes=\"(max-width: 1722px) 100vw, 1722px\">\u003cfigcaption class=\"wp-caption-text\">Oh, look! It’s a boy sledding with a snowman that’s possessed by the spirit of his dead father! Cool. \u003ccite>(Warner Movies)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One Christmas Day, Jack dies in a car crash (festive fun!) while off doing white blues-related nonsense. Time then jumps forward a year because no audience wants to watch a child cry grief tears for an hour and a half. One night, Charlie builds a snowman that is suddenly, inexplicably occupied by the spirit of his dead father. At first, Charlie is rightly horrified. But then Jack helps Charlie in — what else? — a snowball fight, so they start hanging out all the time. The movie is preposterous and in poor taste and yet somehow still incredibly dull.\u003c/p>\n\u003cp>All of those descriptors also apply to the 1997 \u003cem>Jack Frost\u003c/em>, though for entirely different reasons. In this one, a prison truck carrying a serial killer through a snowstorm to his execution collides with a genetic research truck. The serial killer ends up drenched in an experimental substance that kills and liquifies him, but then — ah, winter magic — helps him to become one with the snow. Jack Frost the serial killer transforms into Jack Frost the snowman … and also serial killer. This snowman serial killer has the puffiest little mitten hands you’ve ever seen, too, which is incredibly distracting during every single murder scene that follows.\u003c/p>\n\u003cfigure id=\"attachment_13939159\" class=\"wp-caption aligncenter\" style=\"max-width: 1888px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939159\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM.png\" alt=\"A snowman with twig eyebrows and icicle fangs interacts with a human.\" width=\"1888\" height=\"1262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM.png 1888w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-1020x682.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/Screen-Shot-2023-12-08-at-4.53.03-PM-1536x1027.png 1536w\" sizes=\"(max-width: 1888px) 100vw, 1888px\">\u003cfigcaption class=\"wp-caption-text\">When your snowman is possessed by a serial killer, it needs twig eyebrows in order to convey its menacing soul. \u003ccite>(Prism Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The one good thing I will say for this trashiest of horror movies is that at least I got a couple of laughs out of it — one of which I’m fairly sure was intentional!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s no making sense of the fact that these two movies were made in such close proximity, with the same central theme, but for entirely different audiences. But know this: If you have a vested interest in torturing your loved ones with truly terrible movies this holiday season, one or both of these will do the job.\u003c/p>\n\u003cp>And if even contemplating that prospect leaves you in need of a little palate cleanser, then please accept this clip from 1979’s \u003cem>Jack Frost\u003c/em>. Yes, it’s the dapper little groundhog singing “Me and My Shadow.”\u003c/p>\n\u003cp>Happy holidays, everyone.\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/AEGl8gh3Vks'\n title='//www.youtube.com/embed/AEGl8gh3Vks'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cem>‘\u003ca href=\"https://tubitv.com/movies/545176/jack-frost\">Jack Frost\u003c/a>’ (1979), ‘\u003ca href=\"https://tubitv.com/movies/473246/jack-frost\">Jack Frost\u003c/a>’ (1997) and ‘\u003ca href=\"https://tubitv.com/movies/571531/jack-frost-2-revenge-of-the-mutant-killer-snowman\">Jack Frost 2\u003c/a>’ (2000) — because yes, of course there was a sequel — are all streaming on Tubi right now. ‘\u003ca href=\"https://www.hulu.com/movie/jack-frost-48a1a9ca-c5e7-44a8-9fe6-2a2cd1234ded\">Jack Frost\u003c/a>’ (1998) is over on Hulu.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Priest Explains What ‘The Exorcist’ Tells Us About Evil",
"headTitle": "A Priest Explains What ‘The Exorcist’ Tells Us About Evil | KQED",
"content": "\u003cp>Not much power has leached from \u003ca href=\"https://www.kqed.org/arts/13830037/william-friedkin-meets-the-devil-and-father-amorth\">\u003cem>The Exorcist\u003c/em>\u003c/a> since its first release in 1973. The horror film’s upcoming 50\u003csup>th\u003c/sup> anniversary has unleashed an inevitable \u003ca href=\"https://www.theexorcistbeliever.movie/\">new version\u003c/a> out in theaters now, as well as countless other tributes, including articles, special screenings and podcasts.\u003c/p>\n\u003cp>Among the latter, the podcast \u003ca href=\"https://rss.com/podcasts/takingonthedevil/\">\u003cem>Taking on the Devil\u003c/em>\u003c/a> is notable for its heady, intellectual interrogation of \u003cem>The Exorcist\u003c/em>‘s theological implications. The host is horror movie scholar \u003ca href=\"https://lsa.umich.edu/sweetland/people/faculty/gmbrand.html\">Gina Brandolino\u003c/a>, who teaches at the University of Michigan. (Full disclosure, I became friends with Brandolino while on a fellowship there.) Her partner in the podcast is \u003ca href=\"https://candler.emory.edu/faculty-profiles/gabrielle-thomas/\">Gabrielle Thomas\u003c/a>, an ordained priest and Emory University professor of early Christianity, who has written about representations of the devil. The two debate questions such as how \u003cem>The Exorcist\u003c/em> helps us think about evil in the world.\u003c/p>\n\u003cp>[aside postid='arts_13904911']The film has had an ongoing impact on pop culture and contemporary Christianity, Thomas told NPR. “I mean, the Church of England I’m ordained in,” she said, “we actually had to go back and look at liturgies for exorcism and deliverance and that kind of thing as a result of that movie.”\u003c/p>\n\u003cp>Long ago in early Christianity, she said, exorcisms were a completely normal ritual that took place before baptism. “Everybody was exorcised because there was an assumption that everyone would be experiencing some kind of demonic oppression, because that’s where the church was at that time,” she said.\u003c/p>\n\u003cp>“How humans have thought about the devil has evolved” over centuries and across faiths, she added. For example, the devil was once usually presented as being blue in the Christian contexts Thomas studies. He was seen as being like the sea, wild and inexplicable. “We understand that there’s chaos in the sea,” she said. “And it’s relatively recently that we ended up with this red thing with horns and the trident that’s slightly comical… There’s been a sort of ‘nice-ification’ of the devil.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YDGw1MTEe9k\u003c/p>\n\u003cp>In this era of grinning purple devil emojis, cute cartoon characters like Hot Stuff and sexy demon antiheros on popular shows like \u003cem>Lucifer \u003c/em>and\u003cem> Good Omens\u003c/em>, the devil in \u003cem>The Exorcist\u003c/em> punches with medieval-era power, Thomas says. This demon, Pazuzu, is not palatable. He is grotesque, primal and scary, regardless of your faith or lack thereof.\u003c/p>\n\u003cp>But ultimately, Thomas said, \u003cem>The Exorcist\u003c/em> is not really concerned with the devil. It’s about the people who observe his possession of a 12-year-old girl named Regan who did nothing worse than play with a Ouija board. Which raises the question: why Regan? And that in turn, Thomas notes, raises an even older question: “Why hasn’t God stepped in and solved all of this? Which is a question that lots of people are asking all the time.”\u003c/p>\n\u003cp>[aside postid='arts_13936524']Why do bad things happen to good people? Thomas says this is not an inquiry for God. This is a question for humans.\u003c/p>\n\u003cp>“What I loved about \u003cem>The Exorcist \u003c/em>is that it gives us a [sense of] how to respond, in the sense of these two priests,” she said, referring to the characters Father Karras and Father Merrin, who perform the film’s dramatic exorcism. “They’re not perfect. They’re completely messed up, just as many people on the street would be. But they respond with love,” she said. “They’re absolutely not the most successful in the way that they approach it … but they’re present in it. So Regan is not alone ultimately.”\u003c/p>\n\u003cp>And right at a moment when the world feels caught in something profoundly, cosmically terrible, maybe \u003cem>The Exorcist \u003c/em>still carries a message.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PIxpPMyGcpU\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>“It doesn’t leave us with a sense of ‘there’s just nothing we can do’,” Thomas said. “It leaves us with a sense of: I can be present. I can be present with the person who’s experiencing evil. I can stand with them. If I’m a priest, I might pray some particular prayers. If I’m not a priest, I might not pray these prayers, but I can be with that person or with that group of people… For me, it was the message of presence.”\u003c/p>\n\u003cp>[aside postid='arts_13830037']The director of \u003cem>The Exorcist\u003c/em> always insisted \u003ca href=\"https://medium.com/@transylvania/the-exorcist-is-not-a-horror-film-50b9ecfa17ea#:~:text=hold%20much%20weight.-,William%20Friedkin%20famously%20said%20that%20he%20didn't%20consider%20The,from%20the%20franchise%20moving%20forward.\">his movie was not a horror movie\u003c/a>. It was a movie about faith. And it reminds us that when we feel helpless and hopeless, there is power in being present.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Edited for the web by Rose Friedman. Produced for the web by Beth Novey.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+priest+explains+what+%27The+Exorcist%27+tells+us+about+evil&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "‘The Exorcist’ is still considered one of the scariest movies ever made. But one priest says it's merely a movie about faith.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not much power has leached from \u003ca href=\"https://www.kqed.org/arts/13830037/william-friedkin-meets-the-devil-and-father-amorth\">\u003cem>The Exorcist\u003c/em>\u003c/a> since its first release in 1973. The horror film’s upcoming 50\u003csup>th\u003c/sup> anniversary has unleashed an inevitable \u003ca href=\"https://www.theexorcistbeliever.movie/\">new version\u003c/a> out in theaters now, as well as countless other tributes, including articles, special screenings and podcasts.\u003c/p>\n\u003cp>Among the latter, the podcast \u003ca href=\"https://rss.com/podcasts/takingonthedevil/\">\u003cem>Taking on the Devil\u003c/em>\u003c/a> is notable for its heady, intellectual interrogation of \u003cem>The Exorcist\u003c/em>‘s theological implications. The host is horror movie scholar \u003ca href=\"https://lsa.umich.edu/sweetland/people/faculty/gmbrand.html\">Gina Brandolino\u003c/a>, who teaches at the University of Michigan. (Full disclosure, I became friends with Brandolino while on a fellowship there.) Her partner in the podcast is \u003ca href=\"https://candler.emory.edu/faculty-profiles/gabrielle-thomas/\">Gabrielle Thomas\u003c/a>, an ordained priest and Emory University professor of early Christianity, who has written about representations of the devil. The two debate questions such as how \u003cem>The Exorcist\u003c/em> helps us think about evil in the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film has had an ongoing impact on pop culture and contemporary Christianity, Thomas told NPR. “I mean, the Church of England I’m ordained in,” she said, “we actually had to go back and look at liturgies for exorcism and deliverance and that kind of thing as a result of that movie.”\u003c/p>\n\u003cp>Long ago in early Christianity, she said, exorcisms were a completely normal ritual that took place before baptism. “Everybody was exorcised because there was an assumption that everyone would be experiencing some kind of demonic oppression, because that’s where the church was at that time,” she said.\u003c/p>\n\u003cp>“How humans have thought about the devil has evolved” over centuries and across faiths, she added. For example, the devil was once usually presented as being blue in the Christian contexts Thomas studies. He was seen as being like the sea, wild and inexplicable. “We understand that there’s chaos in the sea,” she said. “And it’s relatively recently that we ended up with this red thing with horns and the trident that’s slightly comical… There’s been a sort of ‘nice-ification’ of the devil.”\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/YDGw1MTEe9k'\n title='//www.youtube.com/embed/YDGw1MTEe9k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In this era of grinning purple devil emojis, cute cartoon characters like Hot Stuff and sexy demon antiheros on popular shows like \u003cem>Lucifer \u003c/em>and\u003cem> Good Omens\u003c/em>, the devil in \u003cem>The Exorcist\u003c/em> punches with medieval-era power, Thomas says. This demon, Pazuzu, is not palatable. He is grotesque, primal and scary, regardless of your faith or lack thereof.\u003c/p>\n\u003cp>But ultimately, Thomas said, \u003cem>The Exorcist\u003c/em> is not really concerned with the devil. It’s about the people who observe his possession of a 12-year-old girl named Regan who did nothing worse than play with a Ouija board. Which raises the question: why Regan? And that in turn, Thomas notes, raises an even older question: “Why hasn’t God stepped in and solved all of this? Which is a question that lots of people are asking all the time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Why do bad things happen to good people? Thomas says this is not an inquiry for God. This is a question for humans.\u003c/p>\n\u003cp>“What I loved about \u003cem>The Exorcist \u003c/em>is that it gives us a [sense of] how to respond, in the sense of these two priests,” she said, referring to the characters Father Karras and Father Merrin, who perform the film’s dramatic exorcism. “They’re not perfect. They’re completely messed up, just as many people on the street would be. But they respond with love,” she said. “They’re absolutely not the most successful in the way that they approach it … but they’re present in it. So Regan is not alone ultimately.”\u003c/p>\n\u003cp>And right at a moment when the world feels caught in something profoundly, cosmically terrible, maybe \u003cem>The Exorcist \u003c/em>still carries a message.\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/PIxpPMyGcpU'\n title='//www.youtube.com/embed/PIxpPMyGcpU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>“It doesn’t leave us with a sense of ‘there’s just nothing we can do’,” Thomas said. “It leaves us with a sense of: I can be present. I can be present with the person who’s experiencing evil. I can stand with them. If I’m a priest, I might pray some particular prayers. If I’m not a priest, I might not pray these prayers, but I can be with that person or with that group of people… For me, it was the message of presence.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The director of \u003cem>The Exorcist\u003c/em> always insisted \u003ca href=\"https://medium.com/@transylvania/the-exorcist-is-not-a-horror-film-50b9ecfa17ea#:~:text=hold%20much%20weight.-,William%20Friedkin%20famously%20said%20that%20he%20didn't%20consider%20The,from%20the%20franchise%20moving%20forward.\">his movie was not a horror movie\u003c/a>. It was a movie about faith. And it reminds us that when we feel helpless and hopeless, there is power in being present.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Edited for the web by Rose Friedman. Produced for the web by Beth Novey.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+priest+explains+what+%27The+Exorcist%27+tells+us+about+evil&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "sacramento-mothman-tahoe-tessie-antioch-bigfoot-kooki-davis-vampire-halloween",
"title": "5 Real-Life Monsters That Have (Allegedly) Stalked Northern California",
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"headTitle": "5 Real-Life Monsters That Have (Allegedly) Stalked Northern California | KQED",
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"content": "\u003cp>Ask Northern Californians what local monsters they think about the most, and invariably you will hear a list of very bad people. \u003ca href=\"https://www.kqed.org/pop/17396/are-you-a-gentrifier-this-quiz-can-tell-you\">Gentrifiers\u003c/a>! The people who spread lies about San Francisco being \u003cem>The Purge\u003c/em> now! That one guy who hoses down homeless people! Folks who move in next door to music venues, then make noise complaints! Erratic \u003ca href=\"https://www.kqed.org/news/11959303/sf-activists-protest-immobilize-driverless-cars-with-traffic-cones\">ghost cars\u003c/a>! You get the gist.\u003c/p>\n\u003cp>It’s Halloween season at the moment, though, so it’s the perfect time to think beyond the usual suspects and venture into our region’s very real history of dealing with \u003cem>actual\u003c/em> monsters. The mysterious kind. The kind that people laugh at witnesses for reporting in the first place.\u003c/p>\n\u003cp>Here are five major ones you might not have realized were ever in our midst.\u003c/p>\n\u003cfigure id=\"attachment_13935927\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104.jpg\" alt=\"A mysterious bigfoot figure, walking through a foggy forest and silhouetted against trees.\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bigfoot, doing his thing. \u003ccite>(David Wall/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bigfoot in Antioch\u003c/h2>\n\u003cp>Back in 1869, an unsuspecting hunter wandered back to his campsite in Antioch one evening to find his belongings in disarray. As he tried to make sense of the scene, he noticed something else — enormous footprints that closely resembled the shape of a man’s foot, rather than an animal’s.\u003c/p>\n\u003cp>The hunter was so confounded that, rather than clean up the mess, he opted to hide out in some bushes 20 yards away and stake out whatever had paid the camp an earlier visit. After two hours, the mysterious beast did indeed come back and the hunter was able to observe a bonafide Bigfoot for about 20 minutes. The hunter later reported that the creature was:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“5 feet high and disproportionately broad and square at the shoulders with arms of great length. The legs were very short and the body long. The head was small compared to the rest of the creature and appeared to be set upon his shoulders without a neck. The whole was covered with dark brown and cinnamon-colored hair.”\u003c/p>\n\u003cp>So… a tall Ewok then? (Sign me up!)\u003c/p>\n\u003cp>[aside postid='arts_13904911']The hunter hung around long enough to see Overgrown Wicket meet up with another Bigfoot that was “unmistakenly female.” (That means boobs, probably?) To his surprise, after telling other hunters in the area what he had witnessed, the Bigfoot-spotter found that almost no one was surprised. Most other folks reported seeing the signature giant footprints and at least one other man had seen the furry fam as well.\u003c/p>\n\u003cp>Rupert Matthews, author of \u003cem>Bigfoot: True-Life Encounters With Legendary Ape-Men\u003c/em> notes that: “This acceptance of the reality of the creatures by those who spent a lot time in the forested hills is a feature of early cases [of Bigfoot sightings] that surfaces again and again. ”\u003c/p>\n\u003cfigure id=\"attachment_13935928\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253.jpg\" alt=\"A gorgeous blue lake surrounded by green pine trees. A small green island sits in the center of the water.\" width=\"1920\" height=\"1253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-1536x1002.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emerald Bay, Lake Tahoe: May or may not be home to a giant serpent monster. \u003ccite>(Anjelika Gretskaia/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tahoe Tessie\u003c/h2>\n\u003cp>It sounds like a bad joke set-up: Two nuns, a couple of cops, one optometrist and 10 USPS workers walk into the countryside… yadda-yadda-yadda… punchline about a sea serpent.\u003c/p>\n\u003cp>Except, that is the actual list of people who reported seeing some kind of aquatic monster in the waters of Lake Tahoe in the mid-1980s. One of the cops, Reno’s Kris Beebe, said the creature — nicknamed “Tahoe Tessie” for funsies — was “dark gray or black” and “a minimum of 10 feet long.” The other witnesses described a featureless body that was “fast-moving and undulating, but strangely devoid of identifying attributes.”\u003c/p>\n\u003cp>Noting that nothing of that size had ever been proven to live in the 1,590-foot-deep lake, fishing guide Mickey Daniels told the \u003cem>San Francisco Examiner:\u003c/em> “I think there’s something there. I’ve talked to about a hundred people who’ve seen it. What do I do — call them liars?”\u003c/p>\n\u003cfigure id=\"attachment_13935929\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-491791494-scaled.jpg\" alt=\"Female, red vampire lips with dripping blood, viewed in close-up.\" width=\"2560\" height=\"1491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1536x894.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-2048x1193.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1920x1118.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In 1978, a Daly City resident named Kooki Davis claimed publicly to be a full-fledged vampire. \u003ccite>(Remains/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Vampires in Daly City\u003c/h2>\n\u003cp>In 1978, the \u003cem>San Francisco Examiner\u003c/em> dedicated a story to Kooki Davis, a Daly City-dwelling hair stylist from Trinidad, who was living full-time as a vampire. “She has long fangs, razor-sharp fingernails and blood dripping from her lips,” the paper reported, like that was perfectly normal. “She speaks with a Transylvania twang and her ‘come hither’ stare sends icy fingers up and down your spine.”\u003c/p>\n\u003cp>[aside postid='arts_13904118']In the story, Davis explained that she’d become a “certified” vampire five years ago. And if you’re wondering what \u003cem>that\u003c/em> exam involves, she elaborated: “To become a vampire, you have to be bitten by a vampire. Once bitten, you become a victim. Victims have to serve an apprenticeship to learn the ropes … There’s a lot of activity in San Francisco, so you can earn your merit badges pretty fast — as opposed to Dubuque or Wichita.”\u003c/p>\n\u003cp>(This is the value of newspapers, friends. Movies never tell anyone that in order to rid oneself of a vampire problem, moving to Iowa or Kansas will solve it, but here we are.)\u003c/p>\n\u003cp>Of her interactions with the general public, Davis noted that at work, at the end of each haircut, her “trademark” was to give each of her customers a “gentle bite” on the neck.\u003c/p>\n\u003cp>Man, that salon must have had amazing insurance.\u003c/p>\n\u003cfigure id=\"attachment_13935930\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935930\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911.jpg\" alt=\"A man looks up at a flying mothman figure in the sky that's silhouetted against the moon at night.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Someone spotted this guy on top of Sacramento’s Tower Bridge. Not cool, Mothman. Not cool. \u003ccite>(David Wall/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Sacramento Mothman\u003c/h2>\n\u003cp>As all good cryptid nerds know, Mothman primarily enjoys hanging out in West Virginia. (Probably because 80% of the state is forested, and also because approximately 80% of people who don’t live in West Virginia assume that everyone who does is crazy.) For decades there, witnesses have been describing a 7-foot-tall man with red eyes and wings, with a wingspan between 10 and 15 feet wide, who can fly at speeds too fast to catch on camera.\u003c/p>\n\u003cp>Well, Mothman must have had himself a little Californian vacation in 2009, because a photographer named Lamont Greer claims to have seen the humanoid hanging around on top of Sacramento’s Tower Bridge one night. Greer had been taking photos of the bridge at the time and was stunned by what he saw.\u003c/p>\n\u003cp>[aside postid='arts_13933318']“I had just finished filming the back side of the bridge so I was bent down putting my camera back in my camera bag,” Greer told The History Channel’s \u003cem>MonsterQuest\u003c/em>, “and I kind of felt something looking at me. When I first saw it, I didn’t know what it was … but then my eyes kind of focused on it a bit better. It spread wings and then started flying off. It wasn’t a man, it wasn’t a bird. It was absolutely strange and unique. If it wanted to come down and hurt someone — attack — it absolutely could cause damage.”\u003c/p>\n\u003cp>The Sacramento sighting is not the only time Mothman has showed up in a city. In 2017, a bunch of people reported seeing him hanging around Chicago — including at the airport. A moth’s gotta vacation, you guys. A moth’s gotta vacation.\u003c/p>\n\u003cfigure id=\"attachment_13935936\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935936\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739.jpg\" alt=\"Two slender sea monsters with long tails and small fins make turns in the ocean as light streams through from the sky.\" width=\"1920\" height=\"1382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-1536x1106.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Multiple fishermen in Santa Cruz and Monterey used to report a sea serpent lurking in the water. They nicknamed it ‘The Old Man of Monterey Bay’ and also, for some reason, ‘Bobo.’ \u003ccite>( Victor Habbick Visions/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Old Man of Monterey Bay\u003c/h2>\n\u003cp>About a hundred years ago, the fishermen of Monterey Bay and the Santa Cruz waterfront started reporting seeing an alarming dragon-like creature circling their boats. Some witnesses said the strange beast had a very large head, extremely long tail and a series of pointed spines along its back. A Monterey man named Dominic Costanza said the creature was about four feet in width and had “what looked like the face of a very old man or a monkey … with two eyes the size of breakfast buns.”\u003c/p>\n\u003cp>(Never mind the creature — what the hell is a breakfast bun?)\u003c/p>\n\u003cp>By March 1940, the creature had two nicknames — “The Old Man of Monterey Bay” or “Bobo,” depending on your preference — and it had prompted around 30 fishing captains to make reports to the \u003cem>Santa Cruz Sentinel\u003c/em>.\u003c/p>\n\u003cp>Years later, Geoffrey Dunn — a man whose family had been in Santa Cruz for generations — wrote in \u003cem>Santa Cruz Style\u003c/em> that:\u003c/p>\n\u003cblockquote>\u003cp>Several of my uncles and cousins reportedly encountered the monster while fishing in their small, double-ended fishing vessels … My late uncle Mario Stagnaro once recounted for me the afternoon that a badly shaken fisherman, Bill Totten, returned to the docks following a day of fishing in June of 1941. ‘I saw that serpent or monster out there!’ he screamed. ‘Get me out of here!’\u003c/p>\u003c/blockquote>\n\u003cp>Totten apparently did not return to the wharf for some time. Play nice, Bobo!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Be careful out there, folks — and have a happy Halloween.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask Northern Californians what local monsters they think about the most, and invariably you will hear a list of very bad people. \u003ca href=\"https://www.kqed.org/pop/17396/are-you-a-gentrifier-this-quiz-can-tell-you\">Gentrifiers\u003c/a>! The people who spread lies about San Francisco being \u003cem>The Purge\u003c/em> now! That one guy who hoses down homeless people! Folks who move in next door to music venues, then make noise complaints! Erratic \u003ca href=\"https://www.kqed.org/news/11959303/sf-activists-protest-immobilize-driverless-cars-with-traffic-cones\">ghost cars\u003c/a>! You get the gist.\u003c/p>\n\u003cp>It’s Halloween season at the moment, though, so it’s the perfect time to think beyond the usual suspects and venture into our region’s very real history of dealing with \u003cem>actual\u003c/em> monsters. The mysterious kind. The kind that people laugh at witnesses for reporting in the first place.\u003c/p>\n\u003cp>Here are five major ones you might not have realized were ever in our midst.\u003c/p>\n\u003cfigure id=\"attachment_13935927\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104.jpg\" alt=\"A mysterious bigfoot figure, walking through a foggy forest and silhouetted against trees.\" width=\"1920\" height=\"1277\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1319248043-scaled-e1696541239104-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bigfoot, doing his thing. \u003ccite>(David Wall/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bigfoot in Antioch\u003c/h2>\n\u003cp>Back in 1869, an unsuspecting hunter wandered back to his campsite in Antioch one evening to find his belongings in disarray. As he tried to make sense of the scene, he noticed something else — enormous footprints that closely resembled the shape of a man’s foot, rather than an animal’s.\u003c/p>\n\u003cp>The hunter was so confounded that, rather than clean up the mess, he opted to hide out in some bushes 20 yards away and stake out whatever had paid the camp an earlier visit. After two hours, the mysterious beast did indeed come back and the hunter was able to observe a bonafide Bigfoot for about 20 minutes. The hunter later reported that the creature was:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“5 feet high and disproportionately broad and square at the shoulders with arms of great length. The legs were very short and the body long. The head was small compared to the rest of the creature and appeared to be set upon his shoulders without a neck. The whole was covered with dark brown and cinnamon-colored hair.”\u003c/p>\n\u003cp>So… a tall Ewok then? (Sign me up!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The hunter hung around long enough to see Overgrown Wicket meet up with another Bigfoot that was “unmistakenly female.” (That means boobs, probably?) To his surprise, after telling other hunters in the area what he had witnessed, the Bigfoot-spotter found that almost no one was surprised. Most other folks reported seeing the signature giant footprints and at least one other man had seen the furry fam as well.\u003c/p>\n\u003cp>Rupert Matthews, author of \u003cem>Bigfoot: True-Life Encounters With Legendary Ape-Men\u003c/em> notes that: “This acceptance of the reality of the creatures by those who spent a lot time in the forested hills is a feature of early cases [of Bigfoot sightings] that surfaces again and again. ”\u003c/p>\n\u003cfigure id=\"attachment_13935928\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253.jpg\" alt=\"A gorgeous blue lake surrounded by green pine trees. A small green island sits in the center of the water.\" width=\"1920\" height=\"1253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1251586077-scaled-e1696542414253-1536x1002.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emerald Bay, Lake Tahoe: May or may not be home to a giant serpent monster. \u003ccite>(Anjelika Gretskaia/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Tahoe Tessie\u003c/h2>\n\u003cp>It sounds like a bad joke set-up: Two nuns, a couple of cops, one optometrist and 10 USPS workers walk into the countryside… yadda-yadda-yadda… punchline about a sea serpent.\u003c/p>\n\u003cp>Except, that is the actual list of people who reported seeing some kind of aquatic monster in the waters of Lake Tahoe in the mid-1980s. One of the cops, Reno’s Kris Beebe, said the creature — nicknamed “Tahoe Tessie” for funsies — was “dark gray or black” and “a minimum of 10 feet long.” The other witnesses described a featureless body that was “fast-moving and undulating, but strangely devoid of identifying attributes.”\u003c/p>\n\u003cp>Noting that nothing of that size had ever been proven to live in the 1,590-foot-deep lake, fishing guide Mickey Daniels told the \u003cem>San Francisco Examiner:\u003c/em> “I think there’s something there. I’ve talked to about a hundred people who’ve seen it. What do I do — call them liars?”\u003c/p>\n\u003cfigure id=\"attachment_13935929\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-491791494-scaled.jpg\" alt=\"Female, red vampire lips with dripping blood, viewed in close-up.\" width=\"2560\" height=\"1491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1536x894.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-2048x1193.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-491791494-1920x1118.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">In 1978, a Daly City resident named Kooki Davis claimed publicly to be a full-fledged vampire. \u003ccite>(Remains/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Vampires in Daly City\u003c/h2>\n\u003cp>In 1978, the \u003cem>San Francisco Examiner\u003c/em> dedicated a story to Kooki Davis, a Daly City-dwelling hair stylist from Trinidad, who was living full-time as a vampire. “She has long fangs, razor-sharp fingernails and blood dripping from her lips,” the paper reported, like that was perfectly normal. “She speaks with a Transylvania twang and her ‘come hither’ stare sends icy fingers up and down your spine.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the story, Davis explained that she’d become a “certified” vampire five years ago. And if you’re wondering what \u003cem>that\u003c/em> exam involves, she elaborated: “To become a vampire, you have to be bitten by a vampire. Once bitten, you become a victim. Victims have to serve an apprenticeship to learn the ropes … There’s a lot of activity in San Francisco, so you can earn your merit badges pretty fast — as opposed to Dubuque or Wichita.”\u003c/p>\n\u003cp>(This is the value of newspapers, friends. Movies never tell anyone that in order to rid oneself of a vampire problem, moving to Iowa or Kansas will solve it, but here we are.)\u003c/p>\n\u003cp>Of her interactions with the general public, Davis noted that at work, at the end of each haircut, her “trademark” was to give each of her customers a “gentle bite” on the neck.\u003c/p>\n\u003cp>Man, that salon must have had amazing insurance.\u003c/p>\n\u003cfigure id=\"attachment_13935930\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935930\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911.jpg\" alt=\"A man looks up at a flying mothman figure in the sky that's silhouetted against the moon at night.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-1327260846-scaled-e1696543232911-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Someone spotted this guy on top of Sacramento’s Tower Bridge. Not cool, Mothman. Not cool. \u003ccite>(David Wall/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Sacramento Mothman\u003c/h2>\n\u003cp>As all good cryptid nerds know, Mothman primarily enjoys hanging out in West Virginia. (Probably because 80% of the state is forested, and also because approximately 80% of people who don’t live in West Virginia assume that everyone who does is crazy.) For decades there, witnesses have been describing a 7-foot-tall man with red eyes and wings, with a wingspan between 10 and 15 feet wide, who can fly at speeds too fast to catch on camera.\u003c/p>\n\u003cp>Well, Mothman must have had himself a little Californian vacation in 2009, because a photographer named Lamont Greer claims to have seen the humanoid hanging around on top of Sacramento’s Tower Bridge one night. Greer had been taking photos of the bridge at the time and was stunned by what he saw.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I had just finished filming the back side of the bridge so I was bent down putting my camera back in my camera bag,” Greer told The History Channel’s \u003cem>MonsterQuest\u003c/em>, “and I kind of felt something looking at me. When I first saw it, I didn’t know what it was … but then my eyes kind of focused on it a bit better. It spread wings and then started flying off. It wasn’t a man, it wasn’t a bird. It was absolutely strange and unique. If it wanted to come down and hurt someone — attack — it absolutely could cause damage.”\u003c/p>\n\u003cp>The Sacramento sighting is not the only time Mothman has showed up in a city. In 2017, a bunch of people reported seeing him hanging around Chicago — including at the airport. A moth’s gotta vacation, you guys. A moth’s gotta vacation.\u003c/p>\n\u003cfigure id=\"attachment_13935936\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935936\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739.jpg\" alt=\"Two slender sea monsters with long tails and small fins make turns in the ocean as light streams through from the sky.\" width=\"1920\" height=\"1382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-147219986-scaled-e1696546415739-1536x1106.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Multiple fishermen in Santa Cruz and Monterey used to report a sea serpent lurking in the water. They nicknamed it ‘The Old Man of Monterey Bay’ and also, for some reason, ‘Bobo.’ \u003ccite>( Victor Habbick Visions/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Old Man of Monterey Bay\u003c/h2>\n\u003cp>About a hundred years ago, the fishermen of Monterey Bay and the Santa Cruz waterfront started reporting seeing an alarming dragon-like creature circling their boats. Some witnesses said the strange beast had a very large head, extremely long tail and a series of pointed spines along its back. A Monterey man named Dominic Costanza said the creature was about four feet in width and had “what looked like the face of a very old man or a monkey … with two eyes the size of breakfast buns.”\u003c/p>\n\u003cp>(Never mind the creature — what the hell is a breakfast bun?)\u003c/p>\n\u003cp>By March 1940, the creature had two nicknames — “The Old Man of Monterey Bay” or “Bobo,” depending on your preference — and it had prompted around 30 fishing captains to make reports to the \u003cem>Santa Cruz Sentinel\u003c/em>.\u003c/p>\n\u003cp>Years later, Geoffrey Dunn — a man whose family had been in Santa Cruz for generations — wrote in \u003cem>Santa Cruz Style\u003c/em> that:\u003c/p>\n\u003cblockquote>\u003cp>Several of my uncles and cousins reportedly encountered the monster while fishing in their small, double-ended fishing vessels … My late uncle Mario Stagnaro once recounted for me the afternoon that a badly shaken fisherman, Bill Totten, returned to the docks following a day of fishing in June of 1941. ‘I saw that serpent or monster out there!’ he screamed. ‘Get me out of here!’\u003c/p>\u003c/blockquote>\n\u003cp>Totten apparently did not return to the wharf for some time. Play nice, Bobo!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Be careful out there, folks — and have a happy Halloween.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How I Learned to Stop Worrying and Love Edgar Allan Poe",
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"content": "\u003cp>Edgar Allan Poe. The Bard of Baltimore.\u003c/p>\n\u003cp>You know him, and you know his work. Admit it: Back in high school, you couldn’t get enough of the guy. His whole \u003ca href=\"https://www.kqed.org/arts/13904118/halloween-bedsheet-ghost-history-spirits-burial-shroud\">haunted\u003c/a>, hollow-eyed vibe perfectly matched your hormonal, moody, indoor-kid energy. He was goth before Dracula, he was emo before Philips.\u003c/p>\n\u003cp>[aside postid='arts_13935438']You devoured his stuff, carefully tucking away his musty-dusty vocabulary words for that longed-for day when you could bust them out, all at once in a raging torrent, to show your bullies and detractors just how smart and dark and cool you were. You kept those words of his — words like \u003cem>fervid \u003c/em>and \u003cem>miasma \u003c/em>and \u003cem>inhume \u003c/em>and \u003cem>surcease —\u003c/em> on a low, steady boil inside your head, waiting. Waiting.\u003c/p>\n\u003cp>You thrilled to his tales of the macabre and mysterious, you pretended to understand all the Classical references in his poetry. He was the perfect companion throughout your teenage years; whenever you’d slam your bedroom door or performatively fling yourself across the furniture or let out one of your long, wet sighs of disaffection and self-pity, he was there to say, \u003cem>Yes, exactly, I get it, you’re special, you’re different, they don’t understand you and they never will\u003c/em>.\u003c/p>\n\u003cp>And then you went away to college, and Poe, suddenly, wasn’t cool anymore.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Who knows why it happened. Maybe it was your jerk of a Freshman English professor, who sniffily dismissed his prose as overripe and purple and — most woundingly — \u003cem>fervid\u003c/em>. Or maybe it was that time you read one of his poems aloud and realized that the rigid rhyme schemes you’d previously savored for their steady, inexorable drumbeat now made his poetry sound weirdly simplistic, like so many bouncy commercial jingles commissioned by Despar itself. Maybe it was how everyone around you had now moved on to the lurid, gore-flecked immediacy of Stephen King and Clive Barker to get their literary willies, and only rolled their eyes at Poe’s baroque and comparatively prim diversions.\u003c/p>\n\u003cp>Or maybe it was the whole “married his 13-year-old cousin” thing.\u003c/p>\n\u003cp>I was thinking about all this as I watched writer/director Mike Flanagan’s pretty terrific \u003cem>The Fall of the House\u003c/em> \u003cem>of Usher,\u003c/em> all eight episodes of which drop on Netflix next Thursday.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yvuAWVzP6wI\u003c/p>\n\u003cp>Like some of Flanagan’s other Netflix work (\u003cem>The Haunting of Hill House, The Haunting of Bly Manor, The Midnight Club\u003c/em>), \u003cem>Usher \u003c/em>takes several works by a given author (in the aforementioned examples, \u003ca href=\"https://www.kqed.org/arts/13935438/scariest-shirley-jackson-short-stories-summer-people-tooth-charles\">Shirley Jackson\u003c/a>, Henry James and uh … Christopher Pike, respectively), tosses them into a narrative blender and presses liquefy.\u003c/p>\n\u003cp>The result is a spooky, darkly funny tale made to get gobbled up over a crisp and chilly October weekend. It follows the rough outline of the Poe short story it’s named for (doomed siblings Roderick and Madeline Usher, an old house, a cursed bloodline, etc.). But Flanagan stuffs every episode with references to other Poe-etical works.\u003c/p>\n\u003cp>A priest delivers a sermon that turns out to be a mashup of several Poe grief poems (which has the knock-on effect of making Catholicism sound … even gothier than usual, if you can imagine). Characters turn up with names like Tamerlane and Prospero and Annabel Lee and — wait for it — Lenore. There’s a deadly masquerade and a black cat and a tell-tale heart and an immurement (which is the walling up of someone in an enclosed space — but you knew that already, having read Poe as a kid).\u003c/p>\n\u003cp>[aside postid='arts_13933318']We big-time professional TV critics have a specific term of art that we reserve for shows like \u003cem>The Fall of the House of Usher\u003c/em>, thusly:\u003c/p>\n\u003cp>Hoot and a half. This show is a hoot and a half.\u003c/p>\n\u003cp>It made me remember how much I love Poe and always have, though I spent far too many years nervously disavowing him. But life’s too short to pretend not to love the things you love. Look, there’s a time and place for the spare, flinty, minimalist, you-can-bounce-a-quarter-off-it prose of your Raymond Carvers and your Lydia Davises. But there’s also a time and place for phantasmagorical miasmas hanging low over the sullen waters of a black and lurid tarn, you know? (A tarn is a small lake.) (But again: You knew that.)\u003c/p>\n\u003cp>It’s October. Treat yourself. Get some apples, walnuts and Stilton cheese, the stinkier the better. Pour yourself a sherry – you can get your hands on a bottle of Amontillado for like 13 bucks. Then grab a cider donut and curl up on the couch to watch \u003cem>The Fall of the House of Usher\u003c/em> and then, as the light just beyond your chamber door starts going all crepuscular (read: around twilight), dive headfirst into one of Poe’s more quaint and curious volumes.\u003c/p>\n\u003cp>You can do that. You may have cruelly and faithlessly ghosted him in college, but he’s still there, waiting for you.\u003c/p>\n\u003cp>Waiting.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+I+learned+to+stop+worrying+and+love+Edgar+Allan+Poe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>You devoured his stuff, carefully tucking away his musty-dusty vocabulary words for that longed-for day when you could bust them out, all at once in a raging torrent, to show your bullies and detractors just how smart and dark and cool you were. You kept those words of his — words like \u003cem>fervid \u003c/em>and \u003cem>miasma \u003c/em>and \u003cem>inhume \u003c/em>and \u003cem>surcease —\u003c/em> on a low, steady boil inside your head, waiting. Waiting.\u003c/p>\n\u003cp>You thrilled to his tales of the macabre and mysterious, you pretended to understand all the Classical references in his poetry. He was the perfect companion throughout your teenage years; whenever you’d slam your bedroom door or performatively fling yourself across the furniture or let out one of your long, wet sighs of disaffection and self-pity, he was there to say, \u003cem>Yes, exactly, I get it, you’re special, you’re different, they don’t understand you and they never will\u003c/em>.\u003c/p>\n\u003cp>And then you went away to college, and Poe, suddenly, wasn’t cool anymore.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Who knows why it happened. Maybe it was your jerk of a Freshman English professor, who sniffily dismissed his prose as overripe and purple and — most woundingly — \u003cem>fervid\u003c/em>. Or maybe it was that time you read one of his poems aloud and realized that the rigid rhyme schemes you’d previously savored for their steady, inexorable drumbeat now made his poetry sound weirdly simplistic, like so many bouncy commercial jingles commissioned by Despar itself. Maybe it was how everyone around you had now moved on to the lurid, gore-flecked immediacy of Stephen King and Clive Barker to get their literary willies, and only rolled their eyes at Poe’s baroque and comparatively prim diversions.\u003c/p>\n\u003cp>Or maybe it was the whole “married his 13-year-old cousin” thing.\u003c/p>\n\u003cp>I was thinking about all this as I watched writer/director Mike Flanagan’s pretty terrific \u003cem>The Fall of the House\u003c/em> \u003cem>of Usher,\u003c/em> all eight episodes of which drop on Netflix next Thursday.\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/yvuAWVzP6wI'\n title='//www.youtube.com/embed/yvuAWVzP6wI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like some of Flanagan’s other Netflix work (\u003cem>The Haunting of Hill House, The Haunting of Bly Manor, The Midnight Club\u003c/em>), \u003cem>Usher \u003c/em>takes several works by a given author (in the aforementioned examples, \u003ca href=\"https://www.kqed.org/arts/13935438/scariest-shirley-jackson-short-stories-summer-people-tooth-charles\">Shirley Jackson\u003c/a>, Henry James and uh … Christopher Pike, respectively), tosses them into a narrative blender and presses liquefy.\u003c/p>\n\u003cp>The result is a spooky, darkly funny tale made to get gobbled up over a crisp and chilly October weekend. It follows the rough outline of the Poe short story it’s named for (doomed siblings Roderick and Madeline Usher, an old house, a cursed bloodline, etc.). But Flanagan stuffs every episode with references to other Poe-etical works.\u003c/p>\n\u003cp>A priest delivers a sermon that turns out to be a mashup of several Poe grief poems (which has the knock-on effect of making Catholicism sound … even gothier than usual, if you can imagine). Characters turn up with names like Tamerlane and Prospero and Annabel Lee and — wait for it — Lenore. There’s a deadly masquerade and a black cat and a tell-tale heart and an immurement (which is the walling up of someone in an enclosed space — but you knew that already, having read Poe as a kid).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We big-time professional TV critics have a specific term of art that we reserve for shows like \u003cem>The Fall of the House of Usher\u003c/em>, thusly:\u003c/p>\n\u003cp>Hoot and a half. This show is a hoot and a half.\u003c/p>\n\u003cp>It made me remember how much I love Poe and always have, though I spent far too many years nervously disavowing him. But life’s too short to pretend not to love the things you love. Look, there’s a time and place for the spare, flinty, minimalist, you-can-bounce-a-quarter-off-it prose of your Raymond Carvers and your Lydia Davises. But there’s also a time and place for phantasmagorical miasmas hanging low over the sullen waters of a black and lurid tarn, you know? (A tarn is a small lake.) (But again: You knew that.)\u003c/p>\n\u003cp>It’s October. Treat yourself. Get some apples, walnuts and Stilton cheese, the stinkier the better. Pour yourself a sherry – you can get your hands on a bottle of Amontillado for like 13 bucks. Then grab a cider donut and curl up on the couch to watch \u003cem>The Fall of the House of Usher\u003c/em> and then, as the light just beyond your chamber door starts going all crepuscular (read: around twilight), dive headfirst into one of Poe’s more quaint and curious volumes.\u003c/p>\n\u003cp>You can do that. You may have cruelly and faithlessly ghosted him in college, but he’s still there, waiting for you.\u003c/p>\n\u003cp>Waiting.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+I+learned+to+stop+worrying+and+love+Edgar+Allan+Poe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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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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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"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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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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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",
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"order": 9
},
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"meta": {
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"source": "WNYC"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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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.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"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/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"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)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
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